Full text of "Billboard"

See other formats

1 !■

Cor

Copyrighted matBrial

.111^ SENSAnONA^ VSPECTACUUR I

Bay*W<<mt^\ ' I ?IV w, MICHAElBUeU

MICHAEL 6UBLE
HNOSHIS
^ OWN VOICE

TRANS WORLD
MOVES TO
STANCH LOSSES

lN axe

*BRUTAL LEGEND':
THE FIRST HEAVY
MHAL VIDEOGAME

ocxoB.3 .ooe .HOW^GENE SIMMONS BECAME ' Jf/K x V

www.billboard.com THE $500 MILIION MAN V 1,

in^^'l^I'^^lo . IICENSINC OPPOttTUNITIES \^ >^

HOW GENE SIMMONS BECAME
THE $500 MILIION MAN
UCENSINCO^^

BB^B^jRPcnyMMnTUC STONES

P H OE

AMADEU^
PHOEN l>

FOR YOUR CONSIDERATION

"the new tunes were relentless in their drive, careening from tightly woven verses to horizon-scanning choruses." - Slir ^(\0 ^rk Simrs
"the underlying vibe is both retro and somehow outside of time - like a memory made sweeter than the real thing it calls." (A-) - EllBrlUli^
"...more musically confident than ever.. .on exuberant rush of guitar pop..sleek and clean.." iririfir
"Phoenix is.. .armed with hooks primed for a mainstream embrace. Best New Music - 8.5" -

"...blending retro and futuristic sounds with a panache shown by few contemporaries.. sprightly rock rhythms and shimmering guitar licks intertwine
beautifully with Thomas Mars' lead vocals..." - Bdlnsd

"...unbridled displays of emotion. Their hooks ore hypnotherapeutic."

FADER

"'Wolfgang Amadeus Phoenix' is a warmly inviting record, the rare record that successfully emerges ambient textures with exuberant melodies. There's
a hypnotic quality to nearly all of these songs..." - ilo0 Anj^cUs Slmes

"...another keeper that will have listeners hitting the repeat button." Ititit -
"...Phoenix estabiish(es) itself as one of the year's next breakout stars." (A) -
"fulsome bursts propulsive joy.. .both classy and classic." ititirit - ^B^.^^^

"The whole album vibrates with energetic addictive melodies. ..Phoenix is the perfect 'step-it-up' soundtrack" -^^^J^fciR^^
"...one would be hard-pressed to find a more succinct piece of musical perfection this year..." - PSliX
"...it's a lean, mean, groove-tastic machine.. .Play it again. And Again. And Again." - ^^^^^^^j

Management: Sinnon White & ^^^P
Chris Gentry/Coalition

weorephoenix.com
glassnotemusic.com

Pi 8

NObalt LOYAL

UTS Glassnote

Billboard

ENTS

ON THE CHARTS

• ALBUMS

PUCE

nmst/iraE

THE BILLBOARD 200

HE BluEnM J

TOP INDEPENDENT

TOP DIGITAL

THE UlUCPRMT 3

TOP INTERNET

mail

HEATSEEKERS ALBUMS

MWSTEHS OF FOLK

HON-^I-h' 'II,-

TOP COUNTRY

TAYLOR SWIFT

TOP BLUEGRASS

HICHY SKiGIl!!

TOP R&B/HIP-HOP

jAr-z ,

TOP CHRISTIAN j

SKILLET/
UWAK£

TOPOOSPEL 1

MARY MARY/

me SOUND

TOP DANCEIELECTRONIC

LADYCAG*/

TOP TRADITIONAL JAZZ

DIAMA KRALL f

TOP CONTEMPORARY JAZZ

GEORGE BENSON /

■jmi",'". .'.N.I -"-ijiitts

TOP TRADITIONAL CLASSICAL

R6NEE FLEMIHS/

TOP CLASSICAL CROSSOVER

DAVIO GARRnr /

TOP WORLD

RODUGO Y GWfllEU /

TOP LATIN

MEUYFUHTAm)/

WPIM

^ SONGS

mcc

AflTtST/Tmf

THE BILLBOARD HOT 100

THE BLACK EYED PEAS '

HOT 100 AIRPLAY

lAnOR SWIFT

HOT DIGITAL SONGS

JflV-Z ■ ALICiH KEYS

HEATSEEKERS SONGS

CHRIS YOUNG

MAINSTREAM TOP 40

68 1

THE BLACK EYEDPiAS
lOOITA KLUMU

ADULT CONTEMPORARY

NifrcYmn/

TW CtlMB

ADULT TOP 40

KIMGS OF LEW/

ROCK SONGS

ALICE IN CHAINS/

ACTIVE ROCK

StCK PUPPIES :

HERITAGE ROCK

ALICE IN CHAINS /

HOT COUNTRY SONGS

JUSTIN M0OR£ /

MAINSTREAM RtB/HIP440P

DMKE FUT TREY SONGI ft LH WAYNE/

SUCCf SSI Ul

RHYTHMIC

JAY SEAN FEAT. UL WAYNE /

ADULT R&B

MAXWELL .

HOT RAP SONGS

JAY.Z. ftlHAHNA ft KAHVE WEST /

HOT Rse/HIP-HOP SONGS

MAXWELL .

CHRISTIAN SONGS

PHILLIPS. CRAIG ft KiW/

HOT CHRISTIAN AC SONGS

PHILLIPS. CRAIG a MAN/

CHRISTIAN CHR

SKILUT/

HOT GOSPEL SONGS

BEBEftCfCCWMUM/

CiiJU 10 YOU

HOT DANCE CLUB SONGS

MARIAH CARET/

HOT DANCE AIRPLAY

CASCMIA/

[VftCUMl [HE (MNCEFLOOn

SMOOTHJAZZ SONGS

TDLKVncnWN

HOT LATIN SONGS

NELLY FUHTADO /

VU.WS *l "jf-!

HOT MASTER RINGTONES

JAY Z. RiKANHA ft KANYE WEST/

am rttfi iown

THIS WEEK ON .biz

ARIUT/nTLE

TOP POP CATALOG

THE BEAaes f

TOP MUSIC VIDEO SALES

MICHAEL JACKSON/

>idmi '( ovf s

HOT VIDEOCUPS

TAYLOR SWIFT/

tm BELUHG rttIM ME

TOP DVD SALES

THE OFFICE: SEASON FWE

6 Retail Track

8 Digital Entertainment

10 Latin

12 Global

16 Q&A: Tim Schafer

UPFRONT

A 'CURRENT' AFFAIR

'Embedded' provides a
new music documentary
outlet on TV.

FEATURES

STANDARD DEVIATION After selling
20 million albums to the housewife demo,
Michael Buble evolves beyond singing slick
versions of classics on "Crazy Love."

THE HOTTEST BRAND IN THE LAND

Kiss has rocked merch for 35 years— and now the band
is continuing its dynasty with Wal-Mart.

THE RIGHT STUFF As music sales fan.
merchandising rights take center stage in 360 deals.

YOU CAN ALWAYS GET WHAT YOU WANT

Bravado prepares a merch blitz for the Rolling Stones and
Michael Jackson's estate.

29 KISS The touring and merchandising powerhouse
Is back with "Sonic Boom."

43 BETTING ON A GOOD TIME The lOth annual
Latin Grammy Awards return to Las Vegas.

MUSIC

NGRY LIKE THE

LF Wolfmother *

fights back after 60

lineup change. 61

6 Questions: Rosanne 61

Cash. Global Pulse 62

Reviews "
Happening Now

ON THE COVER: Illustration by Asaf Hanuka

IN EVERY
ISST E

Opinion
Marketplace
Over The Counter
Market Watch
Charts

Executive Turntable,
Backbeat. Inside Track

NEW BILLBOARD.COM

The latest exclusive
content on BHIboard.com
Includes video interviews
with Linkin Park and the
cast of "Fame." Also, watch
behind-the-scenes footage
of Harry Connick Jr.

Events

MOBILE

ENTERTAINMENT LIVE

This Oct. 6 conference at
the Omni Hotel San Diego
to be presented by Logic
Wireless will feature
keynotes from Pete Wentz,
ATST's Rob Hyatt and EMI's
Syd Schwartz. More at
billboardevents.com.

TOURING

At the 2009 Billboard
Touring Conference— Nov-
4-5 in New York— Ozzy
Osbourne will receive the
Legend of Live honor
during the Billboard
Touring Awards. For more
information, go to
billboardevents.com.

REGIONAL MEXICAN

The music summit— Oct 8-
9 at Los Angeles' Hyatt
Regency Century Plaza-
will feature an industry
panel with the Rivera
family— Pedro. Jenni, Juan
and Lupillo— and a Q&A
with Alejandro Fern^r>dez.
More: billboardevents.com.

OCTOBER 3, 2009 I www.billboard.biz j 3

Billboaid

OPIMION

EDITORIALS COMMENTARY i LETTERS

Small Stations

The CRB Needs To Protect Tiny Webcasters, Not Just Commercial Operations

BY JOHNIE FLOATER

Which radio platform provides airplay
for the most acts? Jack FM? Sirius XM?
Pandora? The answer may surprise you.
It's the tens of thousands of small web-
casters that make up the "long tail" of
Internet radio. They may be small in
size, but they are great in number.

1 n 2007. when the Library of Congress'
Copyright Royalty Board (CRB) an-
nounced the 2006-201 0 per-song royalt)'
rates for online streaming of music —
w hich were considered so high that many
webcasters would have had to shut
down — many companies and listeners
complained. Congress eventually inter-
vened, and a number of medium and
large webcasting groups negotiated lower
royalty rates with SoundExchange, the
organization designated by t)ie Librarian
of Congress to collect royalties from web-
casters. Pandora has even predicted prof-
itability in 2010. But all is not well.

Live365. an aggregator of 6.000 user-
created, small Internet radio stations,
has not signed on to any of the SoundEx-
change alternative rate deals, which fo-
cused only on the needs of the large
multimillion-hour-per-year webcasters.
These deals fail to address the needs of
tens, if not hundreds, of thousands of
small webcasters.

Accurate tracking of every perform-
ance by these webcasters is the only way
artists and copyright owners can be paid.
This is complicated and costly, since
webcasters must not only record which
tracks were played, but also the exact
number of people that heard each
song — something terrestrial and satel-
lite radio have never accomplished.
Small webcasters also can't always gen-
erate enough revenue to pay royalties.
Many small stations don't have money
for an ad sales team, and even those that
do don't have the scale to meet advertis-
ers' minimum audience requirement.
Tens of thousands of these small web-
casters have found it easier to ignore the
rules and not pay any royalties at all.

There is a solution: Thousands of
other small webcasters have signed up
with services like LoudCity and Live365
to leverage the benefits of aggregation.
Although each station may webcast for

FOR THE RECORD

A story in the Sept. 26 issue
should have reported that
Mary Mary's 2009 hit "God in
Me" was the duo's first Bill-
board Hot 100 hit in nine years,
not that the pair had taken a
nine-year hiatus.

just a few thousand hours per month,
the combined hours provide enough of
an audience to attract advertisers. Rather
than have every station try to track and
pay its own royalties, each benefits from
a shared system that can track all their
performances and pay the various roy-
alty organizations. They can also pur-
chase bandwidth in bulk to keep their
costs down.

Even now, however. Sound Exchange's
percentage-of-revenue rates for small
commercial webcasters (SCW) require
an upfront $2.000-$5.000 annual min-
imum license fee for each webcaster.
This in effect penalizes small webcast-
ers, as the minimum fee is many times
more than the normal per- per form a nee
rates they would pay. And aggregating
thousands of webcasters into a single
service results in total listening hours
and revenue that exceed the SCW eligi-
bility rules. This, in turn, deprives the
participating small webcasters from he
opportunity to take advantage of the per-
centage-of-revenue rates thai Congress
specifically intended for them.

Our proposal is to let aggregators pay
a combined minimum for all their par-
ticipating small webcasters and take on
the reporting, compliance, administra-
tion and payment obligations similar to
those that would apply to any large mul-
tiple-station webcaster — but allow the
individual owners to pay royalties at the
percentage-of-revenue rates provided
under the Small Webcasters agreement.
That would keep webcasting affordable
for these small companies and allow
many more performers and copyright

owners to receive airplay — and appro-
priate royalties paid.

The aggregation of these thousands
of stations into a single licensee would
also benefit SoundExchange by reduc-
ing its overhead. In addition, many
more artists and copyright holders will
be given the chance to develop a fan
base and make money from the sales
of downloads, tickets and merchandise.
Each month, thousands of individual
small webcasters use the Live365 plat-
form to stream music featuring more
than 250,000 artists.

The next CRB rate-setting proceed-
ing for the period 201 1-2015 is about to
begin in earnest, and Live365 and its
webcasters are preparing to address
these concerns in front of the Copyright
Royalty Judges. But we first want to
make sure that we are presenting our
case to the proper rate-setting body. Re-
cently, the validity of the appointment
of the CRB judges has been challenged
on constitutional grounds, and one ap-
pellate judge opined that this "raises a
serious constitutional issue." There-
fore, in early September, we filed a mo-
tion for preliminary injunction on
behalf of all participating parties ask-
ing the court to rule on the constitution-
ality of the judges' appointments before
the latest CRB proceeding continues.
Millions of dollars will be spent for
naught in these hearings if it is later de-
termined that the judges were ap-
pointed erroneously.

Whichever agency or court we bring
our case before, we sincerely hope that
SoundExchange, the CRB. Congress and
others that participate in the royalty-set-
ting process see the benefits to all par-
ties in our proposal. We believe that it
will help the hundreds of thousands of
artists deserving airplay, the tens of thou-
sands of small webcasters spinning their
favorite songs and the millions of lis-
teners discovering the real depth and
breadth of music.

Johnie Floater is CM of media for
Live365. where he helps oversee
thousands ofLive365 webcasters. He
has an MBA from UCLA's Anderson
School of Management and 30 years of
experience in various marketing, sales
and management jobs in the online and
radio businesses.

WRITE US ■ Share your feedback with Billboard readers
around the world. Send correspondence to l«tters:a'bl Nfooard.com

Include name, title, address and phone number for verification. /

SUBSCRIBE. Go to blllboard.biz/iubscrib* or call
800-658-8372 (U.S. toll free) or 847-559-7531 (International).

4 I BILLBOARD I OCTOBER 3. 2009

EOirCftlAL DIRECTOR
•ILL WERDE

EDrrORIAL

EXECUTIVE EDITOR: ROBERT LCVmt 646-6S4-4707 t

DEPUTY EDITOR: Loud Hau b4b'6S1-4708 ^

SENIOR EDTTOR: Am OonitHM 325-525- 22%

SPECIAL FEATURES EDITOR: Thom DHTTy 646-654 -1716

INTERNATIONAL BUREAU CHIEF: Mark luWwrtud 011-44-207-420-6155

MUSIC EDITOR: Cortnay Harding ■ .J*^^ *i54^sg?

BILLSOARD-BI2 EDITOR: Chri« M. Walsli h-u, tS^ A<«jA

EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR LATIN MUSIC AND ENTERTAINMENT: Lalla Cebo (Midmi) 305-361-527S
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOURING AND LIVE ENTERTAINMENT: Ray WladdMI (NdlfMlIls) 6I5-4S)-C
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR DIGITAL/MOBILE: Antony Bnjno . U.^r^of i {Oi'77M!42
SENtOR CORRESPONDENTS; Ed Chriitman ' Pet., ; b^b *)b4-4:'2i

Gall Mitchell "^.b Tom F»ryu»on L->&i:-ji ,■ L-^ic-nal EatO 011-44-207-42O-606

SENIOR EDITORIAL ANALYST: Glann Pooplat ijr<-(>ri<r--atiilltiu.ird cam
CORRESPONDENTS: AyaU BwVahuda i Ldiir. . i21-^-.il-229S MttctwM PMM S23-S2S-2322
INTERNATIONAL: Lan Brandt* . A.^^ir^Uaj WoMSMg tpahr (Germany). Robatt ThempM (Can
GLOBAL NEWS EDITOR: Af»dr« PallW 011-44-207 420 6068
COPY CHIEF: ChrIt Woodt
COPY EDITOR: Cttrltta TIbu

ASSOCIATE EDITOR. SPECIAL FEATURES; Evia Masy- -it t;!^^ 4 "J'J
CONTRIBUTORS. Jim Bauman. Larry BlumanraM. Juliana Kerantans, Karri Haaen.

BILLBOARD.COM
BILLBOARD.COM EDITOR: JESSICA LETKEMANN 646-«S4-5536
BILL80ARD.COM NEWS EDITOR: OavM J, Prirtca h^i, b&4 S$82
BILLBOARDCOM ASSOCIATE EDITORS: MwM Concapdon &>16-&S4-47aO. NmNCB

DESIGN ft PHOTOGRAPHY
CREATIVE DIRECTOR: CHRISTINE BOWER-WRKIHT

PHOTO EDITOR: AmaUa Halvarson SENIOR DESIGNER: Grag Orabowy

CHARTS i RESEARCH
DIRECTOR OF CHARTS: SILVIO PIETROLUOHGO
ASSOCIATE DIRECTOR OF CHARTS. Raphaal 0
SENIOR CHART MANAGERS K*Hh Caulflald

Dilat«ni. Oigilal

-■' !■ ■ ■■ j' '.iOundt-ackS LA).

Raphael GaOfva (Blue^ RAB/H<y-HOO.

>.-z. New Age. Ringtor^ So
'>r>: "< t :.. u giisl Songs>. Pmt PaMhtA (
: ve. cndit b^t, Heatseekers Sor»gs. Maitistm
•a Audio, v<3#o)

Wada Jattan i- ■ !■ i
CHART MANAGERS: Bob Allan '
■ ■ 1 : . ■ Gordon Murray

Silvio Platiotuongo
.'.■■■!, ii;- Gary Truft -'i.. -■--'[
I.. . Alan Vllouilt I .

INTERIM CHART MANAGER: Rauly Ramlrai L.
CHART PRODUCTION MANAGER: MIchaal Cintwt
ASSOCIATE CHART PRODUCTION MANAGER: Ataa
BILLBOARD RESEARCH MANAGER: Oordon Murray >.jr^-6S4-4633
DIGITAL

VICE PRESIDENT. DIGITAL: JOSHUA ENOROFP
DIRECTOR, MARKET DEVELOPMENT: Ertc Ward
MANAGER. MARKET DEVELOPMENT: JuMIn HarHl

ADVERTISING SALES

VICE PRESIDENT. SALES,^AS50CIATE PUBUSHER: JCREHV LSVINC &4&-654-4627
NATIONAL SALES DIRECTOR/DIGITAL « CONSUMER: Darwk Santnar 646-6S4-4«t6
DIRECTOR, BUSINESS DEVELOPMENT & EAST COAST SALES: Cindy MiCa 646-654-4710
EASTERN SALES DIRECTORS Antonio Amato t :< > ' .1 .ir.HUl Ryan RMch 646-6S4-4635
DIRECTOR. SPECIAL FEATURES % WEST COAST SALES; AM KanahD i21-b2b-2299
MIDWEST SALES DIRECTOR: Alana ScMITka - - t '.l-l

WEST COAST ACCOUNT DIRECTOR: CsMV Dwinahy ( !2it S25-2237

NASHVILLE: Laa Ann Photogte bib Hi. . l'SI l^u^^i CynUtla Mallear 61S-552-Q265 (Tounrg)

ADVERTISING DIRECTOR DETROIT: Kattty Varge ^48-687 9168

ADVERTISING DIRECTOR EUROPE/U.K.: Pradark ftnucd 0I1-44-207-420-6O7S

INSIDE ACCOUNT REP: JafT Sanatta 6-i6-6Sd-4697

MANAGING DIRECTORAATIN; Gana SmRh 973-746-2520

LATIN AMERtCA/MIAMI; Marcla Oltval «Jfi S64-7S7a Fa« 305-864-3227

ASIA-PACIFIC/AUSTRALIA: Unda MaUch 9440-7777 fax 6)2-9440-7788

JAPAN: Akl Kanako ■ . ^

MANAGER OF SALES ANALYTICS: Mima GoflMt 64&-eS4-4695
ADVERTISING COORDINATOR: Alaxandra Harti 64&-&S4-SSai
MARKETING

SENIOR MARKETING DIRECTOR: ULA OCRSON &46-6&4-4«29
EVENT MARKETING MANAGER: Nicola CartMMta 646-654-4634
SENIOR MARKETING MANAGER: Jmai CroM 646-654-5499
MARKETING MANAGER: Karri Bargman &46-e54-46I7
SALES/MARKETING ART DIRECTOR: Mallua hibalch
SALES/MARKETING DESIGN MANAGER: Kim Oradng

AUDIENCE MARKETING
AUDIENCE MARKETING DIRECTOR: NEIL EISENBERG
ASSOCIATE AUDIENCE DIRECTOR (GROUP): LIrtda Uwn

AUDIENCE MARKETING ASSISTANT MANAGER: NUto AuguMln

SUBSCRIPTIONS: ti. 'J -f f.!3 -'j.:."-.' : '.. L, \.1 T^i.-j Sd7- f,f,9-7531 |

ai) Of -it)tiworT>ada.

VICE PRESIDENT. BUSINESS DEVELOPMENT • UCENSING: ANDRIW HIN andre^ mtr>p^nielsen

EXECUTIVE DIRECTOR. CONFERENCES 4 SPECIAL EVENTS: HICHCLE JACANOHjO

SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabala Marquaz 646-6S4-4648

SPONSORSHIP SALES MANAGERS: Matthaw Carona b4t: Khn OrlfflUts 646-654-4:

SPECIAL EVENTS DIRECTOR: Margaral O'Shaa

SPECIAL EVENTS MANAGER: Uta DIAntonIo

EVENT CLIENT SERVICES MANAGER: Courtnay Hark*

DIRECTOR. LICENSING « CUSTOM MEDIA: Diana DftSCOll 646-654-4677

MANAGER INTERNATIONAL UCENSINO A SAI^ AngaMa Maahaiwal aoge^tMeV«uvet@)nwlM

MAGAZINE REPRINTS; ArtgIa VanGordar veuO-290-S460 Eil 176 or Ba^ttwYGSgroupco

PRODUCTION
PRODUCTION DIRECTOR: TIRRCNCC C. tANDEM
ASSOCIATE PRODUCTION DIRECTOR: Anthony T. BUHIngi
ASSOCIATE PRODUCTION MANAGER: Rodgar Laonard

OPERATIONS

GROUP FINANCIAL DIRECTOR: BARBARA GRIEHINOER 646-6S4-4675
HUMAN RESOURCES DIRECTOR: BILL FINTON
LEGAL COUNSEL- MARK MILLER
DISTRIBUTION DIRECTOR: Lou BradtWd

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER; Dana Parrs 646-654-4696
VICE PRESIDENT. MANUFACTURING AND DISTRIBUTION:
VICE PRESIDENT, AUDIENCE MARKETING: Jomwm Whaattay

NCWVORK: 770 Broadv-ay,
NewYOfk NY XXOi
Phone 646 654.4500
Edit Fan 646-654-4681
AOv Fa» 646-654-4799
NASHVILLE: 3200 We&t
End Ava. Swrta 500.
NatfTvM. IN. 37203

BILLBOARD OFFICES
LOS ANOILO: 5055 Wilshire
Dlvd , Los Aogalej, CA 90036
pfHDfie 32S SSS-2SOO
Fax 323-525-2594/2595
MIAMI: X}1 Crandon 8ivd
Suite 466. Key Biscayrie. FL
J5149 Phone 505-.161-5279
F«« 305-361-5299

LONDON: Endeavour Hou«
189 ShaftastMjry Ava..
LofKJon WC2H 8TJ:
Ptror* 011-44-207-420-60O
Fa*: On-44- 207-420-6014

nielscn

SENIOR VICE PRESIDENT, THE ENTERTAINMENT GROUP
GCRRY BVRNK

Ttia MoilyiAood Raoorter • Biliticord • Bxk St»go • Filtn Journal inteirsational
The Bookseller • Kirkus Revels • ShoWesi ■ S'^owEa;.! - Cinomd Enpo iriiBtr<jn.onal • C'naAi

PRSSMNT^ Orag 9mm SENIOR VKZE PRESIDENT. HUMAN RE50URCI
HIchaal AAcaa; SENIOR VK:e PRESIDENT, BRAND MEDIA: Andraw
BHbaoi SENKW VICE PRESIDENT. MEDIA A ENTERTAINMENT; Garry
Nielsen Business Media Byma; SENIOR VICE PRESIDENT, FINANCE: Slom Googin; SENIOR

VICE PRESIDENT, RETAIL: Davkl Loachnar Sf NIOR VICE PRESIDENT
CONTENT: Scott MctCanzla; senior vice president, BUILDING & DESIGN: Joa RarNlall; SENKM
VICE PRCSCENT, CENTRAL SERVK:ES Mary Kay 5u(t*4>; CHIEF OPERATING OFFICER.
ENTERTAINMENT llewwJ Appalbaum; VICE PRESIDENT. MANUFACTURING a DISTRIBUTKM
Jmwlhr Owgo; VICE PRESIDENT. LICENSING: Andraw MIn; VICE PRESIDENT, CLIENT MARKETN
Sua Ttawblay; vice PRESIDENT, AUDIENCE MARKETING: Joanna WhaaUay

THE

LATEST

NEWS
FROM

!■ -

>>; RESEARCH
PREDICTS APP
'GOLD RUSH'

Research from the
Yankee Group
estimates that nearly
7 billion U.S.
smartphone app
downloads will
produce $4.2 billion
in revenue by 2013.
The number of
smartphone users is
set to quadruple to
160 million during the
same period,
resulting in an app
market "gold rush."
Yankee Group says. In
two new reports, the
group recommends
that consumer
developers focus on
RIM'S BlackBerry and
business app
developers target
Apple's iPhone and
Google's Android
platform.

»>NEW
JACKSON
SONG, ALBUM
COMING

A new Michael
Jackson song titled
"This Is It "will be
released as a single
Oct. 12. The song Is
part of a two-disc
album of music
inspired by the
upcoming "This Is It"
film, which chronicles
Jackson's final days
rehearsing for his
comeback concerts
before his death. The
"This Is It" double-
album will be
released worldwide
Oct. 26 and in North
America Oct. 27.

LIVE
NATION, BET
PARTNER

Live Nation has
partnered with BET
Networks to produce
a series of U.S. tours
that are set to visit
Live Nation-owned
House of Blues
venues and other
clubs and theaters
across the country.
The new partnership
will launch this fall
with the 106 & Park
tour, which will
feature co-
headliners Trey
Songz and Mario.
The tour begins Sept.
29 at the House of
Blues in Los Angeles
I and will visit major
U.S. cities through
November.

Trans World on sound
footing through holidays

PPE5U MCES

Emerging Latin artists
need more support

CAEM EOP CLIPS

Aussie labels seek new
video licensing pact

SILVER THPEflDS

Tinchy Stryder scores
hit with apparel line

GAME THEOBY

Double Fine's Schafer
on 'Brutal Legend'

TELEVISION

BY ANN DONAHUE |

A 'Current' Affair

'Embedded'
Provides A New
Music Documentary
Outlet On TV

Mos Def is in a Tokyo hotel room,
wearing a bathrobe and smoking
a cigarette. He's holding forth on
the differences between Japan-
ese and American culture, reveal-
ing how impressed he is by the
intensity of the local hip-hop fans
who have been filling clubs for a
week to see him perform.

It's an intriguing look at the
thought process behind his
charismatic onstage persona —
and it's all part of the debut
episode of "Embedded." Cur-
rent TVs new hourlong music
documentary program that airs
weekly starting Oct. 14.

Besides Mos Def, the initial
run of six episodes will feature
Common, Ben Harper. Thiev-
ery Corporation, Silversun Pick-
ups and the Decemberists.

In an era when networks are
slashing production budgets in
favor of cheaper, quick-hit real-
ity programming and when in-
formative TV music segments
are rarely more than two min-
utes long. Current TV's "Em-
bedded" is a throwback to a time
of pre-YouTube attention spans.

After the first run of six
episodes is completed, the

channel will debut a few "best

of" compilations from all of the
shows, and then plans to air an-
other six-episode season in the
coming months, according to
Davis Powers. VP of music pro-
gramming at Current TV.

"No one is committing to this
type of music programming in
the television space," Powers
says. "We wanted to commit to
doing real music journalism
and documentaries — and that

comes with working with the
artists on the ground floor."

For the Mos Def episode of
" Embedded." that meant spend-
ing seven days with him as he
performed at venues in Tokyo
and Osaka. Mos Def appears in
clubs affiliated with Billboard
through a licensing deal with
Hanshin Contents Link.

"When we're talking to these
artists."" Powers says, "the
things that they don't think will
be compelling are actually the
things we hang on the most."

In an episode featuring the
Decemberists. the focus is on
portraying a band in its home-
town "and what they like to be
surrounded by in the midst of
them preparing for a very am-
bitious tour." she says. In an-
other episode. Silversun
Pickups are seen in the promo-
tional whirl of the week before
their album "Swoon" was re-
leased in April 2009.

The "Embedded" team that
travels with the artists is inten-
tionally small, usually consist-
ing of Current TV senior
producer of music program-
ming Alex Simmons and exec-
utive producer Mark Rinehart.
That intimacy gives them the
flexibiUty to build "Embedded"
documentaries around an
artist's lifestyle, which has been

the show's primary draw for la-
bels, artists and managers.

" 1 nstead of spending 1 0 min-
utes on the phone with some-
one, you can really see what
their lives are like." Simmons
says. "It makes them much
more interesting subjects."

In addition to each episode's
main artist documentary, "Em-

bedded" features shorter seg-
ments that focus on emerging
artists. The show has also part-
nered with Web site La Blo-
gotheque, which is providing
short videoclips oOive perform-
ances by acts like Passion Pit,
Amanda Palmer and K'Naan to
close each episode.

Founded in 2005 with fund-
ing from former Vice President
Al Gore. Current TV is available
on select cable and satellite
providers, including Comcast.
Time Warner, DirecTV and
Dish Network. It recently cap-
tured international headlines
when North Korean authorities
detained Current TV journal-
ists Laura Ling and Euna Lee
for nearly five months before
releasing them in August. For-
mer MTV Networks president
Mark Rosenthal was named
CEO of the channel's corporate
parent. Current Media, in July.

To enhance the appeal of
"Embedded" among Current
TV's target demographic of 18-
to 34-year-old viewers, the net-
work's Web site wall feature ad-
ditional performances and
outtakes of artists who appear
on the show. The show's Mos
Def episode will be available on-
line to stream in its entirety. In
addition. Current TV reached
a deal with Virgin America for

" Emlx-dded" to air as part of the

airline's in-flight programming
on cross-country flights.

"What we're all really work-
ing for is definitive pieces that
will be evergreen," Powers says.
"You can come back and watch
Mos in Japan three years from
now and it will still be a true
document of that time. " • ■ ■ ■

.biz

MOBILE: For 24/7 news and analysis on your cell phone
or mobile device, go to: mobMe.blllboard.blz.

Scenes from 'Embedded': (from top down) MOS DEF performs
in Tokyo; with 'Embedded' executive producer MARK RINEHART
(left) and senior producer ALEX SIMMONS; at a Yomturi Grants
baseball game with Giants pitcher MARC KROON (left); strolling
through Osaka with manager NAHEEM KASSAM (left).

OCTOBER 3, 2009 I www.blHbodrd.blz 1 Satehal

ns World Entertainment
IIGGINS

IIPFRHMT

THE
LATEST
NEWS
FROM

Jl ■

>>>MODERATTO
ROCKS FOR
MICROSOFT

Mexican rock band
Moderatto will partner
with Microsoft in October
to promote the latest
version of Windows in
Mexico. The band wrote a
new song, "Zodiaco,"
Incorporating distorted
versions of tones that are
heard when computers
running the operating
system are booted up.
The song will be Included
on an upcoming hits EP
by the band. The band's
manager, Federico Ponce
de Leon, says Microsoft
will sponsor a Moderatto
concert at Mexico City's
giant public square, the
Zocalo, early next year.

>>>AMIE STREET
TO OFFER SONY
CATALOG

Online music retailer
Amie Street will begin
selling music from Sony
Music. The deal covers
both current and catalog
tracks. Unlike other
tracks on AmIe Street,
the Sony songs will not
be priced using the site's
dynamic pricing model,
where prices vary based
on sales. Instead, a song
will retail for either $.69,
$.99, or $1.29.

>> INGROOVES
LINKS WITH
CHERRY PICKED

Ingrooves will digitally
distribute Cherry Picked
Records, the record
division of Cherry Lane
Music Group. In addition
to Its developing artists.
Cherry Picked Records
controls the master
recordings for some of Its
well-known larger
brands, such as Marvel
Entertainment, NFL
Films. NASCAR,
Pokemon and Hello Kitty.
Prior releases from
Cherry Picked include the
multlplatlnum release
"Pokemon: 2. 8. A Master,"
as well as the collectible
boxed set "Autumn
Thunder: 40 Years of NFL
Films Music."

Compiled by Chris M.
Walsh. Reporting by
Ayala Ben-Yehuda, Ed
Christman, Cortney
Harding, Monica
Herrera, Andre Paine
and Mitchell Peters.

Rock Steady

Despite Challenges,
Trans World Looks
Sound For Now

Amid the continued plunge in U.S.
physical music sales. Trans World En-
tertainment hasn't had a profitable
quarter since the three months that
ended Feb. 1. 2007. But thanks to the
company's efforts to reduce operating
expenses and close unprofitable stores,
the Albany, N.Y., retail chain could fi-
nally return to the black in its fourth
fiscal quarter that ends Feb. 1. 2010.

During the company's annual em-
ployee conference in mid-September,
Trans World chairman/CEO Bob Hig-
gins struck a positive tone, saying he
expects business to improve, citing
what he sees as a promising slate of
new releases. Higgins
also touted the success
of the company's recent
pricing experiment in 54
of its stores, where it is
selling every CD for
$9.99. Industry sources
say the pricing experi-
ment, which has secured
the participation of Uni-
versal Music Group,
Sony Music Entertainment and EMI
Music, has helped more than double
unit sales in those locations.

Of course, the sales gains in those
stores are too small to have much im-
pact on the overall financial results of
the chain, which operates nearly 700
U.S. locations. Still, in his address to
Trans World employees. Higgins

stressed the importance of pushing
ahead with the repricing plan.

"In the current environment, it is ex-
tremely important we give value to the
customer and we are depending on
everyone to support this initiative." he
said. "The results speak for themselves
— when you offer the customer the
right product at the right price, they
will buy."

According to Billboard estimates.
Trans World was the seventh-largest
music retailer in the United States in
2008, with about 3.8% share of the mar-
ket, down from 4.2% in 2007 (Bill-
board, May 9).

Music accounted for 37% of Trans
World's $357.2 million in net sales dur-
ing the six months that ended Aug. 1
(the first half of its fiscal year), com-
pared with 38% of the
company's net sales of
$447.8 million during
the same period last year.
Home video accounted
for 42% of the com-
pany's net sales in the
quarter, up from 40% a
year earlier.

On a same-store basis,
music sales were down
1 5% at Trans World during the six-
month period, compared with a 21%
decline in the year-earlier period.
Meanwhile, home video sales were
down 7% on a same-store basis, com-
pared with an increase of 3% a year ear-
lier.

While the competition remains
strong for music and video, "as the last

Retail
Track

ED CHRISTMAN

man standing any space reduction by
our competition enables us to gain mar-
ket share and grow our sales." Higgins
said, pointing out that Wal-Mart re-
cently eliminated DVD outpost fixtures
in many of its stores, while Best Buy
and Target have shifted their respec-
tive store layouts, with less prominent
placement for music and home video.

Although second-quarter net sales
fell 23% to $165.7 million from $215.2
million during the same period last
year, the company's losses before in-
terest, taxes, depreciation and amorti-
zation remained steady in the quarter,
totaling $13.3 million, little changed
from $ 1 3.2 million a year earlier. Gross
margin in the second quarter was
35.5%, improving slightly from 35.3%
a year earlier. Selling, general and ad-
ministrative expenses fell 20% to $75.8
million in the quarter, from $94.5 mil-
lion a year earlier, though it went up
as a percentage of revenue to 45.7%,
from 43.9% a year earlier.

While the major labels consider Trans
World to be on sound financial footing
well into 2010, some independent la-
bels and distributors tell Billboard pri-
vately that they remain concerned about
the chain's string of 10 quarterly losses.

But Billboard's analysis of the chain's

balance sheet shows that Trans World
won't be a credit risk during the holi-
day selling season. At the end of its fis-
cal second quarter. Trans World had
$320.4 million in inventory and $7.1
million in cash. On the other side of the
ledger, accounts payable totaled $94.7
million in the second quarter and the
company had drawn down $28.3 mil-
lion from its revolving credit facility.

That left $204 million in inventory
overhang, a useful barometer of a com-
pany's near-term financial health. The '
absence of overhang would raise seri-
ous questions about the company's
ability to meet its debt obligations.
Moreover, Trans World had another
$1 04 million available under the lend-
ing formula for its $ 1 50 million revolv-
ing credit facility at the end of the
second quarter. Cash raised by store
closures and credit for product returns
helped boost Trans World's overhang
and minimize how much it had to draw |
from the credit facility.

In other words, the company has
plenty of liquidity despite its string of
quarterly losses. Even if Trans World
has a disastrous fourth fiscal quarU-r-
which doesn't appear iikdy—Billbo;jrd
believes it should still be able to meet
its debt obligations.

.biz

For 24/7 news and
analysis on your
mobile de\ftce, go to:
moblleJ>lllbo8nU>lz.

360 DEGREES OF BILLBOARD

MARY J. BLIGE TO KEYNOTE
HOLLYWOOD REPORTER/BILLBOARD
FILM AND TV MUSIC CONFERENCE
"Queen of Hip Hop Soul" Mary J. BNge will make a
keynote appearance Oct. 30 at the Hollywood Re-
porter/Billboard Film and TV Music Conference.

Blige will discuss her career and contributions
to film and TV music and preview a song she wrote
for Lionsgate's "Precious," which is based on the
novel "Push" by Sapphire. The film, directed by
"Monster's Ball" producer Lee Daniels and adapted
for the screen by Geoffrey Fletcher, stars Mo'Nique.

Paula Patton,
Mariah Carey,
Sherri Shepherd,
Lenny Kravitz and
Gabourey Sidibe.
Lionsgate will re-
lease "Precious" in
theaters beginning
Nov. 6. Blige's next
album will arrive
this fall.

The conference will also feature a panel
titled "Fame: The Anatomy of a Film Score,"
featuring a discussion with Academy
Award-nominated and Emmy Award-win-
ning composer Marit tsham and "Fan>e" di-
rector Kevin Tancharoen about Isham's score for their
modem retelling of the beloved 1980 hit movie at>out
performing-arts students pursuing their dreams of
stardom. ASCAP senior director of film and TV music
Michael Todd will moderate the panel.

The Hollywood Reporter/Billboard Film and TV
Music Conference will be held Oct. 29-30 at the
Beverly Hilton in Los Angeles. For more Information
and to register, please visit billboardevents.com.

OZZY OSBOURNE, VANS WARPED
FOUNDER KEVIN LYMAN TO BE
HONORED AT BILLBOARD TOURING
AWARDS

Ozzy Osbourne will receive the Legend of Live
Award at the 2009 Billboard Touring Awards Nov.
5 in New York. Osbourne will attend the event to
receive the honor.

The Billboard Legend of Live Award recognizes
an Individual who has made significant and last-
ing contributions to live music and the touring busi-
ness and acknowledges the recipient's commit-
ment to the art of live performance.

"Ozzy's impact
on live music, in-
cluding pioneering
the multi-act rock
festival touring
with Ozzfest, will
be felt for many
years to come, and
his efforts con-
tinue to shape the
touring landscape in this century," says Ray Wad-
dell, Billboard executive director of content and
programming for touring and live entertainment.

The Billboard Touring Awards will also honor
Vans Warped tour founder Kevin Lyman with the
2009 Humanitarian Award, which recognizes the
philanthropic efforts of a touring professional.

"The scale of Kevin's involvement in charitable
and environmental causes runs broad and deep,"
Waddell says. "Billboard is thrilled to recognize
Kevin's ongoing dedication to ensuring that his
various music platforms maintain a strong human-
itarian purpose."

The Billboard Touring Awards wilt wrap tt>e sixth an-
nual Billboard Touring Conference taking place Nov.
4-5 at the Roosevelt Hotel in New York. For more in-
formation at>out the Billboard Touring Conference
and Awards, please visit billboardevents.com. - -

6 j BILLBOARD I OCTOBER 3, 2009

n I ITA I g MTg PTA

jMMEMI,

BY ANTONY BRUNO

We Have The Technology

Apps Have Rejuvenated Mobile Music— Now It's Time For Carriers To Respond

The mobile music landscape is
very much a study in good
news, bad news.

The bad news is that mobile
music has failed to live up to
the expectations that the early
success of ringtoncs had in-
spired. Combined ringtone and
ringback tone sales have fallen
almost 23% so far this year, ac-
cording to Nielsen RingScan.
And Forrester Research analyst
Sonal Gandhi estimates that
only one-third of U.S. mobile
subscribers with music-capa-
ble phones use their devices to
listen to music.

■"That's not very big in the
grand scheme of things, con-
sidering how long we've had
MP5-capabIe phones," she
says. "Compare that to iPhones
users. Almost 60% of them are
listening to music on their
phones, and it's only been
around two years."

But it's not all gloom and
doom. The mobile content busi-
ness is undergoing a dramatic
sea change, evidenced by the in-
troduction of downloadable ap-
plications for such devices as
the i Phone, Black Berry and An-
droid-powered phones. This
new app-based distribution
model allows developers and
service providers to create mo-
bile-specific services and sell
them directly to users without
interference from mobile oper-
ators, which historically have
restricted the flow of new serv-
ices available on their networks.

This, combined with more
sophisticated handsets and
smart phones, has already had
a positive effect on mobile
music consumption. Accord-
ing to Gandhi, mobile music

usage — while still low overall —
doubled during the past year.
She credits music apps like
Pandora and Slacker as driving
the bulk of that increase.

And there are more music
apps coming. RealNetworks
just released an i Phone version
of its Rhapsody subscription
music service, marking the first
time U.S. music fans can ac-
cess on-demand streaming
music from their mobile
phones. Spotify just launched
a similar app in Europe as well.

Both require monthly sub-
scription plans, which will cer-
tainly affect adoption. But it's
only a matter of time before a
U.S. mobile carrier decides to
bundle a monthly music sub-
scription into the cost of an un-
limited mobile data plan to
retain existing customers and
attract new ones.

"Mobile companies have to
be really serious about using
music as a differentiator,"
Gandhi says. "They're the best
people to do music subscription
because they have a billing re-
lationship. They can get people
to pay a certain amount monthly
without even thinking about it,
[and] that can be used as a way
to drive data adoption as well.°

Carriers have avoided doing
so because of network band-
width capacity and cost con-
cerns. But carrier sources say
network improvements have ad-
dressed those concerns, adding
that the remaining hurdle is get-
ting labels to agree to a licens-
ing rate low enough to offer a
reasonable price to subscribers.

I n the meantime, even Ver-
izon Wireless — once consid-
ered the most difficult

BOOB TUBE TUNES

Like the idea of Internet-connected TV but don't want
to replace your TV set just yet? Sony has come out with
a possible solution: a Blu-ray DVD player that also con-
nects to the company's Bravra Internet Video platform.

The Bravia platform Includes on-demand music from
the Slacker digital music service, YouTutie videos, stream-
ing access to Netflix and other services. Included in the
device is software designed to connect to Wi-Fi routers
for wireless Internet connectivity and supports 7.1 chan-
nel Doiby TrueHD and Digital Plus surround sound, among
other audio formats.

The BDP-N460, as it is officially called, is scheduled
to go on sale in October for $250. —AB

U.S. LAGS OTHERS . . .

Mobile customers who play or listen to music on their
handsets at least once a month.

NtffQOOlUi QiM

ssiaiMi

ilH

■^^23%

Cenn*

immt7%

. . . FOR THESE REASONS

Reasons why U.S. mobile customers haven't purchased
full-track, over-the-alr downloads on their handsets.

I gnfr w mr pMra b vein OR

I MuUmiNf tuitMV M Un (sawn on mr Hn Unv

IdoftloKwhn

nn anccmM ilxui Mng up tntinxige «i mi etnne
tM MM to IM Dk nf« I MiMd MM ta bin

operator to work with — is now
providing developers access
to such sensitive network data
as location data and messag-
ing controls in hopes of dis-
covering new, innovative
services that will also appeal
to customers.

The success of the iPhone
App Store has served as a
wakeup call to mobile carriers,
which haven't focused much on
developing new services around
music. Intheir defense, the thin
margins gained from mobile
music services didn't result in
the kind of revenue that inspires
innovation on that front. So by
partnering with music-focused
companies that have the incen-
tive to make their services ac-
cessible to mobile customers,
carriers hope to discover new
services and spur adoption.

"This is us saying we're
going to be good at a few things
. . . but there's a whole bunch
of other stuff open to innova-
tion," says Ed Ruth, director of
strategic business development
and partner management for
Verizon Wireless. "Combine
the ideas of the developer with
the areas of expertise of the
carrier, and you now have a
brand-new offering with great
consumer advocacy and inter-
est meeting a need that's tradi-

60%

SOURCE: Fon»st«r ReSMrch

tionally been a nascent space."

Of course, this could just be
the beginning of yet another
round of hype, something the
mobile industry is no stranger
to. How it responds to the early
success of music apps could de-
termine whether the industry
will repeat its earlier disap-
pointment with ringtones or fi-
nally succeed in developing a
larger, more lucrative mobile
music market.

"Ringtones and ringback
tones have certainly been a re-
ally big business and caused
artists and the music industry
to really pay attention to mo-
bile." says Rob Hyatt, director
of premium content at AT&T.
"The real challenge for us col-
lectively is — what's next.'"'-**

Bib^rd nnhlli
Bitirtiiir

— 'C!!f_r

Verizon's Ed Ruth
and AT&Ts Rob Hyatt, along
with other mobile and music
industry speakers, will
discuss these issues and
more at Billboard's Mobile
Entertainment Live
conference, taking place Oct.
6 in San Diego. Go to billboard
events.com for more details.

inhlh
■■Pit

BITS&BRIEFS

MEDIANET
ADDS MUSIC
STREAM LINKS
The digital music technol-
ogy provider MediaNet in-
troduced a new service
that allows customers to
add streaming music to
their Web sites. The soft-
ware automatically con-
verts any mention of an
artist, song or album Into a
hyperlink that will lead to
an artist's Web page or
open a media player to
stream a sample of a cor-
responding track from
MediaNet's catalog of 7
million songs. It also adds
links to buy and download
tracks. Customers include
ILike, which used the tech-
nology as the back end of
its new digital download
service, and MOG, which
is incorporating it Into Its
soon-to-be-launched
streaming music service.

NEUROTIC, CM20LDIES
LAUNCH MUSIC STORE
NeurotK Media and CM20kSes
have teamed to target the
baby boomer crowd with
iOkJiesMusk£tore£om, whkh
sells song downloads, ring-
tones, CDs and DVDs from
major and Independent labels.
Neurotic Media is providing
the digital downkud capabil-
ities, as well as the e-com-
merce features that allow the
site to bundle digital products
vinth physical goods. If s also
handling all accounting and
t>ack-erKl furxitlons.

NING ROLLS OUT
NEW FEATURES
Ning has unveiled free appli-
cations from third-party de-
velopers that add new fea-
tures of Interest to recording
artists who use Ning's tech-
notogy to create their own so-
cial networks. Artists can use
the apps to sell corKert tick-
ets, stream mobile videos,
conduct In/e vkleo chats and
sell merchandise.

HOT MASTER RINGTONESt»

Z Billb.a«i

fiS
*S

TITLE

^11,;'..'.

HUN THIS TOWN

i.vr ,- KWAMSA \ KAfm MSI

BIG GREEN TRACTOR

1 GOTTA FEELING

DOWN

J4V ilU'iirATUIUNGin ifcAVNf

BEST 1 EVER HAD

I)»U.»:e

ODSC8SCD

PAPARAZZI

TOES

BflPATi K/'i*l)

EMPIRE STATE OF MIND

xKij . Aucu ten's

IMMA STAR (EVERYWHERE WE ARE)

J£HEMIII

» -

Lady GaGa't fourth chart hit of 2009^

becomes her third top 10, as "Paparazir
shoots 37-7 tn its second week. Among
famate artists, only Beyonc^, with Hve, has
charted more ringtones than Gaga this
year. Michael Jackson and Lll Wayne are In
the tead overall, each with 11 charted 'tones.

PARTY IN THE U.S.A.

MltY CVRUS

SUCCESSFUL

".flAJU If AIURMG IRFY SCMG: & Lll AAYK[

BREAK UP

tAAHO FEAIUMNG GUCO MWtt & SUN GMinni

YOU'RE A JERK

WHATCHA SAY

JASW KRUUl

YOU BELONG WITH ME

WLOR £wr

ICE CREAM PAINT JOB

nofifiCHJO)

WASTED

iA«Jci MWit HM'-flif*:; i'Li- J nf [jj a* juiccuan

HOTEL ROOM SERVICE

mauu

THROW IT IN THE BAG

rMoton
MotN

Mian Hoi

i«U (Wpomd by NMmo
MvScsn Owt andonMby

1 MEF

BILLBOARD I OCTOBER 3, 2009

mrm hdibton wows worldwide!

-1 USA #1 Canada #1 Germany #1 Italy #1 Switzerland
Over 550,000 U.S. Soimdscan Sales in just 3 weeks!

The critics apree the album

agr

was wortn the wait!

"Whitney Houston makes it clear which record'^
breaking diva is back on top. Although a new^
generation of R&B singers have since arrived oni
the charts, it's Houston who will close this<
decade with every note still touching gold"

II Billboard I

"Strong, confident and ready, "I Look To You'"
is loaded with tunes that are perfect for-
recapturing the magic that made her a tran-
s' ^ scendent star. Houston clearly hasn't forgot' -
ten how^ to sing, imbuing the material withj
emotional power without a lot of overly^
dramatic vocal runs." ***^

^USA

I TODAf

"It is a modern soul record, a collection of:
spunky love songs that aim at something^
more immediate and tangible than nostalgiaj
or catharsis, distinctively Whitney."

I I J^iJgStone

"Whitney Houston rc'cmerges with full diva
qualifications on / Look to You''

The comeback was worth the wait! The;
diva delivers an eclectic album that has the;
bleeding ballads ("I Didn't Know My Owni
Strength" is destined to become a classic) andl
club anthems she's known for but also flexes*
new musical muscles." ★★★★

"It's sure great to hear that voice again."

IIPFROMT ■ AT,

It Takes
AVillage

Latin Biz Needs To
Redouble Efforts To
Develop New Talent

Latin music faces many of the same is-
sues as other genres : a tough economy,
the impact of onhne piracy, the closing
of music retailers, the liquidation of dis-
tributor Handleman and a loss of space
at mass merchant stores.

But the biggest worry
in Latin music has been
a glaring scarcity of
blockbuster hits and su-
perstars. At least this is
a problem with a poten-
tial solution.

If there are few new
hits and stars, it's often
because labels aren't in-
vesting enough in devel-
oping them. But the problem goes deeper
than that Even when labels develop new
talent, radio, the news media and retail-
ers often fail to rise to the challenge.

Although there has been significant
growth in U.S. Latin radio, the format
isn't as hit-driven as mainstream radio,
which severely limits the slots open for
new songs, much less new artists. Case
in point: powerful pop station KLVE
{107.5 FM) Los Angeles, which the
Nielsen BDS Hot Latin Songs panel re-
cently dropped because its playlist was
more than 80% recurrent tracks.

The radio charts in turn drive much
of the dwindling media coverage avail-
able to Spanish-language acts. Try con-
vincing a top-rated show like "Don
Francisco Presenta," for example, to
feature an up-and-coming act without
a hit song.

"It's been a long time since we had a
new Ricky Martin, a new Shaklra." says
Raymond Guadalupe. Latin sales man-
ager for Select-O-Hits.
"And really, it's radio that
needs to step up and cre-
ate those artists."

But even other sectors
of the industry turn a
blind eye to the hitmak-
ers of tomorrow. Re-
gional Mexican singer/
songwriter Esplnoza
Paz managed to top radio
and sales charts earlier this year and
won the Billboard and BM I songwriter
of the year awards. And yet, he didn't
garner a single Latin Grammy Award
nomination for his solo work. Neither
did emerging act Da'Zoo, although it
cracked Billboard's Top Latin Albums
chart, something none of the other new
Latin artist nominees accomplished.

Perversely, it seems as though the
industry punishes success at a time
when it should be embracing a more
urgent approach to fostering new tal-
ent. According to Nielsen SoundScan,

New faces
on the
album chart
DA'ZOO

Latin album sales in the United States
year to date totaled 1 2 million through
the week that ended Sept. 13. plung-
ing 35% from 18.5 million during the
same period la.st year. That's a far faster
rate of decline than the 14% drop in
overall album sales in the United States
during the same period.

Fortunately, there are signs of hope.
TV shows like Univision's "Despierta
America" and La Mega's "Esta Noche
Tonight Con Alexis Valdes" are stead-
fast supporters of new talent. And award
shows like the Billboard Latin Music
Awards and Premios Juventud have
been increasingly open to emerging
artists, while cable channels like MTV
Tr3s and miin2 cater to a younger, bilin-

gual fan base interested in new faces.

Beyond that, it behooves Latin la-
bels— major and indie — to forge closer
ties with mainstream media and out-
lets, from Amazon and iTunes to ABC's
"Good Morning America" and Sirius
XM satellite radio (which has only two
Latin channels in its Hneup).

And it behooves everyone involved
in the Latin music industry to stop
criticizing labels for not developing
acts, and rather, step up to the plate
when these labels push their new
wares. There may very well be some*
thing to cheer about. ••••

For 24/7 Latin news and
analysis, see billboard. blz/'atin.

THE BILLBOARD

Earlier this year, Televlsa Networks named Victor Manuel
Moreno Valadez executive producer of Its regional Mex-
ican music and lifestyle channel Bandamax. The 23-year
Televisa veteran spoke vtrlth Billboard ahead of his sched-
uled appearance as a panelist at Billboard's Regional Mex*
lean Music Summit Oct. 9.

How do you decide what
videos to program on
Bandamax?

People call and make requests.
Often what happens is that
there are enormous fan clubs
that call. We use instruments
that give us measurements of
TV and radio [ratings]. We an-
alyze charts, but [sometimes)
something on the Billboard
charts doesn't exist as a video-
clip, lenni Rivera has a song
right now on the charts called
"Ovarios." But there's no video

for it, so we have to adjust to
what videos do exist because
that's what we can show.

Should more money be
Invested In regional Mexi-
can videos?

It's true that they don't invest
as much money in a video as
pop groups, and normally a re-
gional Mexican video lacks
some production values. [But)
people listen to that music be-
cause they've listened to it their
whole lives. People that listen

to it aren't expecting a big dis-
play of production. They pre-
fer the musical part to the visual
part. They're interested in see-
ing their artist, but if you do a
well-made video, it's like a plus-

But you can also make In-
teresting videos without a
big budget?

That's the challenge, to make
good videos with minimal re-
sources. There are very '80s
formulas in which (directors]
make the members of the
group act in the video, when
they don't have the slightest
notion of how to act. So they
miss a lot of narrative or inter-
pretive elements. But you can
make a good video with mini-
mal budget.

Does YouTube popularity
convince you to play a video?
YouTube is a reference as far
as what these groups are
doing. Some of the groups that
come for [televised] interviews
do so because Rafa Valder-

raraa. one of our hosts, says,
"This group is playing in Chi-
huahua [Mexico], check them
out." We check YouTube and
if they have quality music, we
invite them to participate.

— Ayala Ben-Ychuda

EN E5PANOL: All the great Latin music coverage

.own you've come to expect from Billboard— In Spanlfhl
BMIboard«n««panol.com.

BRIEVE

RIVERA FAMILY
TO GATHER FOR
SUMMIT PANEL

The Rivera family— stars JennI
Rivera, Lupillo Rivera and Juan
Rivera and their father, Indus-
try Icon Pedro Rivera— will sit
together for a unique industry
panel during Billboard's Re-
gional Mexican Music Summit
in October.

The Riveras, considered the
leading femlly of regional Mex-
ican musk; in the United States,
have never shared the podium
before at an irKJustry event The
fiamily will discuss their history in
the irxiustry, from Pecko's lamch
of his Indie label Clntas Acuario
to the successful careers of
Lupilk), Jenni and now, Juan.

Most recently. Jenni— oneof
the top-selling and most dy-
namic female figures In the
genre— became the first re-
gional Mexican artist to sell out
two consecutive pierformances
at Los Angeles' Nokia Theatre
LA. Live, drawing attendance
of nearly 20,000 last month.

The Rivera panel will take
place at 2:30 p.m. Oct. 8 as part
of the Regional Mexican Musk:
Summit at the Los Angeles
Hyatt Regency Century Plaza
Hotel. The family will be part of
a roster of celebrity panelists,
who will also include superstar
Alejandro Femar»dez. featured
In the star Q&A; corrido star
Larry Hernandez (his aftxjm "16
Uarco Corridos" Is No. 7 on Bill-
board's Top Latin Albums
chart); and singer/songwriter
Esplnoza Paz. who hit No. 1 on

both th« sal»s and radio charts
earlier this year and has his "Yo
No Canto, Pero Lo Intentamos"
at No. 6 on Top Latin Albums.

For more Information on the
summit, go to blllboarde-
vents.com. —Leila Cobo

UNIVERSAL TO RELEASE
NEW'ATREVETEA
SONAR' ALBUMS
The Mexican tween-focused
telenovela "Atrdvete A Softar,"
whose cast album was No. 2 in
Mexico at press time and has
hovered either at or near the top
of the Amprofon sates charts
since April, will spawn several
new titles. Universal Mexico will
release the second volume of
songs from the Televlsa show
Sept. 2g, followed by a Christ-
mas album and a live set. Uni-
versal expects the show to air In
the United States fc>eginning in
March, after which the label
plans to release the new titles
stateskle. —Ayala Ben-Yehuda

10 I BILLBOARD I OCTOBER 3, 2009

iteri; I

Oct. 2-4 Exclusive world-premiere
SUPERSTAR videos all weekend.

CARRIE UNDERWOOD / TIM MCGRAW / KENNY CHESNEY feat oave matthews / KEITH URBAN
SUGARLAND REBA / MIRANDA LAMBERT / BILLY CURRINGTON / MICHELLE BRANCH

cmt.com

GLOBAL
NEWS
LINE

www.billboard.biz/global

>>>HMV'S XMAS
EXPANSION

The entertainment retail
chain HMV plans to open
up to 15 temporary U.K.
stores for the Christmas
shopping season.
Beginning in October, the
company will temporarily
(ease retail space in towns
lacking an entertainment
retailer. HMV Group CEO
Simon Fox says it will open
stores in midsize towns that
"may possibly not justify an
entertainment presence all
year-round but which
certainly justify one for the
12 key [Christmas
shopping] weeks." HMV
hasn't yet announced the
locations. The move
follows the demise earlier
this year of the Zawi and
Woo I worths chains.

GERMAN
REVIVAL
PREDICTED

Recorded-music revenue
in Germany is expected to
resume growing in 2013 as
digital revenue
compensates for the loss
of physical sales, the latwis
group BVMI says, citing
data from the market
research firm Gfk. Digital
revenue, including that
from music subscriptions
and online streaming, is
expected to grow an
average of 17% per year
through 2013. while
physical music sales are
expected to fall 5% per
year, according to Gfk.
German recorded-music
sales totaled €1.6 billion
($2.3 billion) in 2008,

down more than 50% from

a decade earlier.

»> TORONTO
BAND WINS
POLARIS

The Toronto hardcore band
Fucked Up won Canada's
Polaris Music Prize with its
second alt»jm, "Chemistry
of Common Life"
(Matador). The $20,000
Canadian ($18,650) prize
honors the best Canadian
album of the year, as
determined by a jury of 10
Canadian music journalists,
bloggers and broadcasters.
Other nominees included
Newfoundland's Hey
Rosetta, Toronto's Metric
and Canadian/Somalian
rapper K'Naan. Ten acts
performed during the three
hour-plus awards show
Sept. 21. A one-hour edited
version of the program will
air Sept. 26 on MuchMusic.

Reporting by Andre
Paine, Wolfgang Spahr
and Robert Thompson.

IIPFROMT

BY LARS BRANDLE

I Want
My MTV

Aussie Indies Seek New Video
Licensing Deal

BRISBANE. Australia — Australia's indie labels say
they're on the verge of a breakthrough in their long-
running dispute with MTV over licensing rights for
music video broadcasts.

The conflict has rumbled on since October 2007.
when leading indie Shock Entertainment pulled its
videos from Australia's three MTV channels (MTV.
VH 1 , TM F) in protest over the lack of royalty pay-
ments, which Shock says dried up without explana-
tion in 2004.

Indies organization the Assn. of Independent
Record Labels (AIR) upped the ante in |anuary when
the Australian Competition and Consumer Commis-
sion granted permission for its 60-plus memt}ers to
negotiate jointly without having to worry about break-
ing competition laws.

Al R has notified eight companies of its intent to ne-
gotiate licensing terms on behalf of all its members.
Of these companies. MTV has been "the most resist-
ant" to striking a deal, according to AIR chairman
David Vodicka. Other targeted broadcasters and tele-
com companies are Telstra. Optus, BigPond. Austar.
Foxtel.XYZand Fuel TV.

"This is not about getting a better deal," Vodicka
says. "It's about getting a deal. MTV point-blank does
not have deals with anyone but the majors."

MTV Networks Australia managing director Dave
Sibiey doesn't dispute the charge.

"We simply can't administer deals with hundreds of
indies on an individual basis," Sibley says. "But we've
always been happy to do it with a collecting society."

After more than a year of negotiations — AIR re-
jected an earlier MTV offer in 2008 — Billboard under-
stands the two sides arc expected to reach a settlement
before Christmas. Until then, the likes of Shock and
Beggars Group-owned Remote Control Records will
continue to withhold videos.

Shock managing director Marcus Seal went public
in July with his frustration over negotiations. Seal says
the "vast maiority" of its international label partners —
which include Cooking Vinyl and V2 — also stopped
submitting videos in 2007. The Prodigy, Bloc Party
and rising home-grown acts Architecture in Helsinki
and Ricki-Lee are among those affected by the dispute.

Other indies involved in the collective bargain-
ing allow broadcasters to air their videos but de-
clined to comment.

AIR says Aussie indie labels generate more than
S50 million Australian ($43 million) in annual music
sales. Indie-label sources estimate hundreds of thou-
sands of dollars have been lost since 2004 in the ab-
sence of an MTV licensing arrangement.

Australian indies take heart from a similar 2004
U.K. dispute that ended when Video Performance Ltd..
sister company to neighboring rights collecting soci-
ety Phonographic Perfonnance Ltd., struck a licens-

ing agreement with MTV just hours before independ-
ent videos were due to be pulled from the network.

Alison Wenham. chairman/CEO of the United King-
dom's Assn. of Independent Music, says Australia's
indies have a similarly strong case.

"Until all independent companies' videos are prop-
erly recognized and remunerated, the concerns ex-
pressed by the Australian indie community will
continue." Wenham says. "I am sure MTV will do the
right thing."

Assuming a deal is struck, the next hurdle would
be to work out how to collect the royalties. Australia's
major-label collecting society. Phonographic Perfor-
mance Co. of Australia, has kept out of the dispute,
leading some to speculate AI R might do the job itself

Vodicka doesn't rule that out. but says. "We're not
trying to set up AI R as a collecting society. If utilizing
PPCA is a viable option to do the actual distribution,
then that is an option we'd consider."

For now. both parties hope to resolve the dispute
without a copyright tribunal, leaving the indies to move
on to other targets.

"We simply want the indies to be paid a fair and eq-
uitable payment for the use of their content." Shock's
Seal says. "And we won't back down." ••••

BY RICHARD SMIRKE J

Sharp

Dressed

Man

Tinchy Stryder's

Apparel Line

Is A Hit In The U.K.

LONDON— Diminutive U.K. url>an star
Tinchy Slryder is proving to be a big
hit— not just with his music, but also his
Star in the Hood clothing line.

The artist and his managers— Archie
Lamb and Jack Foster of London-
based Takeover Entertainment— orig-
inally envisioned the line as a tool to
promote Stryder's independently re-
leased 2007 debut album, "Star in the
Hood" (Takeover Entertainment). Spe-
cializing in T-shirts featuring the brand
name in bright colors. Star in the Hood
has generated sales of more than
£500,000 ($824,000) so far in 2009,
according to Universal's Island Records,
which shares in Stryder's merch rights
through a comprehensive 360 deal.

In the past six months. Star in the Hood
has expanded to Include high-end dia-
mante-embossed items and women's
and children's clothing. Island projects
sales will hit £1 million ($1.7 million) by
the end of 2009, up from £400,000

($654,000) last year, ac-
cording to his management ^

"It's been nuts," says
Stryder (real name Kwasi
Danquah), who cites Jay-
Z's Rocawear brand as a
business model. "The ini-
tial idea wasn't even to sell
it. The plan was just to wear
it and let people become
aware of the album."

Ironically, the album "Star
in the Hood" has sold only
6,000 copies, according to
the Official Charts Co. (OCC).
Following a one-off single,
"Stryderman," in July
2008, Stryder's team ^
signed a multlrights ^
partnership with Is- ^
land that covers rev-
enue from recorded music, touring, mer-
chandise and public appearances.

Island Records Group commercial
director David Hawkes declines to re-
veal exact revenue splits but de-
scribes the merch deal as "effectively
a profit split between label, artist and

manager." weighted
"slightly in favor of
artist and manager"

Hawkes says sales
from the online store
(starjnthehood.net)
stand at approximately
5(X) units per week, with
T-shirts retailing at £15-
£45 ($25-$74) and
hooded tops at £35
($57). Universal-owned
merch company Bra-
vado is the exclusive
supplier of all Star in the
Hood clothing.
The txarxJ has also
nnade inroads in
"s^ the mainstream

V U.K. apparel

business throu^
the national feshk>n outlet Foot Asylum
and HMV, the United Kingdom's market-
leading entertainment retailer, whkrh had
two exclusive T-shirt designs on sale in
the runup to the Aug. 17 release of Stry-
der's second studio altxim, "Catch 22"
(4th & Broadway/Island).

BILLBOARD I OCTOBER 3. 2009

HMV declines to reveal sales figures
but says the clothing line has "per-
formed well." HMV merchandise man-
ager Maxine Lister says that Stryder
wearing the product is a key factor In its
popularity, helping "to highlight and
promote [Star in the Hood] to his fan
base and the wider public."

"When you've got an artist ttwf s tiny
and always wears a top with 'Star in the

Hood' on the front, in pure marketing
Speak, it's a really cool identity," says
Island marketing director Sarah Boor-
man, who credits Star in the Hood with
boosting traffic to the artist's Web site
and, in turn, building his fan base.

Having scored two U.K. No. 1 singles
in 2009, "Number V and "Never Leave
You," Stryder's "Catch 22" entered the
U.K. albums chart at No. 2. It has sold
63.000 copies, according to the OCC.

Following Star in the Hood's success.
Island Is preparing a t>esr>oke clothing
line for alternative act Florence & the
Machine. Other U.K. artists who have
apparel lines include Universal's Taio
Cruz, with his self -owned Rokstarr label.
Meanwhile, Stryder plans to add acces-
sories and footwear and expand Into
more retail outlets next year

"It's very important to expand and
see what other things are available
for you to do," Stryder says. "Star in
the Hood is a lifestyle that people can
relate to. Even if they're not from the
hood, everyone comes from some-
where and everyone's a star In thetr
own way." ••••

Cc, ■

BY ANDRE PAINE |

Diving Into Digital

HMV Turns To 7digital For Download Boost

LONDON— HMV. the undisputed ruler of
U.K. physical music retail, is hoping a deal
with 7digital can extend its dominance to
downloads.

HMV paid £7.7 million (S12.7 million) for
a 50% stake in 7digital (Billboard.biz. Sept.
3). Having launched in 2004, the latter com-
pany runs download stores in 12 territories
and also powers services for other retailers,
labels and bands.

7digital wdll power all of HMV Group's dig-
ital businesses, which will retain their current
branding but use 7digital technology and staff.

"Our customers are asking for a great digi-
tal service," HMVGroupCEO Simon Fox says
of the reasoning behind the deal. "We don't
think we're providing it yet."

HMV has undergone numerous revamps of
Us download offering since launching as a sub-
scription service in 2002. but it has failed to
challenge iTunes' market dominance. Its ini-
tial a la carte offering, launched in 2005, was
hampered by a lack of compatibility with iPods.
although it fmally switched to the MP3 format
two years ago.

Last year. HMV had a market-leading 2 1 .2%
share by volume of combined physical and dig-
ital album sales in the United Kingdom but
just 4% of the digital-dominated singles mar-
ket, according to the BPI. iTunes took 71.8%.
7digital's market share figure isn't available.

7digitars first job for HMV will be to roll out
a download operation in Canada during the
fourth quarter.

"We need to move quickly over there," Fox
says. "The physical [mail order] side of online
has not taken offbecause of the huge distances
and high cost of delivery, so it is absolutely ripe
for digital."

In first-quarter 2010. 7digital will relaunch
HMV's flagship U.K. digital download serv-
ice, which Fox believes will benefit from 7dig-
ital's "flexibility, speed to market [and] the fact
they are in tune with technology in a way we
are not."

H M V projects 7digi tal will post a loss before

interest, taxes, depreciation and amortization
of about £1 million ($1.6 million) in 2009. HMV
and 7digital declined to release 7digitars com-
parable 2008 financial results.

"We're scaling up to meet the demands of
the HMV business.- 7digital CEO Ben Drury
says, adding that the 50-50 deal means it's in
HMV's interest for 7digital "to be successful
as a stand-alone entity."

Drury will also be encouraged to develop its
business-to-business dealings, believed to pro-
vide the lion's share of 7digit3rs income. It li-
censes elements of its platform to clients like
Spotify and Last.fm, enabling users to link to
7digital to purchase downloads.

"We've seen huge growth in that area," Drury
says. "Our business has always worked because
we've had a good blend of B2B and consumer.
The margins are higher on the B2B side, be-
cause they are using our technology and skills. "

All of 7digitars stores — including the U.S.
store, currently in beta — will retain their exist-
ing branding.

Forrester Research VP/research director
Mark Mulligan says the deal is a good one for
tlic brick-and-mortar retailer, noting that while
7digilars download market share is "relatively
small." it always "punches above its weight."

"They always push hard at striking the right
partnerships, which help build exposure as well
as straightforward revenue." Mulligan says.

However, the analyst warns that HMV will
have to take an "incredibly aggressive approach"
to gain digital market share, with in-store mar-
keting directing shoppers to better digital of-
fers, even if that "accelerates the decline of the
core business."

Fox says it's "too early" to reveal details of
its new digital strategy, but he expects it will
include a move into video and computer
game downloads.

"We have the brand and the customers —
what we don't have is a joined-up. integrated
offer," Fox says. "It's important that we are pres-
ent in all our product markets both physically
and digitally." ••••

Joining forces: HMV Group CEO SIMON FOX (left) and 7digital CEO BEN DRURY

OCTOBER 3. 2009 I www.billboard.blz I 13

The 41^* NAACP Image Awards

CALL FOR SUBMISSIONS

he NAACP Image Awards is
now accepting submissions in
motion picture, television,
recording, and literature.

The NAACP Image Awards
recognizes exemplary works
by, for, and relevant to people
of color and individuals that
promote diversity in the arti

To be eligible, projectS'^must^-, ^
have a national distribution

SUBMISSIONS DEADLINE

date between January 1, 2009
and December 31, 2009V.

^Monday, November 16, 2009,
at 6:00 PM (PT).

For additional informatifcin or
entry forms, please call
323.938.2789, or ylsit
www.naacplmaaeavitard

Booking Contact

Billboard Live Japan

5055 Wilshire Blvd. suite 700. Los Angeles, CA 90036
Tel:323-525-221 2 fax:323-525-2273
Email: blllboardlivejapan@gmail.com

URL: www.billboard-live.com

Billboard Live
OSAKA

Herbis Plaza Ent B2. 2-2-22.
Umeda. Kita-ku.
Osaka, 530-0001
+81 (6) 6342-7722

•'/ > - Ik.",

midemjn

The world s musjc community ^ I ' 'f

■ V '

The sound
of opportunities

Make connections Source business
Find solutions Gain knowledge

BOXSCORE

CROSS/

ARTIST(S) Attendance

Venue. Date Promotef

$3,047,912

1 lE'HiK

DAVE MATTHEWS BAND. YONDER MOUNTAIN STRING BAND S OTHERS

KENNY CHESNEY, SUGARLAND. MONTGOMERY GENTRY 8 OTHERS

Hjl S99 S0/t2C'

Lucas Oil Stadium. lndi»napo««, 45,178 -k-. /--...-mb*- ■
Saot. 19 Th» Mstsma Group/AEG Uve

$2,686,497

BEYONCE, FLO RIDA, JESSICA MAUBOY

Rod tawr Arena, Malboume. 23.448 Mi.4..i r««t

Auf trails. 15-W - CoPP^ Pr»Mntt

■1 $2,218,516

METALLICA, AVENGED SEVENFOLD, ALICE IN CHAINS, MASTODON

EI ((istexxo)

1^ 13904

Mariay f>wk, OiiMln. Aug. 1 22,400 mCO

n $2,166,736

LUIS MIGUEL

■

■■ $1,969,981

FATBOY SLIM. DAVID GUETTA, DIZZEE RASCAL, CALVIN HARRIS

H 190 9?

Harlav Park, Dublin, Awg. 2 MCD

H $1,940,062

SANTANA

The Joint Hard Hock Holel, U» 19,536. Acri i«»

$1446,642

NE-YO, KERI HILSON

02 Arena. London, July 11, 19 *EG Live

$1,087,484

PEARL JAM, GOMEZ

16S ^.1. S'-I'"^

02 Arena. London. Auq. 18 ^t'f^^ '^B

$1,082.S2S

THE KILLERS, PSYCHEDELIC FURS

5?St'*r^°'™'''""*^''"' Bms,l„Pr.5.n».An<lr,«H«»ttCo,

$1,080,749

AC/OC, THE ANSWER

1 1

Honda Center. Anahetm. Calif- 12,123 Live Nation

$1,065,946

INCUBUS, THE DUKE SPIRIT

|«ll»jjoo<)Bo%.I.LO!Ans«e.. 16.820 B»l S.l.« Pre»nt.. AnO,.« H««.l. Co

ii[

$1,046,392

DANE COOK

■o

i::s:si'a£f»,!?a'iis«.4.6 . uv.N4„<.„.,.^ho„,.

$1,014,175

METALLICA. LAMB OF COD. GOJIRA

Sommet Center. Naihville, Sept. 14 ^^'^J, Frank Productions, outback Concerts

$1,002,073

DEF LEPPARD. POISON. CHEAP TRICK

MGM Grand Garden, t.M Wan. tO J40 Live Nation, Andrew Hewitt Co.. B<ll $llva
Sept. 5 1, -itM Present*

$965,379

AC/DC. THE ANSWER

San Diego feort* Arena. 11.033 iive Nation
San Diego. Sept, 6 . 1st Nation

$950,485

M9i^ S';

NICKELBACK. HINDER. PAPA ROACH, SAVING ABEL

MOM Oninao.«l.n.LMVw<. 12,M4 Llv. NMIoo. And.». H.»lit Co.

$947,128

KEITH URBAN. TAYLOR SWIFT

$75&r;lsiW
120

Sprfrt Center. Kanwt City, Mo, 13,632 Live
Aug. B

$889,496

JEFF DUNHAM

1W$39

pSs^KT" *"•"'"'"■ , , ■ ■ CrclAII.Mo«nF.»

'if

$884,921

ROCKWELL: TOM JONES. ROBERT PLANT, RAZORLIGHT 8 OTHERS

AK,

1U365/1W48

02 Arerta. London. SepL 11 KlUmanjara Live

$864375

DAVE MATTHEWS BAND

SSt mo""' , ,• . N.<l.rl.i>0« Co«c«U

SS16,113

TOOL, TWEAK BIRD

Moison AnipMtt>eatre, Toronto. 16.324 ^ly. Nation

»S06.360

LIL WAYNE, YOUNG JEEZY, SOULJA BOY TELL EM 8 OTHERS

SW^SSWSl^?*"'^"' Lrv.»..10n.Ha,™onEn»«.lm»M

$795,039

DEPECHE MODE, PETER BJORN AND JOHN

FuJs'w? "A" Uve N.tloo. ln.hm,»

$766,688

NICKELBACK, HINDER, PAPA ROACH, SAVING ABEL

$81 ECyj;''-

Amphitheater m Clark County. 16,027 ■ i„. u.m— i.
Rldgefteld. w*»h,. Aug. 28 ! ' N««on. in-house

$754,730

MARCO ANTONIO SOLIS, PEPE AGUILAR

Hadison Square Garden, New 7.649 Live Nation. Cardenas Marketing Networti. Latin
York. Sept. S ^ Entenainmenl

$754,529

LIL WAYNE, YOUNG JEEZY, SOULJA BOY TELL'EM 8 OTHERS

\ ->'.:

Molson AmpMtl$eatre, Toronto, 10^648 Nation

$753,048

NINE INCH NAILS, JANE'S ADDICTION, MEW ]

02 Ar««a. London. July 15 ^^'f^ KIHmaniaro Live

H $744,307

AMERICAN IDOLS UVE

sew"? ******* "* ■ *«0 >-•*•. J*'" *^-«u«'on.

Hi! $737,727

DEPECHE MODE. PETER BJORN AND JOHN |

iSals^"'"'^'"''"""' "fl" Uv.N.uo«

HI $732,564

BRAD PAISLEY. DIERKS BENTLEY. JIMMY WAYNE

ISS? '1?°*^'" ™"

B! $721,970

KINGS OF LEON. THE WHIGS

HI s«

The Fgum. linlewooa Cain.. 16.105 ooiaenmlc./Aeo u™

H $716,526

GREEN DAY. FRANZ FERDINAND

Ej.'Js™^'"*"^*"'"- !!f,?^; Sol0.n«le.MEOUv.

W $716,367

BLINK-182. FALL OUT BOY. PANICI AT THE DISCO. CHESTER FRENCH

pI,'ASg°??' "*"'"'"• '^ilS* LIv. Nation. ln-hou»

Rl $70S.8S5

DEF LEPPARD. POISON. CHEAP TRICK

FIddter't Green Amphitheatre. 15,960 ■ i„ u.,in-
Enalewood. Colo., Aug. 24 '"'^^

FREE! MidemNet is now included
in Ml DEM registration.
One price. One place. More value.
To accelerate your music business.

•1:24 - 27 January 2010 I
let: 23 - 27 January 2010
Cannes, France

Cni

mj=j3

BY ANTONY BRUNO

Tim Schafer

The videogame veteran discusses
the making of 'Brutal Legend' and
working with Ozzy and Lemmy.

Amid ttte din or all the other music-based games being released this fall comes a decidedly
unique twist on the convergence between music and videogames: "BrOtal Legend."

Unlike the play-along focus of the "Guitar Hero" and "Rock Band" franchises, "Brutal Leg-
end" offers a comedic fantasy homage to the world of heavy metal. It stars Jack Black as roadie
Eddie Riggs and features appearances by Judas Priest frontman Rob Halford, Motdrhead's
Lemmy and Ozzy Osbourne. The game draws heavily on the imagery and lyrics of heavy
metal albums at all levels— from plot to art direction to dialogue— and features a soundtrack
of more than 100 songs.

The much-anticipated title Is the brainchild of veteran game developer Tim Schafer, an
unabashed heavy metal fanatic. The founder/president of Double Fine Productions has
built a cult following in the videogame industry with such hits as 'The Secret of Monkey Is-
land" and "Psychonauts," leading to a great deal of hype and anticipation for the upcom-
ing "Brutal Legend."

In an interview with Billboard, Schafer talks about how the title stands apart from the
broader music-game genre, how music can rise above the level of a mere soundtrack and
what he believes "Brtital Legend" has In common with Peter Jackson's "The Lord of the
Rings" movfes.

Did you set out to make an ac-
tion/adventure game first or

was it a music-led thing from
the start?

It was a fantasy game inspired by
the world of heavy metal album
covers. When you look at those
great illustrations on Iron Maiden
or Diamond Head albums, there's
an unbridled creativity there.
They're not worried about some-
thing being too much, there's no

worry about going ovt*r the top.

They just threw everything on there
that they thought looked awesome.

We wanted to create a world
where you could go around every
corner and see another heavy
metal album cover. So then we
wondered who we could drop into
that world, and I always thought
roadies were great characters that
can do anything. At a moment's
notice they can deal with unex-
pected situations and fix anything
with duct tape.

Then the gameplay came out of
what would satisfy that fantasy.
You've got to have a broadax. Then
give a guy a guitar for a ranged
weapon and the combat just came
out of that.

At what point did you start ap-
proaching artists and labels?

First we got Jack [Black] involved in
the project. Early on when we were
doing character design, we were in-
spired by lack Black and the char-
acters he plays where he just loves
the music. . . just unironically loved
rock for both its awesome side and
its ridiculous side at the same time.
He's just so sincere about it and we
wanted Eddie Riggs to be like him.

We showed him our concept for
the game and he agreed to do it on
the spot. Once we had him. every-
one could tell it was a legitimate
thing. There have been a couple of
heavy metal games but nothing that
big. People could tell we were going
to be the one to give a heavy metal
game its rightful treatment. Then
we got Lemmy and Rob Halford. We
dealt with their management mostly
for their name and likeness. Once
you get the artist onboard, they can
make things happen very quickly in
terms of song approvals and stufT
like that, because it was about them.

What do you mean by "rightful
treatment"?

I feel like heavy metal games are

like "Lord of the Rings" in a certain
way. where for years people had
done various versions of "Lord of
the Rings" and it wasn't until Peter
Jackson's version that someone de-
cided to do it completely and do it
right. I don't think anyone now
wants to do their version of "Lord
of the Rings. " We wanted to be that
ambitious with this.

What was it like working with

Icons liko Ozzy Osbourne, Rob
Halford and Lemmy?

Lemmy was pretty quiet at first and
we were really intimidated because
he was the first of the metal gods to
come into the studio. It turns out
he's really into ancient warfare and
collecting swords and knives from
old armies, and he's really into sci-
ence fiction about alternative fu-
tures where modern warfare is
fought with medieval weapons. He
even invited me to his house to
check out his knife collection. And
it was awesome. He's just a really
authentic guy. He's exactly what he
appears to be like.

Then Ozzy just wanted to crack
everybody up. He was really funny
and good-natured. He had a lot of

great stories about his album cov-
ers. I actually got to bring in my
original vinyl copy of "Diary of a
Madman" — which was the first
album I ever bought — and have
him sign it and ask him all these
questions. If I knew when I was 14
that I would be having this conver-
sation, I'd have died.

Did any of their ideas or feed-
back make it Into the game?

I was talking to Ozzy because J had-
n't written his character as one who
swore that much. He plays the
Guardian of Metal. So he'd say words
like "bloody" instead, and I didn't
think that sounded right. I just
couldn't hold him back from swear-
ing, and I didn't want to. So we just
let it rip. And Ozzy was saying how
he had watched the "Osbournes"
show in the U.K., where they don't
censor it, and it fell weird and wrong
to him because he watched the
American version so many times.
He actually preferred the bleeped-
oul version because it makes the
jokes funnier in some ways. So
there's a thing in the beginning of
the game where a pop-up asks you
if you want the language or not.

At some point. Eddie flips off the
camera and we put up a Parental
Advisory warning right over the
hand, which I think is another ref-
erence to heavy metal because of
what we went through with Tipper
Gore and the Parents Music Re-
source and the hearings.

How do you see "BrUtal Legend"
fitting into the broader conver-
gence between the music and
videogame industries?
You see a lot of interest by record
labels in ways to get their songs in
front of people in different ways,
because they know videogames are
stealing the attention of people who
might otherwise be watching TV
or listening to music. There's only
24 hours of the day and videogames
are taking over more and more of
those hours. So they want to get
into that space and have their songs
in there.

Is there room to make similar
types of games based on gen-
res other than heavy metal?
If I was doing one inspired by New

Orleans jazz or something, I would-
n't necessarily make it an epic com-
bat game. That just fits heavy metal.

You can showcase all kinds of
music by making the right game
for that music. (Videogames) tend
to be a bit narrow in their focus
and explore the same territory over
and over again. Like World War!!
and space. Life is very broad and
music covers all aspects of life. But
videogames only cover a small por-
tion of it. Videogames can only
benefit by including more types
of music and making more kinds
of games that showcase that type
of music. ••••

For a transcript of the JuU interview,
go to billboard.biz/digital.

You can showcase all kinds of music by making the right
game for that music . . . Life is very broad and music covers all
aspects of life. But videogames only cover a small portioriof it.

16 I BILLBOARD I OCTOBER 3, 2009

iterla

^800,000 SPINS

Unwritten/ Natasha Bedingfield/Epic
Drift Away/Uncle Kracker/RRP

^700,000 SPINS

HeyYa/ /LaFace/JLG
I'm Already There/Lt K. /BNA
Angel/Sarah McLachlan/Reprise

^600,000 SPINS

Hemorrliage (in My Hand$)/Fiin!/550

^500,000 «?^INS

Buy U A Drank (Sliawty Snappin')/''-Pain Feat. Yung Joc/Konvict/Nappy Boy/Jive/JLG
Holiday/Green Day/Reprise
n/lr. Brightslde/The Killers/Island

^400,000 SPINS

You Found IMe/The Fray/Epic

Single Ladies (Put A Ring On lt)/Beyonce/Muslc World/Columbia
Can I Gel A . . ./Jay-Z Feat. Amil & Ja/Def Jam

♦300,000 SPINS

IVIy Life Would Suck Without You/Kelly CI /19/RCA/RIVIG
Just Got Started Lovin' You/ lames 0!to/Raybaw/Warner Bros./WRN
Cupid's Chokehold/Breakfast in America /Gym Class tteroes/Decaydance/

Fueled By Ramen/Atlantic/RRP
Dance with IVIy Father/ Luther Vandross/J/RMG

♦200,000 SPINS

Best I Ever Had/'i's - VYoung Money/Cash MoneyAJnwersal t^otown
BirthdaySex/ . . /MickSchullz/DefJam/IOJIVIG
You Belong with Me/Taylor Swiit/Big Machine
Use Somebody/ Kings of Leon/RCA/RMG
Love Game/ Ga/Streamline/KonLive/Cherrytree/lnterscope
Waitin' on a Woman/ Brad Paisley/ Arista Nashville
Hypnotized/ es Feat. Akor/Big Gates/Slip-N-Slide/Atlantic
Take Me There/Rascal Flail; /Lyric Street
Come on Get Higher/ Matt N / Vanguard/Capitol

♦ 100,000 SPINS

New Divide/Llnkin Par!</Machine Shop/Warner Bros.
No Surprise/Daughtrv/19/RCA/RMG
Her Diamonds /Rob Thomas/ Emblem/Atlantic
Every Girl/Young Money/Young Money/Cash Money/Universal Motown
Best Days of Your Life/Kellie Pickk /19/BNA
Alright/ barius Rucker/Capitol Nashville
Boots On/Randy Houser/IJniversal South

♦ 50,000 SPINS

Obsessed/Marlah Care /Island/IDJMG

She Wolf/Loba/Shakir, /Epic

Living for tlie Night/George Strail/MCA Nashville

Down/ V Sean Feat. Lil Wayne/Cash Money/Universal Republic

Good Girls Go Bad/Cobra Starship Feat. Leighlon Meester/Fueled By Ramen/

Atlantic/RRP
21 Guns/Green Day/Reprise
So Fine/ Sean Paul/VP/Atlantic
Pretty Wings/Maxwell/Columbia
Hotel Room Service/Pilbull/Mr. 305/Polo Grounds/J/RMG
Causa Y Efecto/Paullna Rubio/Unlversal Music Latino
Break Up/Mario Feat. Gucci Mane & Seai /3rd Street/J/RMG
Big Green Tractor/Jason Aldean/Brolien Bow
I Need a Girl/Trey Songz/Songbook/Atlantic
El Amor/Tito El Bambino'/Siente
Never Say Never/The Fray/Epic
Fue Su Amor/ :acranes Musicai/Agulia/Fonovisa
Epiphany (I'm Leavingl/Chrisette Micheic/Def Jam/IDJMG
Panic Switch/ ..ersun Pickups/Dangerbird

Standard Deviation

After Selling 20 Million
Albums To The
Housewife Demo,
Michael Buble Evolves |
Beyond Singing Slick ^ ;
Versions Of Classics
On 'Crazy Love'

ly RoDert Thompson
[Photographs
By Ben Watts

Michael Buble no longer wishes to be known
only as "the new Sinatra." 1 The 33-year-old
Canadian crooner, best-known for his
smooth takes on American pop standards,
may reside in the shadow of Frank Sinatra
and Tony Bennett. But the reality is, in many
countries, he's equaled— or even exceeded—
the popularity of his idols.

"I remember Tony Bennett coming up to me and saying,
'How did you break him in Italy? None of us — including Frank —
managed that,' " says Dion Singer. London-based VP of inter-
national marketing for Warner Bros.

It's August, and the old/new Sinatra is in a downtown Van-
couver conference room, surrounded by awards won by Bryan
Adams, Martina McBride and Anne Murray, whose careers
were guided by Buble's legendary Canadian manager Bruce
Allen, president of Bruce Allen Talent. He's here to talk about
the release of his new album "Crazy Love" (143/Reprise) — due
Oct. 9 in North America. Oct. 16 in Europe and Oct. 19 in the
United Kingdom — and much else besides, from his love of ice
hockey team the Vancouver Canucks to his recent high-profile
breakup with British actress Emily Blunt.

Dressed casually in a dark T-shirt and jeans, unshaven and
with his hair tousled. Buble doesn't look like an international
star. Yet he undoubtedly is one, one of the biggest Canada has
produced. He's sold 20 million copies worldwide of his three
studio albums, according to Warner Music. According to Nielsen
SoundScan, he sold 1.9 million U.S. copies of his last album,
20()7's "Call Me 1 rresponsible": Canadian sales stand at 400.000.
Since his 2003 self-titled debut, he's gone from housewives' fa-
vorite to the go-to guy for starlets in need of red carpet arm
candy or talk-show hosts searching for a musical guest who
gives good chat. He has hit No. 1 and sold out arenas every-
where from the Netherlands to Australia.

But none of that was enough for him. Bubld says he's taken
more risks with "Crazy Love" than on his previous three al-
bums combined. He talks earnestly and enthusiastically about
embracing more soulful recording methods and selecting
songs to fit his mood after the split with Blunt and about not
playing things safe. If his last album was named "Call Me Ir-
responsible." the new one might well have been tagged "Call
Me Introspective."

"I would definitely say I'm as nervous as I'veeverbeen.'he
says with a laugh, as he takes off his jacket and tosses it on a
nearby chair. "It would have probably been easier on me to
have done the same thing. But iflcan'tgrow, whatam I going
to do?"

"Crazy Love" diverges from his past work both thematically
and sonically. The album offers a more eclectic, downbeat mix
ranging from classics like "Stardust," through hits like Billy
Vera's "At This Moment" and the Eagles' "Heartache Tonight."
and a duet with soul singer Sharon Jones on the '60s hit "Baby
(You Got What It Takes)." There are also two Buble co-au-
thored songs, including the poppy lead single "Haven't Met
You Yet," written with regular collaborators Amy Foster-Gillies
and Alan Chang.

"I went through a breakup," says Bubl^, who's now dating
Argentine actress Luisana Lopilato. "It was a tough year for me
and there were songs I didn't even feel like singing. But I knew
there were certain things in my life that inspired me, given the
range of emotions I was going through, from sadness to anger
to regret. So I looked at the songs I was thinking about and
thought, 'I can totally dig into this.' "

But embracing less upbeat material wasn't the only shift for
Buble. He also wanted to break from the sound of his first three
albums, all produced by David Foster and Humberto Gatica.
Foster in particular wanted to continue the elaborate studio
productions that made those records a success. But Buble had
other things in mind.

"I wanted things to be engineered differently," he says. "I
wanted things to be mic'ed differently. I didn't want it to be
sterile. I wanted it to have edge, ! needed it to have soul be-
cause when I listen to Sinatra or JCount] Basie, that is rock.
It may not have big guitars, but the drums bleed in and you
feel it. David said, 'That's not what I do.' And I told him that
was bullshit."

Buble enjoyed working with Bob Rock on one song for "Call
Me Irresponsible." so he brought the Metallica producer in to
produce six tracks on the album, with Foster and Gatica helm-
ing the rest. T^e singer used a decidedly old-fashioned approach
to recording with all three — cutting tracks with a live band to
replicate the feel of playing onstage.

"I listen to Sinatra. [Elvis] Presley or the Beatles — well, those
records feel good." he says. "They are not always perfect and I
can hear some pitchy things happening, but this Auto-Tune
generation, where everything has been made so perfect, has
lost its feel."

Usually Buble would head into the studio with Foster, work
out the basic arrangement and sing "200 takes of a song," he
says. The end result was perfect technically, but lacked the in-
tangible qualities of his heroes' recordings.

"You can only hear so many times from people that you're

Frequent flyer:
MICHAEL BUBLE
performs in Cape
Town, South Africa, In
2007.

better live than on record bclorc you start thinking al>out it,"
he says. "Because I know in those shows 1 didn't hit all those
notes perfectly, so what are they talking alwut? They are talk-
ing about a presence or a vibe they get."

Rock took Bubl^ to Brooklyn to record with Sharon {ones &
the Dap-Kings, best-known for their work with Amy Wine-
house. "We cut three songs in a day." Rock says. "Like all great
artists. Michael seems to know what his audience needs."

Some would question why an artist with a run so far that has
been as spectaailarly unbroken as Buble's would try to fix it
But the singer says he's been wrestling with the question of
whether audiences will accept him throughout his career.

Inspired by '80s pop songs and classic big band and swing
tracks he discovered in his grandfather's record collection, he
was always decidedly out of step with the times, and few had
high hopes for Bubl^ at the start. Foster helped finance his first
album — which went on to sell 2.3 million copies in the United
Slates, according to Nielsen SoundScan, and another 420,000
in Canada — but many still thought the guy singing "Summer
Wind" and "Put Your Head on My Shoulder," was a fad.

" I understand why people looked at me and thought I was a
one-hit wonder." he says. "But I was so happy to get my break
that I didn't worry about it. I guess that's not true ... I did worry
about it, but it was the least of my worries after working for 1 1
years to get signed. Whoever it was at Warner that signed me
figured I'd sell 100.000 records in my lifetime."

In fact, the follow-up. 2O05's "It's Time." sold even better,
selling 3.2 million stateside and 770,000 in Canada. But along
the way. the singer found himself increasingly at odds with his
public image.

"I was marketed in a way that was for the grandmas and the
housewives," he says. "But it wasn't who I was. When the sec-
ond and third records came out I "d talk to Bruce lAllen] and say,
'These people think I'm soft. But I'm not.' And Bruce would
say. *I know that, kid.' "

Reprise president/Warner Bros. Records COO Diarmuid
Quinn says part of the issue was that Buble's focus on stan-
dards wasn't exactly what radio was seeking.

World Traveler

staggered Release Dates Help Bubl6 Promote Internationally

In America, Michael Buble's career has grown big enough
that he can play New York's Madison Square Garden, but
Warner Music Group says his earliest breakthroughs outside
of North America came In Europe and South Africa. With
that in mind, the major Is staggering the international re-
lease for "Crazy Love" to allow the singer to make personal
and TV appearances close to the release date across Canada,
the United Kingdom, Europe, Australia and the United States.

Buble has a global reach to rival any pop superstar, with
his last album, "Call Me Irresponsible." hitting No. 1 in Ire-
land, Italy, the Netherlands and Australia. It was also No. 1
on Billboard's European Top 100 Albums chart.

From Oct. 16 to the end of the month, Bubl^ will make
promotional trips to Germany. England, France and Italy.
He'll visit Australia for TV appearances on "Today" and
"60 Minutes."

"There's nothing that sells Michael's albums better than

having Michael in person in these countries." says Dion
Singer, London-based VP of international marketing for
Warner Bros.

Canada will also enjoy access to its native son in the days
prior to the album launch, with Bubl^ in the country Oct. 7,
8 and 10 for key media appearances, including TV slots on
CBC, CTV and Canwest and print Interviews with the Canwest
newspaper chain.

"We've never had him around near the street date of the
last two albums," says Warner Music Canada VP of market-
ing Dale Kotyk. "We're trying to touch every major media
outlet in the country in some form." —RT

Additional reporting by Mark Sutherland in London.

20 I BILLBOARD { OCTOBER 3. 2009

-iterlai

"One of the reasons Michael probably feels that way is be-
cause his career wasn't buih in the way of a normal pop star,"
Quinii says. "He was always a bit outside of llie mainstream, a
little bit outside of pop radio."

Instead, Reprise tapped into Buble's reputation as an engag-
ing live performer, a skill honed during his days as a struggling
singer playing anywhere people would have him.

"It was through constant touring that people bought into
him," Quinn says. "It was a gradual process, but he has built a
career that will have longevity. I 'd be surprised if he isn't around
singing in 30 years."

TV also plays a key role in Bubl6's enduring success, with
his onstage charisma effortlessly extending to interviews and
personal appearances.

"The audiences we found for Michael early on were the au-
diences that were available to us," Quinn says. "We used a lot
of TV, and TV appearances on morning shows tend to skew a
little bit to an older crowd."

Quinn says Buble's audience demographic is now notably
younger than in the past, but daytime TV remains a key part of
the "Crazy Love" campaign. The album's off-cycle Friday re-
lease date is due in part to an appearance that day on "The Oprah
Winfrey Show." while he'!! also star on "Today" Oct. 1 3 and has
a "Dancing With the Stars" slot booked. In the United King-
dom, he'll appear on "The X Factor," "Live From Abbey Road"
and "The Graham Norton Show"; in Germany he's booked for
"TV Total."

" He can sell as many albums sitting on a couch giving inter-
views as he can performing," Allen says.

Warner wants to improve his performance at radio, where
things picked up when "Home" — which he co-wrote for "It's
Time" with Foster-Gillies and Chang — hit No. 1 on Billboard's
Adult Contemporary chart in 2005. Two Bublc co-writes. "Every-
thing" and "Lost," were singles ofr'*CaIl Me Irresponsible" that
peaked at Nos. 1 and 2. respectively, on that chart.

"One of the main reasons the demographics for Michael's
audience have changed is because of his songs," Quinn
says. "As he's gotten more and more radio play, we've seen
things change."

Now Warner wants "Haven't Met You Yet" to become a
crossover success. Serviced to radio Aug. 3 1 , it's made a strong
start at AC formats in Canada and in the United States. It was
the first track to debut atop Billboard's Adult Contemporary
chart in Canada (Bill board. biz. Sept. 10), and in the United States,
it debuted at No. 22 on the Adult Contemporary chart. No. 33
on Hot Digital Songs and No. 65 on the Billboard Hot 100.

Warner hopes to work the single to top 40 stations, with
Warner Music Canada VP of marketing Dale Kotyk noting
that many hot AC stations in North America have flipped to
an urban/top 40 focus in recent years. Meanwhile, in the
United Kingdom, Warner's Singer cites support from com-
mercial lop 40 networks Capital FM . Heart and Magic as proof
the tide is turning.

"We're seeing a lot of uptake on stations that never played
Michael before," he says. "It gives us that mass airplay of sta-
tions that was missing in the past."

Allen expects the singer's 2010 tour to also garner a new au-
dience. "We're already very solid in women in their mid-20s all
the way up." Allen says. " But the guys get taken to the show and
they come out loving him as well."

"I want people to invite me in," Bubl^ says. "Fspecially now
that my big fat head is on a 60-foot screen at my shows. I think
of an arena show like the TV shows I've done. It's fun — and
they tan sec everything. When niy trombone player gives me
the finger, they pick it up."

But don't expect Buble to ditch the standards in favor of an
album of all original material just yet. Neither Allen nor Quinn
seems to provide much support for the idea, though Buble says
he could do it as "a concept."

"[Standards] are part of who 1 am," he says. "For me it is cool
to be able to do both. Is it more important to be perceived as
the best at what you do or the only one who does something?"

Few would pinpoint Buble's career as being characterized
by risk-taking. But, as other artists clamber aboard the stan-
dards bandwagon, he is — if not exactly jumping off, then at
least contemplating an exit strategy. He does so buoyed by the

gran
nou
was

-MICHAEL BUBL^

knowledge that he's won the respect of the people who inspired
him, with Allen recalling a recent encounter in London with
former Warner Bros, president Mo Austin.

"He said, 'That Buble kid is the real deal." " Allen says. "That
means a lot. After all, Mo is the guy behind Sinatra."

Of course, doing things his way undoubtedly has its risks.
While his management and label are convinced that bigger op-
portunities and larger audiences are on the horizon. Bubl^
senses this album could yet polarize his audience.

"There's the nervousness and trepidation of wondering how
people will react, that's for sure." he says, leaning back in his
chair. "If I'm lucky enough to carry the torch of my idols and
keep the Great American Songbook aUve, then it is partly my
responsibility to move forward. That's one of the things that
excites me most. " • - • •

Soul mates: SHARON JONES and MICHAEL
BUBL^ at Brooklyn's Daptone Studios.

OCTOBER 3, 2009 1 www.billboard.biz I 21

Stor Kiss lovers: (from left)
SARAH CHALKE. NICK
SIMMONS, DAVE KUSHNER
and ADAM DURITZ

THE HOTTEST BR

KISS HAS ROCKED MERCH
FOR 35 YEARS— AND NOW
THE BAND IS CONTINUING ITS
DYNASTY WITH WAL-MART
BYRAYWADOEU

Kiss realized (he power of merch from day one. At an indus-
try coniiiig-oiit party before they even tiad a record deal, band
tiicitibcr:) niadc their own Kiss flitter T-shirts and made sure
their female fans were wearing them in the front row.

Today, Kiss continues its reign among the merchandising
elite — for decades. Kiss fans have been there, done that and
got the T-shirts. As well as the mugs, comic books, condoms
and coffins. Live Nation Merchandise, which oversees the
band's merch and licensing business, says Kiss grossed more
than $500 million in the past 35 years — more than any other
rock band when tour merch, retail licensing, online and in-
ternational sales are combined.

"There are four or five huge artists in rock merchandise:
the Beatles, Kiss, AC/DC, the Rolling Stones and then some-
times it's Pink Floyd or Bob Marley," says Dell Furano, CEO
of Live Nation Merchandise. Perhaps making the ubiquity of
the band's merch even more impressive. Kiss' catalog album
sales and touring revenue don't match competitors like the
Beatles. AC/DC or the Stones.

So what do these top band brands have in common.'
"They're all a little bit different, but what they have in com-
mon is great artwork, great logos and their music goes from
generation to generation to generation," Furano says. "We
sell as many kids' shirts and toddler shirts as anything."

With Kiss, the focus on merchandising began in the band's
earliest days, tapping into the makeup-wearing, fire-breath-
ing theatrical panache that was arguably on equal footing
with the music. It's hard to imagine a major rock concert
today without tables of hoodies and shirts, but Kiss was def-
initely ahead of the curve with merch innovations, accord-

ing to Furano. one ofthe founding fathers of the modern tour
merch business.

" Kiss truly did understand the potential here." Furano says.
"The music (hat came out ofthe San Francisco music scene
in the late 'fiOs was very noncommercial. But Kiss was always
about theatrics and visuals, and the merchandise just fit with
them naturally. It was a part of who they were."

"Why not our brand instead of something nondescript?"
founding member Gene Simmons asks. "There's nothing
like this. Thirty-five years later, believe it or not, the band is
actually doubling in size. And I don't mean our weight, I
mean our fan base."

That attention to merchandising remains a priority for
Simmons (who has his own broad and diverse merch port-
folio) and co-founder Paul Stanley. "Gene and Paul are the
most savvy marketers we have ever dealt with," says Randy
Phillips, CEO of AEG Live, producer of Kiss' current Sonic
Boom North American tour. "They know their brand and why
it is so resilient, and they are relentless workers."

Simmons, very much an entrepreneur for Kiss and his per-
sonal branding endeavors — and known for his sense of humor
about the branding side of the industry — refers to the range
of Kiss products on the market as covering "condoms to
coffins. We get you coming and going," he's fond of saying.
Today the Kiss portfolio includes more than 5,000 products
and designs, including what Live Nation says is the largest
selection of rock T-shirts ever offered.

Still, Simmons says there are places where Kiss won't go
in terms of merchandising and licensing the Kiss name to
products. "No crack. No cigarettes. No heavy booze," he says.
"Otherwise, it's completely open. And why not?"

For decades, rock'n'roll purists have hammered Kiss as
sellouts and money-mongers — Simmons' own line of mer-
chandise is under the Moneybag banner — but Team Kiss
could care less what detractors think. Basically, they say, if
there wasn't demand, there wouldn't be products for sale.

"It's a brand. It's all about getting stuff to people that they
want," Kiss manager Doc McGhee says. "We're not preten-

tious and we don't believe that we should be out there saving
the world because we put together a rock band. We think it's
fun. It's like Mattel."

Fun, sure, but "it's big business and they do it very, very
well." says McGhee. a colorful veteran rock manager who
joined Kiss when the band first reunited in the early ■90s.
"TTiey had a huge catalog of merchandise when I came along.
We just resparked it and tried to broaden it out a little bit and
made sure that it kept the same strategic plan of Kiss, offer-
ing quality products."

When it comes to products, there are plenty and more com-
ing (see story, page 24). McGhee says the band has licensed
more than 2,700 items through the years.

Kiss is a brand that inspires loyalty and commerce on sim-
ilar footing with the biggest sports teams and celebrities in
the world. "If you go to a New York Yankees store and then a
Kiss shop, you'll see they have the same products that peo-
ple love." Furano says. "Every type of mug and wall art and
skateboards, you name it."

The deal with Wal-Mart, built around the retailer's exclu-
sive release of the band's new "Sonic Boom" album, will jump-
start the Kiss merchandising bus (billboard.com, Aug. 17).
Beginning Oct. 6, there will be three Kiss merchandise kiosks
in 2,300 Wal-Mart and Sam's Club stores across the country,
according to McGhee.

In Wal-Mart stores there will be two endcaps in the Hal-
loween season section; one endcap will hold the new CD plus
catalc^ albums and the second will hold T-shirts and Halloween
makeup. In all Wal-Mart locations, there will be an eight-foot
side counter in the music department with the new CD plus
catalog, fleece throws, Mr. Potato Head toys and Kiss M&Ms.

The Kiss M&Ms are part of a licensing deal between the band
and Mars Snackfood U.S. Mars Snackfood spokesman Ryan
Bowling says the Kiss relationship includes not only the My
M&Ms personalized candies program, but the long-running
"Inner M" advertising campaign as well. (While the tiny can-
dies are steeped in rock'n'roll lore, particularly those of a cer-
tain color, the Kiss program embraces all colors, green included.)

22 I BILLBOARD I OCTOBER 3. 2009

NO IN THE LAND

The custom Kiss M&Ms blend — each representing a dif-
ferent band member's face — will be sold exclusively at Wal-
Mart for a limited time until product runs out; the price is
$6.99 per 7 oz. bag. "It's licensing from a formal sense, but
it's mutual in that Kiss was very proactive about coming to
us and expressing interest," Bowling says.

Along with the endcaps and side counters in various depart-
ments. Wal-Mart will also carry men's and women's T-shirts;
Halloween masks, wigs and makeup; fleece blankets; trading
cards: action figures: juniors' loungewear and sleepwear; and

I Music Spotlight |

Mr. Potato Heads. The nonmusic merchandise is approxi-
mately a $10 miUion retail program, according to Furano.

"The Wal-Mart deal is a big play because it's not just about
putting the record out, it's about putting Kiss out," Furano
says. "The record is fantastic, it stands on its own, but ! love
the fact that we're doing an entire launch of Kiss at Wal-Mart,
with merchandise and records."

The Kiss merch array includes a combination of tour, re-
tail and online sales and cross marketing through all three
distribution channels.

Always low prices
and long tongues:
f g Kiss-branded

^ Wal-Mart endcap

7t; "f: 'nt' #

i Ml MM BE

"I live maybe a half mile from Paul and a half mile from
Gene, so I do merchandise house calls all the time," says Fu-
rano, who has worked with the band since the Lick It Up tour
in 1983. He lobbied Stanley and Simmons for eight years be-
fore convincing them to sign with what was then Furano's
Winterland Productions. "They're both highly involved in
everything Kiss and Kiss merchandise."

And while rock'n'roll may be a young man's game, his-
tory has its advantages. Retro is definitely in when it comes
to merch. and melding the old with the new is highly effec-
tive. "A bigger trend is going on, and Kiss is a great exam-
ple, where we're developing new artwork tied to 'Sonic
Boom.' and we're going back through all the images of the
past and essentially giving them different looks for 'De-
stroyer,' different looks for 'Rock and Roll Over.' re-creat-
ing the whole line of merchandising from past albums and
tours." Furano says.

The first line of attack with the merch catalog is online,
"because each artist now is essentially their own online em-
porium that sells all of their products." Furano says. "The
fans now know that they can go there to get the best selec-
tion. They know to go there if there's an announcement of a
new tour or record."

In a market that includes a Kiss fragrance; a Kiss CofTee-
house in Myrtle Beach, S.C.: Kiss bingo games; Kiss motor-
cycle helmets; pool cues; dart boards; mobile device covers;
and M&Ms, the possibility of oversatu rating the marketplace
with Kiss stuff doesn't worry Simmons, who believes that
there isn't any law of diminishing returns when it comes to
offering up Kiss products.

"The world is such a big place, whenever you go into a su-
permarket, look at all the Kellogg's products that are out
there," Simmons says by way of example. "Are they saturat-
ing the market? There's so much stuff in the world you can
create an entire lifestyle brand from the first suckle of mama's
milk to the last gasp of air in your Kiss Kasket and never
overextend yourself. You can't name a single product of any
kind that's overexposed." ••••

OCTOBER 3, 2009 I www.bIllbo«rd.l>tz I 23

THE BAND HAS LICENSED MORE
THAN 5,000 ITEMS. HERE ARE
SOME RECENT SELECTIONS,
FROM PENS TO POTATO HEADS

KISS

AND $m

KISS
GEMS LOCO
KEY BUNK

Whether It's the key to
the city or the key to the
highway, everyone will
know It belongs to a star.

(Hy-Ko, $3.77)

SMOKIN*
CHIPOTIE
KETCHUP

It's hot in the shade -
but tasty whatever the
weather CGalvin
Group, $7.95)

SOLO ALBUM
ALARM CLOCK

How else would you know whether it's time ,
to rock'n'roll all night or party every day? |
(Licensing Essentials, $34.95 AUS)

ROCK AND ROU
OVER MUG

For when those crazy,
crazy nights turn
into tired mornings.
(ICUP. $7.99)

KISS

KONOOMS

When you put the 'X'
in sex, give that love
gun the respect
it deserves.
(Condomania,
$3 for a pack of three)

SOLO ALBUM POOL CUE

You know the saying: Never play pool with a
guy who brings his own cue— and this stick
looks tougher than most. (Licensing
Essentials, $89.95 AUS)

KISS MR. POTATO HEAD

Starches never looked so good!
But could he take DarthTater?
(Promotional Partners
Worldwide, $16)

BLACK ICONS PEN

When you're on the road with the band, trying
to find the sound, write a note to that special
lady— let's call her "Beth"— with this stylish,
branded pen. (Kiwi, $4.50)

TRUNK TANK TOP

KISS T-shirts are a category unto
themselves, with the kind of fire-breathing
iconography beloved by high school ne'er
do wells everywhere. Here's a real Trunk
show: High-end shirts with cool, retro
graphics. Camaro sold separately.
{Trunk Ladies Tank Top, $3S;
Trunk Mens Short-Sleeve Crew, $49)

LOGO FLIP-FLOPS.
HOTTER THAN HELL
SLIP-ON SHOES

Don't walk near the hottest band rn the land in
your bare feet— protect you feet with sandals
or sneakers. (Flip-Flops: Licensing Essentials,
$19.95 AUS; Slip-On Shoes: Vans, $70)

24 I BILLBOARD I OCTOER 3, 2009

RIGHT
STUFF

AS MUSIC SALES FALL,
MERCHANDISING RIGHTS
TAKE CENTER STAGE
IN 360 DEALS

BYRAYWAOOELl

Some see i60 deals as the saviors of the industry, allowing an
artist to counterbalance falling album sales with solid touring
revenue. And while touring often serves as the lynchpin of
such contracts, merchandise is becoming more important.

The merch business used to be based at concerts. But sales
in retail outlets and online are growing, providing new oppor-
tunities for revenue. This growth means merch rights is get-

Merch men: top. MAT VLASIC;
bottom, STEVE GERTSMA,

Right: Eric Clapton shirts

ing more attention as
more artists sign multi-
rights deals.

Mat Vlasic. VP of
merchandising for a
division of Sony
Records known as
the Thread Shop,
says merch rights
now come up every
time an act signs or extends
a contract.

" 1 wouldn't say we would-
n't sign an act without
[merch rights}, but obviously
to be able to work with our
artists on all of their busi-
ness endeavors is what
we want to do," Vla-
sic says. "We're not
just sharing in
jtncrchl, we're doing
it. We want to be a one-
stop shop for them. To
piggy-back off the marketing dol-
lars the label is going to spend
makes sense in this day and age."

In handling merch for all
Sony Music imprints, "we work
with them to acquire the
merch) rights, and when we
acquire the rights wc service
it just as a product manager
services the music." Vlasic
says. He notes that the
Thread Shop roster includes
between 30 and 40 acts, cre-
ating tour, online and retail merch
for Legacy artists like Johnny Cash and Miles Davis to contem-
porary artists like T-Pain and Pitbull.

But labels are jockeying with international promoters like
Live Nation and AEG Live — as well as mega managers like Front
Line and Red Light — as to who can negotiate the terms of the
best multirights deal.

Live Nation is on the leading edge in making merch a key
component of multirights deals with such acts as Madonna,
)ay-Z, U2, Shakira and Nickelback. The global promoter has
been highly aggressive in the merch game, acquiring all or part
of companies that create, sell and distribute it like Trunk, Anthill
Tradingand Signatures Network, along with fulfillment/direct-
lo-fan leaders MusicToday and UltraStar.

This kind of deal dates to promoter Michael Cohl's 1989 deal
with the Rolling Stones, which included merch along with global
promotion rights. "The advantage to the artist then as now is
that they feel they are getting guaranteed top dollar, much of it
upfront, and only needing to deal willi one party," independ-
ent merchandiser Steve Gerstman says.

Merch trailblazer Dell Furano is CEO of Live Nation Mer-
chandise and says three components drive the trend: merch is
a promotional tool — "There's no better promotion than people
walking around years later wearing that same Grateful Dead
shirt" — it generates a solid profit margin for artists, and it's an
opportunity to cross-promote across developing platforms like
social networks.

"Today you bundle." Furano says. "That's the biggest thing
that's really changed here. The artist managers really under-
stand the value of the cross-promotion of these franchises. It's
all one entity — music and live performance and publishing and

merchandising and online — they're all spokes of the wheel."

When the promoter is also the merchandiser, the process is
"more collaborative," Furano says. With a U2 or Madonna tour,
"wc can work with the other divisions of Live Nation." he says.
"When you're promoting the tour, you get another level of coop-
eration across the board in terms how to get out what's available
on a more timely basis, making certain we have the proper amount
of merchandise stands at the venue, making certain the security
the promoters will hire will help us with the boodegging."

On Madonna's record-setting Sticky & Sweet tour, her first
under the 10-year Live Nation deal, such collaboration made
everything work more efficiently, Furano says. "A big part of the
sales are onHne, and we use the same e-mail list for the ticket
buyers at Live Nation to also promote the merch at her Web site."

Increasingly, merch. branding, licensing and ticketing are
orchestrated through the rapidly expanding music Web portal
LiveNation.com — and the proposed merger with the Irving
Azoff-led Ticketmaster Entertainment puts this Internet strat-
egy on steroids.

Vlasic says Sony has taken a different path than Live Nation
or Universal Music Group (see stor>'. page 26). "We didn't go
out and buy Bravado or Signatures," he says. "The nature of
our business is little different. As the labels break acts, then
we'll be in a great position. Our foremost priority is getting all
the current acts we're signing into these broader deals so we
can help them in different ways."

So where do these deals leave independent merch firms? I n
a tough competitive position. "I believe you can analyze what
a big company can bring to bear on a merchandise offer by sim-
ply looking at advance and guarantee, perhaps even more than
royalty rate," says Gerstman, founder of the new model merch
firm Cut Merch and longtime vendor for Eric Clapton. "With
deeper pockets than the indies, and a stronger stomach for gam-
bles, the majors have an advantage with many artists."

For an artist, a big merch deal may mean paying too much
to control market share: this is a charge often levied by inde-
pendent promoters when that business consolidated.

Such a dynamic can lead to a bidding situation for merch
rights, and "oftentimes, the desire for an advance and guaran-
tee will mean that the only bidders in this situation will be the
majors," Gerstman says. "Whether a major or an indie gets the
tour, most of the money will favor the artist, and the merch
company will have to get by with minimal margins. With less
competitive tours, the merch companies can frequently im-
prove their margins, due to lesser competition."

Independent merch companies get and keep their clients by
nurturing key relationships with artists or offering a different
model, "one that emphasizes bigger back-end earnings and bel-
ter service," Gerstman says. "The argument that the indies
make over and over is that the big companies will not make
them as much money as they can earn, though not upfront,
and that they can't possibly get the same level of attention by a
bigger company running dozens of tours at one time in a more
impersonal way."

Pinky Gonzales, director of marketing for Goodletteseville.
Tenn. -based merchandiser Richards &, Southern, says that it
can be challenging to win new business when labels and pro-
moters are including merch arrangements in their deals.

Richards & Southern, whose clients include Taylor Swift,
Kenny Chcsney. George Strait and Sugarland, now compete
by complementing their traditional tour merch business with
ramped-up digital marketing efforts, including launching a
retail Facebook application that gives each R&S client a store-
front featuring select items from their merch catalog.

"Our job is to make sure that they are aware of us in the
first place and to demonstrate our ability to provide a more
personalized .service faster and usually for a better price than
the default alternatives," Gonzales says. — •

OCTOBER 3, 2009 I www.billboard.bjz I 25

YOU CAir ALWAYS I

BRAVADO PREPARES A
MERCH BLITZ FOR THE
ROLLING STONES AND
MICHAEL JACKSON'S ESTATE
BVRAYWAOOEU

The mere mention of two particular acts illustrates the type
of year it has been for the international merchandising/li-
censing firm Bravado: Michael )ackson and the Rolling Stones.

Bravado inked exclusive, wide-ranging deals with both acts
in recent months in what CEO Tom Bennett calls "the biggest
year not only in our history, but probably in music merchan-
dise history."

Nailing down these two acts speaks volumes about
Bravado's role as Universal MusicGroup's (UMG) global mer-
chandising division. Bravado is Live Nation's closest merch
competitor in terms of size, geographic scope, experience
and financial resources. The company has offices in London,
Los Angeles, New York. Berlin, Paris, Tokyo and Sydney and
has a presence in more than 40 countries. Traditionally, merch
deals are set up as advances versus royalties, with the bigger
artists rating the heftiest advances and most favorable royalty
rates. That's still the case today for most artists.

But Bravado, like other merch companies today, is structur-
ing a wide range of deals, individually attuned to each artist.
For competitive reasons, details of these deals are proprietary.

Bravado — which was acquired as part of UMC's purchase
of Sanctuary in 2007 — does merch for Paul McCartney, Kanye
West. Bcyoncc, No Doubt. Nickelback, Lady CaCa, Katy Perry.
Elton |ohn, Guns N' Roses, Metallica. Led Zeppelin. Iron
Maiden. Green Day and the Killers, among many others, mak-
ing it far more than the merch arm of a label.

"We basically are a stand-alone company." Bennett says.

26 I BILLBOARD I OCTOBER 3, 2009

"The fact that we're owned by Universal and have the ability
to use resources we wouldn't be able to use before is fabu-
lous. But fundamentally. Universal wants to build us as a re-
ally strong, independent, stand-alone business."

The diversity and high profile of the rosier, which tilts more
toward non-UMG acts, creates leverage in the aggregate. "When
you go through it all, there's a real opportunity to put together

a real body ofrights hcTc," Bennett says. "And that means when
we go out to retailers we've got a great offering, which means
we can put together a bigger retail program, which only helps
us get into more of the right places and hopefully generate
more income, which ultimately is the endgame."

Like most major merch companies. Bravado represents
artists on the road, at retail through third-party agreements
and by overseeing and fulfilling e-commerce for the artists*
merch online. The difference — beyond the geographic scope
of Bravado's influence that the UMG relationship brings —
is the company's still-to-be revealed plan to change how merch
is cross-promoted and bundled with music content.

These changes will come into play as soon as the fourth
quarter with the Rolling Stones. The recent pact between
UMG and the band, which covers future albums by the group
and one of the most important catalogs in rock, opened the
door for the merch deal.

During a nine-month [>eriod, multiple meetings took place
on combining music and merch on a worldwide basis with
retail and direct-lo-consumer online. "We all believe — Uni-
versal, Bravado and the band — that for a band like the Stones,
opportunities exist that have never happened before," Ben-
nett says. "We were also able to back up and show them that
on the traditional merchandising we're second to none, and
we've got very wide retail reach and distribution worldwide."
Because of the UMG connection. Bravado is now in business
in 44 territories.

Given that a tour isn't currently scheduled, the

Bear necossitios: (from left)
Kanye West teddy bear, Stones
swag and Michael Jackson
merchandise

T WHAT YOU WANT

Bravado/Stones deal is limited to retail and direct-to-con-
sumer. though if the band does go on the road, specific
touring merch could be a part of the deal in the future. The
pact is exclusive and supercedes a longstanding merch
deal the band had with Anthill Trading lhal came about
through the Stones' equally longstanding promoter deal
with Michael Cohl.

Bennett calls the Stones "the perfect band" to launch new
products and areas of distribution. "They have a huge busi-
ness in apparel stores as varied as H&M and Bloomingdale's
and JCPenney. and there's an awful lot of interest in their
products." he says. "We believe that by marketing and put-
ting the products together — and coming out with some unique
and different combinations of stuff — that we can not only
sell more merch but we can also sell more music in nontra-
ditional retailers.'

Calling it "bundling" is an oversimplification, Bennett says.
■It's bundling, but in a slightly hipper and more fashionable
way. not just the idea of throwing a T-shirt in with a CD," he
says. "It's a great way for kids thai have historically connected
with the band, the logo and the merchandise to connect the
dots — a way for them to hear some of the great music that

this band has made for morp than 40 years."

The ideas that will be implemented with the Stones, some
of which come from the band, arc "model-changing," Ben-
nett says, although he declines to give specifics. "They've al-
ways done things differently- 1 think that's what excites them,"
he says. "There's no dragging the horse to water here. They're
right there — all they did was find a willing partner.'

AND THEN CAME JACKSON

The merch/Iicensing relationship with the Michael Jackson
estate springs from Bravado's earlier designation as official
merchandiser for the artist's ill-faled 50-show This Is It run
at London's 02 Arena produced by AEG Live. "We were just

starting to get into business with them, and then there was
the sad occurrence of [Jackson's) demise," Bennett says. "At
that point in time, I think everybody, including the estate,
felt that we were best poised to be the merchandising party
because we had the opportunity to meet with Michael a cou-
ple of times and he had approved a lot of our products."

Bennett believes )ackson would have delivered "big time"
at the 02 had the shows taken place and done huge merch
business in the process. "We were more than excited to be
doing the deal before, and in a weird way we're honored we've
been selected by the estate," he says.

The team at Bravado is convinced jackson's worldwide ap-
peal could make his licensing as popular and international
as Elvis or Marilyn Monroe. "Quite possibly Michael in this
era is the first of the music stars who has died that is that
huge, who has traveled and played in pretty much every coun-
try in the world." Bennett says. "He is massive in lapan. mas-
sive in Australia, massive everywhere in Europe and in Asia — a
very big worldwide superstar."

Now, working with the |ackson estate Is a legacy-based en-
terprise. "We have some great licensing deals already that are
very interesting and also some that are being pulled together
right now and finalized." Bunnell says. ■"There is going lo be
the right amount of licensing opportunities that will be exe-
cuted totally based not on money, but on product, and mak-
ing sure the product suits the image Michael had."

Bravado has been named the exclusive worldwide mer-
chandiser by Sony Pictures Entertainment for the Jackson
film "This Is It," out Oct. 28. Each Bravado office around the
world is partnering with local retailers for a number of mar-
keting initiatives. In the United States. Bravado is partner-
ing with Hot Topic, which will do window displays and ticket
giveaways leading up lo the film's release; in London, Bravado
is partnering with HMV. which will set up Jackson boutiques
within its stores, as well as signage and window displays.

Bravado also will be providing the lackson merch to other
key retailers including Target. Old Navy and JCPenney.

While Bravado historically was a tour merch company,
its retail influence is broad and deep, and Bennett believes
the company is now poised to revolutionize the direcl-to-
consumer model. "The whole [direct-to-consumerl space is
a huge opportunity, and thus far most people have made
mistakes there [in connecting the dots]." he says. "And I do
think this coming year we're going to make a real concerted
effort to maximize the growth and opportunities for artists
in that area. I think we have a lot of clever ideas and unique
new products."

In genera! for Bravado artists, it's about synergizing the
music with the merchandise, as with the Metallica boxed
set that came out last year that included the album, a "mak-
ing of" DVD and merch. "We've got products coming out
this fourth quarter going fiirther with vinyi. T-shirts, unique
packaging, a very collectible piece." Bennett says. "And the
initial reach into retail (shows] they love the product.
They're going at it quite big, very aggressively, buying more
of this combined package than they probably would have
of a vinyl [record) or a T-shirt separately. They see the added

value there."

Bravado also plans to market its merch initiatives in unique
ways. In London the company hired Tony Harlow, a veteran
of the U MG international marketing department and former
CEO of V2 as managing director for Bravado in the United
Kingdom and Europe.

"With his whole outlook at life and understanding retail
and marketing, we're poi.sed to do some great things," Ben-
nett says. "Retail is a different environment than concerts,
where merchandise is almost an impulse buy. At retail, the
better you can make the product, the more correct places you
can put it, the better position, the better it looks, the better
the business is."

OCTOBER 3. 2009 I www.blllboard.biz I 27

BEHIND

THE
LOCOS

IF THE CLOTHES MAKE THE MAN,
DO THE SYMBOLS MAKE THE MERCHANDISE?

For a band that never sold more than a million copies of a single album,
the Ramones have a lot of very public fans. Beachgoers roam the shore
in Ramones flip-flops, babies get carried around in Ramones onesies,
and college kids and yuppies alike can be found in the band's ubiquitous
black T-shirts. A former Ramones merch manager told Spin that between
1996 and 2008 the band sold 1.5 million T-shirts — and that's not count-
ing onesies, flip-flops or other items, or any of the bootleg shirts circu-
lating in concert arena parking lots all over the country. By then, of course,
the band's modest commercial heyday was already behind it, but its take-
off of the presidential seal — with an eagle holding an olive branch and
a baseball bat — had become iconic. ^ "At a certain level, the logo becomes
less about the band," says Michael Bierut of Pentagram Design, "and
more about a series of lifestyle choices." *l A logo can't make or break a
band, of course — it might not even help sell albums or concert tickets.
But the right logo can take merch revenue to the next level — and provide
valuable viral promotion when it's carved into middle-school desks. ^
In that spirit, BUlboard presents the origins of some of rock's most mem- '
orable logos, as well as expert opinions on why they've rocked audiences
for decades. — Cortney Harding

RAMONES

BACK STORY: New York artist
Arturo Vega created this logo
based on a self-portrait in
which he wore a heU buclcle

with iitt image the presidential
seal. On a trip to Washington,
D.C.. Vega decided to play off
the presidential symbol,
substituting the members'
names for the official text.

EXPERT OPINION: "11 has

such an irony about it." says
Brett Kilroe of design outfit
Runner Collective. "It feels so
authoritative and also has such a
familiarity in its aesthetic, while
in actuality it does a great job
mocking all that it represents in
just the right way."

TATTOO POTENTIAL:

Medium — unless you're
willing to get it large enough
to make sure all the names
are legible.

ROLLING STONES

BACK STORY: Though many
fans assume the Stones' Hps
logo was based on Mick
jagger's mouth, designer John

Paschc s:iys ht* was iriKpirod by

an image of the Hindu goddess
Kali. When he designed the
logo in 1971, he was paid /50;
the band gave him /200 more a
few years later. Even though
the Stones copyrighted the
image, Paschc made jf400,000
in 2006 when he sold the
original artwork.

EXPERT OPINION: "I've
worked with Mick |agger, and
he knows a lot about branding
and marketing," says designer
Stefan Sagmelster, who has
worked with the Talking Heads
and Lou Reed. "This is
something that looks good on
baseball caps and jackets. They
do a different set of lips for
each tour, so they keep the
concept, but do enough to
make it different each time."

TATTOO POTENTIAL:

High — and recognized
worldwide.

AC/DC

BACK STORY: Designer
Gerard Hucrta riffed on the
band's original, Australian logo
and his design work for Blue
Oyster Cult when he created

this image. He has said the style
was influenced by Los Angeles
barrio graffiti as well as the
heavy metal aesthetic of the day.

EXPERT OPINION: "From a
design perspective, this is very
one-dimensional." Sagmeister
says. But that may be the point:
The logo is simple enough that
Kilroe says he was able to draw
it blindfolded in middle school.

TATTOO POTENTIAL: High—

and easy for anyone to draw.

28 I BILLBOARD I OCTOBER 3. 2009

PUBLIC ENEMY

BACK STORY: Chuck D says
he was influenced by rock
groups and sports teams when
he created his group's logo of a
B-boy in the crosshairs of a
rifle. " I took a silhouette of E-
Love. LL Cool J's right hand
man, and put the crosshairs
over him." he says. "A lot of
people thought it was a
silhouette of a state trooper, but
it's meant to symbolize the
average black male. It was
important for us to have a logo.
I wanted our logo to be as
recognizable as Batman."

EXPERT OPINION: "From a
basic visual point of view, it is
by design, a target, which
certainly attracts attention,"
Kilroe says. "Targets are
symbols that are widely used in
visual communication and
oflen suggest danger, and it
seems to me the that the intent
of this logo was just that. It is
aggressive and confrontational
in the same way the music is."

TATTOO POTENTIAL:

Medium.

BIACK

FlAG

BLACK FLAG

BACK STORY: Another band
with unremarkable sales (none
of its albums ever sold more
than 200,000 copies, according
to Nielsen SoundScan) but an
Instantly recognizable logo.
Black Flag has inspired endless
graffiti. Designed by artist
Raymond Pettibon, brother of
songwriter Greg Ginn, it was
meant to contrast sharply with
the white flag of surrender.

EXPERT OPINION: "It's a
very clever visual hierarchy,"
Sagmeister says. "It's catchy —
you see the stripes
immediately. It's a case where
a single visual artist defined
the visual presence of a band."

TATTOO POTENTIAL: High,
unfortunately. There's only one
Henry Rollins — get over it.

Additional reporting by
Kelly Staskel.

iterial

Rock the vote: For North American dates on the
Kiss Alive/35 tour, Kiss invited its fans, the
members of the Kiss Army, to vote for shows in
their town on Eventful.com. The band will play 16
of the top 30 cities chosen by Eventful voters.

Iff

^ their town on tventrul.com. The band will play 16

^ ^ of the top 30 cities chosen by Eventful voters.

LOYAL

KISS FANS FUEL BAND'S
ENDURING GLOBAL SUCCESS

THEY'RE CALLED THE Kiss Army
and they are legion. ■ Kiss co-founder
Gene Simmons specifically dates the
origins of the rabid fan base known as
the Kiss Army to 1975 in Terre Haute,
Ind., of all places (see Q&A, page 34). ■
Regardless of when and where it began,
this army has legs and its loyalty is
unquestioned. This is a dedicated ran
base that packs concerts around the
globe and has created an unparalleled
marketplace for some 5,000 licensed
Kiss merchandise items.

•Xv

"You (_an try to explaiti il. we can talk about
the games and tlic toys and this and tiiat," Sim-
mons says, "but ifil's as simple as that, llicti
every body would tr>' to do it. It's not a paint-by-
iiiimbtTs sort oflbiiig. Either they connect witfi
you somehow or they don't."

They connect with Kiss. Thirty-five years
after the release of the band's self-titled debut
album, the Kiss Army marches on. II contin-
ues to build, weathering changes in popular
Lultureand all sorts of musical trends.

"ATid if i ritit s have a probleiti with it. they're
going to be clenched up and become fertil-
izer." Simmons says. "Our fans number in the
millions. You have something to say to us, you
better talk to the bosses first. They call them-
selves the Kiss Army. Good luck with that, by
the way."

However hard it is lo pin down the reason-
ing behind it. Kiss hasn't generated this sort
of dedication by accident, according to those
who work with the band.

"The loyalty of the Kiss Army is in direct re-
lationship to the care and attention that Gene
and [co-founder] Paul [Stanley] have paid to
them over the years," says Randy Phillips, CEO
of AEG Live, promoter of Kiss' current tour.
Kiss Alive/35. "They stepped up big lime on
this tour and were really felt in the viral Web
marketing campaign." Phillips says.

The tour opened in March 2008 in Australia,
continued through that summer in Europe,
began a South American leg in April and its
U.S. leg starts Sept. 25 at Detroit's Cobo Hall.

Kiss on Oct. 6 releases "Sonic Boom," a three-

disc set that includes new material, a rerecorded
15-lrack greatest-hits CD. a live DVD shot in
Buenos Aires during the hand's recent South
American tour and a 20-page bookie!. The set
will be available exclusively at Wal-Mart and its
affiliated Sam's Club stores.

Tlte early growth of the Kiss Army surely

was fueled by nn "iis aKfin^t them" ment.Tlity
among fans. Radio didn't play Kiss in the early
going, critics lambasted the band, and the
music business elite ignored it.

Bui word-of-nu)Uth about the act's shows
began to spread with its first national tour in
1974. and the band was selling out stadiums
before it had its first hit with the live version
of "Rock and Roll All Nite" in 1975. which
peaked at No. 12 on the Billboard Hot 100.

A potent blend of greasepaint, fire, blood,
pyro and hydraulics led to more sold-out shows
and eventually platinum-level success for the
"Destroyer" album in 1976. (In the years since,
according to Kiss, the band has cumulatively
sold more than 100 million albums worldwide.)

By 1980, Kiss was everywhere or. as Sim-
mons puts it, "We owned your children."

The bond between Kiss and its fans sur-
vived solo projects, lineup changes, and the
disappearance and subsequent return of the
trademark makeup.

Kiss manager Doc McGhee witnessed this
unique fan/band relationship firsthand in the
'80s when bands he managed at the time like
Bon Jovi and Motley Crlie faced the daunting
task of opening for Kiss. When McGhee be-
came manager of continued on >>p33

30 I BILLBOARD I OCTOBER 3. 2009

from >>p30 Kiss with the reunion tour in
1996 he learned even inorealjoiit the Kiss Army.
"Tiie loyalty of the Kiss Army is phenomenal."
he says. Thanks to the makeup and costumes
and the characters they portray. Kiss onstage
loday look pretty much the same as the band did
in 1974. The Kiss Army "grows generation by
generation by generation, and probably the

biggest reason for it is they've never changed."
McGhee says. "They're like Mickey Mouse. He's
never changed — he looks the same as he did 100
years ago. Tliat identification of the brand and
the makeup of Kiss doesn't get old. so young kids
are into it just like young kids were into it in 1974.
It's a timeless type of band."

Mitch Rose at Creative Artists Agencv' has been

Kiss" agent for 22 years and was a fan before then.

"They have an incredible fan base that has re-
mained loyal over the course of their career,"
Rose says, "And they've grown their fan base, be-
cause 'Rock and Roll All Nile.' one of the great-
est rock'n'roll songs ever written, is being
discovered by 12- to 14-year-olds, and the par-
ents want to share that concert experience."

Ah. the experience. In his 1978 song
■Manana," jimmy Buffett memorably sings,
"Don't try to describe a Kiss concert if you've
never seen it." and loday the band's live shows
still defy description.

"It's a spectacle, it's a theatrical show, an amaz-
ing experience." says Rose. "There arc explo-
sions, there's fire. No one goes home from a Kiss
sliow saying they weren't cntertained."

McGheesays. "Kids are going on the Internet
and seeing this band onstage, and they don't look
like their grandfatlier onstage. They're Kiss."

Kiss gave a nod to (he digital age by work-
ing with the live-music social network Event-
ful in routing the Kiss Alivc/35 tour.
"Eventful's Detnand It! compelilion enabled
Kiss to create anticipation among fans for the
upcoming tour and get critical data regarding
which markets have demand for shows,"
Kventful CHO |ordan Glazier says. "Perhaps
most important. Eventful helped Kiss iden-
tify hundreds of thousands of people who self-
identified themselves as future ticket buyers,
and now we're successfully marketing tickets
to the demanders."

And if Kiss crowds are starting to skew
younger — and fan photos from Simmons show
lliey very much are — tlie faithful are still around.

"The audience is young, but also there are
still plenty of the older true fans that still come
out." McGhee says. "It's 6-60."

Just like Mickey Mouse. ••••

(

iXGRATlJMTIOXS

IMocturne Productions would like to congratulate
KISS, Doc McGhee, Patrick Whitley and everyone
at McGhee Entertainment on the upcoming
KISS ALIVE 35 WORLD TOUR. We are proud to
be a part of your touring family.

Bob Bngham, Paul Becher, Ron Proesel & Herbie Herbert
3Q0 East Harvestore Drive DeKalb, Illinois 60 11 5 Phone [815) 756-9600 Fax (815] 756-9377

www.nocturneproductions.com

32 I BILLBOARD OCTOBER 3. 2009

Cni

SHOUT ITh
OUT LOUD

GENE SIMMONS TALKS ABOUT HIS BAND, HIS
BRAND, HIS FANS AND A WHOLE LOT MORE

n \V (JU lei IX" ! j.i : ^: ;i i k I n.;r i-iJ 'A II II : . j)i oMniK'H'. lu*. k'n'ra
bassist than Gene Simmons of Kiss. BThe Kiss co-louiider, reality TV
star and entrepreneur has his fingerprints on virtually alt segments of
the music industry'. H Born Chaim Witz in 1949 in Haifa, Israel, and
the only child of a Holocaust survivor, Simmons ignited the Kiss
explosion in 1972. The band remains a touring, licensing and
merchandising powerhouse, and it launches tlie U.S. leg of the Kiss
Alive/35 tour Sept. 25 in Detroit. The group will release "Sonic Boom,"
its first album of new material in 1 1 years. Oct. 6 exclusively through
Wal-Mart and Sam's Club. ■ Of course. Simmons aggressively
pursues other business interests outside of the band. His Simmons
Abramson Marketing is the worldwide marketing/branding entity for the
IndyCar Series, and he and co-CEO Rich Abramson's NGTV.com (No Good
TV) is a YouTube sensation. His other businesses include a line of T-shirts
and accessories called Gene Simmons Moneybag, the Simmons Comic
Group. Simmons Records and his publishing imprint Simmons Books,
which published his best sellers "Sex Money Kiss" and "Ladies of th
Night." ■ As was demonstrated last year in his keynote at Billboard
Touring Conference, when Simmons deigns to imparl his worldvie\^
it's a wild ride, and his Billboard Q&A is definitely no exception. Spiced
witli a series of nearly unprintable (but admittedly funny) jokes,
Simmons offers his unique take on merchandising, branding,
professionalism and owning our children.

What is the biggest myth
about Kiss?

Thai there's some grand master plan.
That we're brilliant beyond bcliof. that
we're masters of merchandisi* ;ind all
that stuff. That's giving us a lot more credit
than we deserve.
It s a simple idea. When you love some-
ihing. and people use tlie word "passion,"
you lend to look at every rug and pick it up
and see what's under it,

For argument's sake, if you're a stamp
collector worth your salt, you'll know
every minutia about it. you'll spend all
the free time you have, above and be-
yond your job. because you love ii.
And you'll know every obscure
stamp, which date it came from,
what condition it's in. what's ihc
markeipiace. You'll know about
it because you care about it. So
everything begins with a tug of
the heart.

People see this cold business
savvy and it starts the other way
around. It starts with. "Wow.
Tm in Kiss": continued on »p36

HEMPHILL BROTHERS COAC

'■■"^ luxury^-in molion

www.hemphillbrott)era,.cQm 888.1

;h coMPANy, /^i >

'Mi.

34 I BILLBOARD , OCTOBER 3, 2009

Cni

we wanted the best,

we got the best!

congratulations on 35 years of

lUBf-tory mah^ng rock

from your friends at V^^^%

Ci iterial

from >>p34 everything else is the whal-if.
coiild-it-be. what could it be? You start with a
dream without limitations. It's only when we
wake up that we say. "It's not goiny lo happen,
it probably won't." Never listen to people, and
believe in your own dreams.

My point of view is "Earth," thal's not such
a tool name for the planet. "Planet Kiss." now
you've yot something. If every inch of ground
is Kiss ground, and tht* air you breath is Kiss
air and the food you eal is Kiss food, then we've
got something. Brand everything. And you
should pay us for every step along the way.

Was there any sort of creative objective
when you started?

Well, before Kiss there was no template. Thrn-
was Disney off on the left-hand side, with their
cartoons and lifestyle branding. If you were a
little kid. your life was filled with Disney, you
covered yourself in Disney clothing and
wrapped yourself in Disney sheets, and the Dis-
ney iTiovifs had some kind of Good Mousekecp-
ing seal of approval.

And ovf r on the right side you have the world
of rockers, which is inhabited by morons. There
but for the grace of Cod we'd all l>e asking the
next door neighbor. "Would you like some fries
with that.>'"

We never went to school, we never learned
lo read or write music. We still can't, none of
us. [Paul| McCartney lo this day cannot write
a single shred of music. Nor can [Mick] Jagger
or ||imi] Hendrix if he were alive, and so on.
We all do what we do by the seal of our pants,
except some of ours are made out of leather
and are lighter.

Muslcatly was there an objective for Kiss?
The template was the Beatles. Kiss always

'Idol' time: OENE SIMMONS (left) and PAUL STANLEY (right) performed with 'American
Idol' finalist ADAM LAMBERT during the show's finale in May.

fashioned themselves as the Beatles on
steroids, with lots more makeup and higher
shoes. The idea was everybody sang, every-
body was a star, instead of the Stones kind of
model or the Temptations or those kinds of
bands where there's one singer and every-
body else is in the background.

The thing that I loved about the Beatles is
they all looked like they came from the same
Bcatlc mother. It was like the perfect band in
terms of look, merchandisable, eternal. Except
they never trademarked their haircuts or any-
ihing much about their faces. Kiss was the first

band of any kind lo ever trademark their faces.
It's in the Library of Congress. Which is why
i5 years later there are literally thousands and
thousands of things with our faces on them,
anything from Kiss M&Ms to Kiss Mr. Potato
Heads and Kiss Visa cards. We have Kiss Kon-
doms and Kiss Kaskcts. We'll get you coming,
we'll get you going.

Why aren't we talking today about mer-
chandise from Wicked Lester, the band
that first brought together Kiss' origi-
nal members?

Because Wicked Lester never had the legs, it
just didn't have the right spin. Wicked Lester
was kind of like ihe United Nations — you had
one of everything in it. You had a Norwegian,
an Italian, tw^o |ews and a partridge in a pear
tree. It was a Doobie Brothers kind of band,
where if you take a look at it there's one of every-
thing, but you can't quite put your finger on
what it is.

The perfect bands for me were bands that
had a sound you could instantly recognize, and
you could not take a member of the band and
put them in another band.

1 love U2and the Stones, but I could take the
Edge and stick him in the Kings of Leon and
nobody would know. You could take Charlie
Watts and stick him in Dave Matthews Band
and nobody would know. There's a kind of face-
lessness to most bands.

We wanted an audiovisual band, because as
kids we went to see all of our favorite bands be-
cause we loved the music. And then we went
to see ihem live and they turned their backs on
us and stared at their shoes. It was such a big
visual disappoinlmenl.

So the idea with Kiss was, "[.et's put together
the band we never saw onstage." Because there
was plenty of good music. Every band was mak-
ing good music. There was lots of great music
going on and there still is. And with most of
these bands there's cither one guy you care
about or they're just boring.

So the visual elements, including the big
productions and the makeup, were always
part of the presentation?

Everything. A concerted effort was made lo ex-
plode like a cluster bomb, not just one explo-
sion but every piece of the explosion explodes
again. In point of fact, continued on »p38

1320 Celebrity
Broadway At Ttie Beacti
Myrtle Beacli.
843-626

jMtatH

ROCK And RoH All Nitdil

...Orinl( Coffee Every OaylJ

Thank you KISS, ttie greatest rod( and roll band of all Hme, and
congratulations on 35 years of making ro(k and roll KISSloryT'
Best of luck, and conlii)tKdaaMygt|JhMipO)ming Sonic Boom
album release, and
JohmylliickSntllH

I'M I,. (JiCNic. Ooc AM) 'i iii': KISS Family:

Th anks i'oi,' iii;i.iMN'<i i s to m akk 'I'iik oi-kninc; nicii'I' or

KISS" Sot fll .\MI-:i.'HAN Tot !■! IN Cllli.l': A SOU) OIT

SI ( ( Kss: <;ooi) I.I ( i< w i-rii 'I-III-: ni;\\ ai.iiim A i-oi u'l
IJKsr I{|.:<;aki)s,
(;amI': Ui':i':t>

(JAISK liKI-;i> IMJODl (■•rioNs
WW w.<i.\l{l-;K|.;KI).< <>M •214-208-()-«»4-<iAl»KUKKI>(aAi)l..4 OM

36 I BILLBOARD OCTOBER 3, 2009

l.Ulldl

Internationa

Talent
Booking

C0NGRA11IUTI0NS TO KISS FROM ROO MAGSWEEN ANO AU AT ITR,
YOUR LONG TERM AGENTS IN EOROPE AND SOOTH AMERICA.

www.itb.co.uk

Cni

from >>p36 we promoted our own shows,
we paid for it. we advertised ourselves, put up
our own posters, before anybody did. We had
a logo and Irademarked it before anybody knew
what tliat was.

When we played the Diplomat Hotel [in
New York on )uly 1 5. 1973| and took over the
ballroom, we were second on the bill and we
rented out the whole place, paid the headlin-
ers the Brats and some other local bands to
play. Hut when we invited people, we just po-
sitioned ourselves as "Kiss, 9:30. Masters of
Metal," before there was such a thing as
"heavy metal."

1 used the offices of the Puerto Rican Inter-
Agency Council, where I was the assistant to
the director, and after tliey left I mailed out a
photo and a one-pager and an invitation for
everybody in the nuisic business to comedown
and sec us — managers, agents, producers — at
the Diplomat Motel, and they did.

Windfall Records, Mountain's label, came
down, a few other people, and this guy named
Bill Autoin. who became our manager. When
they got there the entire front row was filled
with girls wearing black T-shirts with "Kiss" in
glitter. |Co-founder/guilarist] Paul IStanley]
and [drummer] Peter [Criss| had stayed up all
night the night before and literally ghied the
shirts and hand-poured glitter on them, and
gave the T-shirts out lo girls and put them in
the front row.

You only get tfie respect you demand. We
treated our own buzz. So when people came
to see us at (he Diplomat Hotel, they saw the
place was completely sold out — although they
weren't there to see us. they were there to see
the headliner — but the people we invited
didn't know who was the headliner. They came
there to see the 9:i0show: the headliner went

on at 1 1.

So they saw us and the entire front row was
Kiss girls: it w-as our show. It cost $5 to gel in.
you saw three bands, we had about 350 people
there, it cost $ 1 .000 to rent tiie place. We prob-
ably made two grand.

It seems very early on you placed a lot ot
Importance on touring hard.

There was no choice, because we weren't the
Starland Vocal Band. We didn't do singles. We
wrote songs like "Strutter" and "Deuce" and
"Black Diamond," and that wasn't a radio sta-
ple. "Torn Between Two Lovers" was not Kiss.

But your first album recorded on the road,
"Alive!" in 1975, got you a lot of traction.
The history is pretty well-known. The whole
live record thing was started by Kiss. Before
Kiss, nobody did live records as a career
choice. Then after "Alive!" came "Frampton
Comes Alive"; everybody used the "alive"
thing, they even used our engineer. And they
all did double-alburns because we were out
of our minds.

The first three records kind of floated,
though we were huge live. By the third record
we were playing Anaheim [Calif.] Stadium and
Atlanta Braves Stadium, but we stilt hadn't
sold records because we didn't have singles.
This was 1976. and by '77-"79 we were tlie No.
I Gallup Poll group in all of North America.
No. 2 was the Beatles. No. 3 was the Bee Gees
or Led Zeppelin, depending on which year
you're talking about.

"Kiss mania" is not even a description of
it. We owned your children. We owned them.
They looked like us. they painted their faces
like us. they walked like us. they knew our
songs, and they tattooed their bodies. And

Game point: Dozens of dancers, dressed like the members of Kiss, performed during the
pregame show for Super Bowl XXXIII at Miami's Pro Player Stadium in 1999.

eventually they had children and they named
them after our songs.

When did it start to become the Kiss Army?
That started in 1975 in Terre Haute. Ind. A
guy named Ray Sharkey, I think, was a fan
who wanted his local radio station to play Kiss
in Terre Haute, but they wouldn't do it be-
cause it wasn't the Bee Gees or Pablo Cruz.
And he threatened them; he said. "Me and
my friends, we call ourselves the Kiss Army.
We're going to come down there and surround
the station." so the radio station gets nervous

and calls the cops.

The radio station refusi-s to play Kiss, the
newspapers send over a photographer, the next
day a big photo of thousands of fans surround-
ing this little station, which looks like an out-
house in the middle of a cornfield outside of
Terre Haute. [The] headline [was] "Kiss Army
Invades Terre Haute." something like that, and
there and then the Kiss Army was born.

Did you trademark it?

Immediately. And 35 years later, the Kiss Army
still exists, but it's cer- continued on »p40

Congratulations KISS For Over Three Decades
Of Legendary Live Perfornnances

Sincere thanks to the Band, Management and Crew
for welcoming us aboard as lighting suppliers on
the ALIVE 35 2009 North American Tour

EPIC

PRODUCTION
TECH NOLOGI E S

Lighting and Technical Support lo the Event and Entertainment Induslries
Los Angeles Vancouver Winnipeg

www.epicpt.com

38 , BILLBOARD OCTOBER 3, 2009

i^opyrignliaO material

Congratulations on your many years of
success and more years to come

Alive and Well

HoriPro Entertainment Group, Inc.

TAIYOMUSIQINC

www.horipro.com
Contact: contact@horipro.com
Los Angeles: 310.470.6005
Nashville: 615.255.9837

Contact: kanri@taiyomuslc.co.jp
Tel: +81(3)5496-2281
Fax: +81(3)5496-2701

Hot licks: 'We will never take it for granted, ever, not one single show," says GENE SIMMONS
(left) onstage at Sydney's Acer Arena during the Kiss Alive/35 tour with PAUL STANLEY
(center) and TOMMY THAYER.

from >>p38 tainly a volunteer army. Every-
body proudly belongs and marches. Jagger or
[|immy] Page or anybody out there would give
their left nut to have Kiss fans. Are you kidding
me? What are you going to do. tattoo Michael
Jackson on your ass?

The army has been amazingly loyal to Kiss,
even through lineup changes.

We had to {make lineup changes). We had to,
because there's an ethical and moral commit-
ment that we made to ourselves and our fans:
We treat the stage as holy ground. This is elec-
tric church. And when we get on that stage.

our call to arms starts off with "you." our fans,
not "our" or "we." "You wanted the best, you
got the best, the hottest band in the world.
Kiss!" We say our name last, you come first.
And the vow we made to ourselves was, "Dear
God, if you ever give us the chance, we will
never take it for granted, ever, not one single
show, at any time. And if any one of us does-
n't deserve to be out there, we will kick his ass
off that stage." And if you use drugs or alco-
hol in Kiss, you're out. If you can't respect your-
self and your body, how the hell can you respect
the band, and especially the fans who put you
there in the first place?

[Guitarist] Ace [Frehley] and Peter, in the be-
ginning, belonged in the band, and later on
they did not. They belonged home so they can
save their lives and try to turn their lives around,
not onstage. This is not a babysitting service,
this is the Olympics and if anybody catches
anything in your bloodstream, you should be
thrown out on your ass. Your medals should
be stripped, you're gone. And [current drum-
mer] Eric Singer and [guitarist] Tommy Thayer
are professional, they love it.

What did you like about the exclusive Wal-
Mart deal with your new "Sonic Boom"
album, and why did the band decide to go
that way?

The world's a different place. I'm not a fan of
downloading for free. I don't believe in any-
thing for free. The kids next door that we think
are sweet and have freckled faces were never
punished for stealing everything. You can lit-
erally point to a million people out of work —
the truckers that truck the records to the stores,
the stores themselves that used to hire people,
the gasoline they used, the warehouses — an
entire industry is wiped out because some col-
lege kid didn't want to pay for songs. And who's
to blame? The record industry, for never hav-
ing a repercussion.

If you try to break into my house, I'll shoot
your head off. Are you out of your fucking
mind? But fans were allowed lo break into stuff
that people created and simply take it without
paying for it. and that is nobody's fault but the
record industry. It was lax.

Wal-Mart is a real company. We met the Wal-
ton people — they're fine upstanding people,
we're big fans of them, and they give millions
of people jobs and we're all for it. And they're
willing to charge for the product. Last time I

checked, Kiss is not a charity. I will let you know
when I want to give my stuff away for free. I
don't want you to determine that.

Does It bother you when people say you're
just in this for the money?

Anybody who simply wants to do it for free
should give me any dollar they don't want.
They're all full of shit. Everybody lies, but we
don't. Of course we want to get paid for what
we do, but there's also a tug of the heart, of
pride. We created this thing — this ain't the
Monkees, baby. We're the mother and we gave
birth to Kiss and I'll be damned if anybody's
going to tell me what it is, how it walks and
how it talks. And do I want to get paid for that?
You bet your ass I do.

But you still have fun when you get on-
stage, right?

Beyond that. Of course. It's a thrill, an honor
and a privilege, but who says you have to enjoy
it? That's not a prerequisite. How about treat-
ing it like craftsmanship? Whatever you can
do. do it well. Most of the people on planet
Earth, if they're lucky enough to have a job,
they go to a job they probably hate. They go to
work and all they want is to get paid at the end
of the week. We consider that the salt of the
earth. Why is that any less valid than what I do?
Forget the thrill of it. you like getting paid. And
the better job you do, the more money you
make. Even God passes the hacking hat around.

You made a memorable point at Billboard's
Touring Conference last year about pro-
fessionalism and being on time for shows.

Pride. It's self-respect. For fuck's sake, just do
it for yourself. Say what you mean, mean what
you say. Shit out the Axl Rose disease in your

WA^^TS TO POCK and roll Att NTTF!

Stella "^^l^ib^ Skcllarella

Skellarella

Indoor Glow-iii-thc-Dark Monster
Tlicnicd Mini (iolf & a Whole I.ot More

Corporute Heudquurters: 763 Wesitminsler St. Providence, RI ozgo.'j
phone: 401 -454-8 lou www. monsterminigulf.com

•IIL

• \f M

DIRECTORIES R(

The Definitive
Music Industry
Resources

KINI^of^N,

Musician's Guide, 32nd Edition

Complete directory of music industry contacts. More than
6.0CX) updated contacts: It's everything the working
musician needs to book gigs and promote. And. unlike
annual directones. the Musician s Guide to Touring and
Promoting is updated every six months.

2009 International
Audarena Guide

Complete data on over 3.500 venues worldwide
compnsing 6,000+ individual facilities, including Amphi
theaters. Arenas, Stadiums. Sports Facilities. Concert Halls,
Exhibition Halls and New Constructions. Plus, complete
listings of companies offering services to the touring
industry in the Facility Buyer's Guide

2009 International Buyers Guide

Jam-Packed with over 1 1 .000 listings of key personnel and
other information about every ma|or and independent
record company, video company, music publisher, digital
music company and seller of products and services for the
entertainment industry worldwide. A powerful tool.

►ORDER TODAY!

Online at www.orderbmboard.com or call
800-562-2706 (U.S.) or 818-487-4582

40 1 BILLBOARD I OCTOBER 3. 2009

§y^if ffii I?! fi- itis'' ^"^^^^^^^ "^''^

guy that winds up in jail and becomes very pop-
ular there, becomes somebody's girlfriend.

Do you care what critics say?

Of course. But that will still never get them laid.
They were ugly bastards before who never got
laid, and no matter what, they still look like
Bob Lefsetz. They shine my shoes. I bury them
in my backyard. You guys are just jealous that
we get seas of pussy and you get nothing. 1 go
to see movies or a band when somebody thai I
know says. "1 just saw this. " 1 trust his word.
Not somebody who gets free tickets who's ;i
failed human being.

When It comes to building a career, what
do a lot of bands get wrong?

They don'l listen to Gene Simmons. When
you're dishonest with yourself and your fans
and sugarcoat everything you say, you're full
of shit — you can smelt that a mile a way. Be
who you are.

It's diflicult for me to accept someone who's
worth $100 million — and 1 am — who gets up
and starts talking about rain forests and
whales and acid rain. Shut the fuck up. Play
your songs, and if I want information. I'll go
to people who are qualified to talk about it. 1
dort't want rock stars talking about the envi-
ronment in the same way 1 don't want envi-
ronmentalists talking about rock.

What's your take on the Rock and Roll Hall
of Fame?

I think it was a good idea, but it's clearly polit-
ical. It's Boss Tweed, it's the old New York rot-
ten system, where you get 10 guys in ihe back
room who decide who's going to be in the Rock
and Roll Hall of Fame. I want nolhinf; to do

with that. It's a sham and those guys mean

nothing. You should take a look at the photo of
the guys that vote on it. Fucking scary.

What would you still Ilk* to accomplish
with Kiss?

There's nothing we can't do. We're developing
a Kiss animated show, tike a superhero. X-Men
kind of show. We have a Las Vegas Kiss show
that's being planned. I jusi came back from

Singapore. There's nowhere we can't go and

nothing we can't do.
This is (he weird thing. There's something

going on hm M m nc mi I don't prftrnd

to understand. All I know is we are not going to
take it for granted. We take it deadly seriously.
And we intend to live up to our own legend. We
intend not to let the fans down, the fans that have
been there for 35 years and are probably in their
50s, some in their 60s, and the new 15-year-old

fan who's heard about the legend of Kiss.

§0 many iliings in life are not real. iMl
not real. Superman is not real. Kiss is real. And
we're to make sure that when jou leave

that show, your first Kiss show or the 100th,
you'll walk away, whether you love the band or
not, and say, 'That is the best fucking thing
I've ever seen on planet Earth." That's a vow
we make to ourselves and anybody who's will-
ing to come out there and see us.

THE BIGGEST MERCHANDISE BAND
IN ROCK'N ROLL HISTORY! '

A STAGGERING 5,000 PRODUCTS AND DESIGNS
NO END IN SIGHT!

OCTOBER 3, 20O9 I www blllboard.biz I 41

Good Time

The 10th flnnuk
Latin Grammy Awards
Return To Las Vegas
By Ayala Ben-Yehuda

With "crisis" the word on everyone's
lips these days, what better way for Latin
music's finest to escape than by going
to Las Vegas? * That's at least partly
the thinking behind the selection of the
city's Mandalay Bay Events Center as
the site of the 10th annual Latin
Grammy Awards Nov. 5. it The city,
which has become a magnet for Latin
performers and is synonymous with an
overall good time, is also a proven rat-
ings draw. The 2007 broadcast of the
event from Las Vegas on Univision,
which incorporated signature Vegas
shows into the musical performances
of the nominees, won industry acclaim.
It also scored huge ratings: 12 million
viewers, according to Nielsen Media
Research, a sister company of Billboard.

"Wc were very happy with the feel of (he show in "07,' says
Otto Padr6n. senior VP of programming and promotions at
the Univision Network-
But when the show broadcasts Uveal 8 p.m. ET Nov. 5. don't
expect a rerun from two years ago. "We know that Vegas
brings so many ideas to the table," Padron says. "One of the
things we like so much about Las Vegas is that it's a grow-
ing Hispanic market that we need to reach out to."

In a recessionary lime, the Latin Recording Academy was
also looking for a place that would be "attractive and afford-
able to everyone." academy president Gabriel Abaroa says, cit-
ing the city's wide range of hotel and dining options in close
proximity, from low<ost to luxurious.

"We already have experience [presenting the show] in Las
Vegas. Arc wc prepared under the current financial constraints
to go to a new city? I don't think so."

The location was just about the only thing nailed down at
press time, with the performance plans to be largely solidi-
fied following the nominations announcement Sept. 17.

But going into the 10th installment of the awards show,
Abaroa says viewers will be reminded of the impact that the
Latin Grammys have made in their first decade. That cele-
bration will continue into next year. Abaroa says, with ideas
in the works for commemorative items that could include
books and DVDs.

For now. the Latin Recording Academy and Univision will
use the powerful tools at their disposal to get the word out
about Latin Grammy night.

That includes related coverage on Univision's other media
properties, including Galavision and Telefutura. as well as
Univision.com. Video interviews and behind-the-scenes
footage began appearing following the nominations an-
nouncement and will include coverage of the Person of the
Year gala honoring luan Gabriel as well as arrivals footage
during the preshow.

Come together (from left): LUIS FONSI. LUIS
ENRIQUE, JIMMY SMITS LUZ RIOS. BETO
CUEVAS, TITO -EL BAMBINO.' GISELLE
BLONDET, SHAILA DURCAL, ANDY GARCIA,
recording Academy president NEIL PORTNOW
itid Latin Recording Academy president
GABRIEL ABAROA during the 10th annual Latin
Grammy Awards nominations held Sept. 17 at the
Conga Room at L.A. Live in Los Angeles, Left:
The eighth annual Latin Grammys in Las Vegas,
hold Nov. 8. 2007.

Univision.com's mobile site will feature Latin Grammy up-
dates, photos and videoclips highlighting past awards shows.

Univision.com boasted big gains from its Latin Grammy
coverage in November 2(X)8. with the site's music vertical scor-
ing more than 71 million page views that month — a 28% in-
crease over November 2007. The day of the Latin Grammys,
the awards' microsile on Univision.com increased more than
100% from the year prior.

Increasingly, in recent years, another strategy to get view-
ers excited about the event is the Latin Grammy street par-
ties, put on by Miami-based Eventus Marketing. The parties
are hitting six cities this year, including Las Vegas, up from
five in 2008.

Since they began in South Florida in 2003, the parties have
attracted top acts to perform the free shows because of the
heavy attendance and media exposure that goes with them.

In addition to the street parties, the Latin Recording Acad-
emy is presenting a series of singer/songwriter showcases
at Los Angeles' Grammy Museum leading up to the awards.
The series began with Colombia's Marta Gomez. Abaroa
says the inspiration for the series came from an unusually
high number of entries in the singer/songwriter category
this year (though the showcase participants aren't among
the nominees).

Singer/songwriters Kany Gaidaand (esse & Joy have been

the lasi two I>est new artist wimicrs al the l^atin Gram-
mys: those wins proved to be important turning
points in the acts' careers, says Yamile Fernandez,
WestWood I:nlerlainnienl/Day 1 director for North
America. The company manages Garcia and the
brolhcr-sislcr duo Jesse & |oy.
Garda's win ted to sponsorships with Dove soap and Ford,
Fernjindez says.

For Jesse & Joy "it opened a lot of doors that normally would-
n't have opened so quickly." Fernandez adds. A performance
on the show, seen in countries around the world, "puts you
in the living room of millions of people and gets you to brands
and people in the industry . . . when you go to different coun-
tries, that can always be used to your advantage."

It isn't always a given that the Latin Grammys will have a sig-
nificant impact on the sales of performers and winners. Last
yearonly one artist, multiple-award winner/performer Juanes,
saw a boost in album sates of more than 1,000 copies during
the week after the awards, according to Nielsen SoundScan.

A Latin Grammy performance timed to a major album
release, as Ricky Martin has had in the past, can lead to a
strong release week. But since many of this year's nomi-
nees have little name recognition in the United States, the
impact is likely to be small in terms of total albums sold,
but higher as a relative percentage gain.

Abaroa observes that in a world of niches, it helps to have
a universally recognized mark of excellence.

"In the past, multinational companies and big independ-
ents were able to suddenly create international superstars,"
Abaroa says. With that task becoming more challenging, 'a
Latin Grammy really helps you." ••••

OCTOBER 3, 2009 I www.blllboBrd.blz | 43

50 Cent

Alejandro Lerner
Alex Lora
Alex Ubago
Alexander Acha
Alfonso Fuentes
Amala Montero
Andres Levin
Aureo Baqueiro
Bebe

Beto Cuevas
Bunbury
Carlos R. Perez
Claudio Corsi
Coti

Cucu Diamantes

Daddy Yankee

Dadi, Seu Jorge & Marisa

Diomedes Diaz

Eddy Herrera

Fito Paez

Francisco Cespedi

Franco De Vita

G. Reuben

Gabriela Lena Frank

Gigi & Ivete Sangalo

Ginyard Robert Jr

Jaime y Los Chamacos

Jarabedepaio
sA Jay Perez

Jose Feliciano

Jose Lugo
, Jose Luis Belmonte
^y^oXa Quest

L^^rejaDlb Van Gogh
*<^a POTl(iaria ^

La^uinta^^creio
2^S^_ura^^sini^%<

ASCAP

CONGRATULATES

Our Latin Grammy
Award Nominee

Luis^Enntfi
Marclidl)^ \
Nando R^s \^ ^
l^talia La^^ca

■/pitaNRosa \
Shaild\Durcal
rw^iWestr^an^i
\pirtett(k. ^\

Spihett^ \f \

\ vFefente Ahiigo

Walter Giardino
\ Yoel Henriqiiez
«Zeca Pagodinho^

W W W . A S C A P L A T I M O 4rO I

On The

Rise

, This year's best new artist nominees
are a wildly varied group, musically and
geographically. They include independ-
ent and major-label artists based in
Spain. Mexico, Colombia and the United
States and represent everything from
straight-up pop to flamenco fusion.

Nominees For Best New flrtist
Span Regions find Stylgs
By flyala Ben-Yehuda

Alexander flc!i

The son of pop star rmniamiel. ihe pianist/songwriter was
introduced to audiences when he performed on his fa-
ther's Rclro Hn Vivo lour. He subsequently scored a plat-
inum album in Mexico with his Warner debut, "Voy."
Produced by Loris Ceroni with a combination of ballads,
pop rock and light funk. Acha's accessible, pleasantly retro-
in-some-places sound is complemented by smartly em-
ployed strings, his unsappy ycl tender dcHvcry and his
golden-boy good looks. The single "Te Amo" went to No.
10 on Billboard's Hot Latin Songs chart. In a move usu-
ally reserved lor veteran stars. 'Te Amo" was used as a te-
lenovela theme in Argentina.

Chocquibtown

The Afro-Colombian trio won critical acclaim and festival
awards for ils enticing fusion of hip-hop. dub. elect ronica.
funk and rhythms from Colombia's Pacific coast. Its debut
album, "Somos Pacifico," is peppered with marimbas, tamb-
ora, congas and traditional vocal stylings combined with
modern rapping. It was produced by Ivan Bena\ides. known
for tiis fresh take on traditional CciUmibi^in music. The U.S.-
based indie label Nacional Records will release a compila-
tion oftracks from the group's two albums.

Luz Rios

After more than a dtxade of playing local gigs, radio festivals
and county fairs. Mexico-born. Southern California -based pop
artist I.u/ Rioa self-released her album "Aire" and had two
radio singles in the United States. One was the title track, a
countr\-sty le duel witli legendary regional Mexican artist |oan
Sebastian, and the other. 'No Me Da La Gana." a pop song.
Tlie singer/songwriter, managed by former Balboa Records
national promotions director Frank White, opened for Bal-
boa artist Sebastian on tour, giving her even more visibility.

Claudio Corsi

Quirky, folky acoustic pop artist Claudio Corsi hails from
Venezuela but is based in Miami, where he recorded \\\>
album "Aire Y Mar" on the indie Cacao Music. The label is

co-owned by Anaheim Angels baseball player Bobby Abreu.
Corsi has been a singer, arranger or producer on more than
20 albums, and his songs have been recorded by the likes
of Ismacl Miranda. Cotmting everyone from )oan Manuel
Serral to Iron Maiden as influences. Corsi's music incor-
porates sharp observation and literate humor with a mel-
low, bluesy feel. His music was featured in the Venezuelan
Ifjture film "A Mi Me Gusla."

India Martinez

Spain's India Martinez performed at flamenco festivals all
over the world before releasing "Dcspertar" on Warner. The
album is a fusion of Martinez's husky flamenco vocals with
big world-music sounds, from sweeping Middle Eastern strings
to jazz and ballads. Part of Spain's new flamenco movement,
Martinez has shared the stage with other popular artists in
the genre, such as Chambao and Pitingo.

OCTOBER 3, 2009 I www.billboard.bl2 \ 45

Cni

Repeat

Performance

if No Latin Grammy Award category is as
consistent as producer of the year. Here,
the same names reappear again and again.
This year, three of the five nominees have
been previous winners or nominees, if

flureo Baqueiro

Mexico's Aureo Baqueiro won Billboard's producer of the year
award last April at the Billboard Latin Music Awards. He brings
to the table great versatility and the ability to produce straight-
ahead pop as well as tracks infused with more traditional Mexi-
can elements. Baqueiro is up for tracks produced for Beto Cuevas*
solo project (Cuevas is the former lead signer of the Chilean rock
group La Ley), Brazilian duo Victor & Leo, Spaniard Chenoa and
Mexican artists Yahir and Aleks Syntek.

Sergio George

Sergio George won last year's producer of the year Latin Grammy
Award. This time around, he has a single production under his
belt, Luis Enrique's "Ciclos." But that album has made great
waves because it's marked Enrique's comeback as well as the
launch of George's own label, Sop Spot Music.

Producer Of The Year
Nominations Echo Past Nods
By Leila Cobo

Julio Xhaboli' Jimenez Borja

lulio [im^nez Borja, aka "Chaboli." is married to Spanish neo-
flamenco chanteuse Nifta Pastorl and also produces her em-
blematic albums. A percussionist, Chaboli is the son of juan
Antonio |imenez Munoz, the late founding member of the pop-
ular Spanish trio Los Chichos. Chaboli is up for this year's award
on the strength of Pastori's "Esperando Verte," which is nomi-
nated for best flamenco album.

Cachorro Lopez

Argentine Cachorro Lopez has won
this category in the past, thanks to his
command of pop fusion and his abil-
ity to work with different acts. It's
ironic that on this occasion, many of
the tracks considered are from Paulina
Rubio's album "Gran City Pop," which
didn't garner any nominations despite
its eminent appeal. Lopez is also up
for songs produced for the Argentine
pop group Miranda, introspective
Spanish singer Alex Ubago. Argentine
rockers Los Pericos and party band Los
Amigos Invisibles, among others.

Jos6 Lugo

Puerto Rican arranger/producer/pianist Jose Lugo is a respected
salsa bandleader who's worked with a variety of big names, from
Gilberto Santa Rosa to Elvis Crespo. He gets this nod for two
albums: "Asi Soy." by Cuban singer Isaac Delgado, and
"Guasabara," from his own |ose Lugo Orchestra, featuring many
of the singers he's produced and arranged through the years,
including Santa Rosa. • ■-

★★★★★★★★★★★★BILLBOARD STARS

It's Your Artist's Time To Shinel ^„

Is your artist cBlebrating a milestone?
Launching a major worldwide tour?

Ready to drop a major new release?

Get the word out through Billboard STARS...

The ultimate opportunity to hove on editorial section of Billboard
magazine completely dedicated to your artist's career achievements.

Experience the buzz when key decision-makers and peers read about
your artist in the pages of Billboard!

For more information, please contact:

Aki Kaneko • 323.525.2299 • akaneko@billboard.com

46 I BILLBOARD | OCTOBER 3, 2009

S E S AC

LATINA

FELICITANOS

A NUESTROS CONPOSITORES NONINADOS AL

LATIN GRANNY 2009

til ^ ■

La Maf^ \ llJU

Mejor Album Miisica Grupera
"Eternamente Romanticos" (u Mafia)

lis Ftmsi, Noel Schajris. Aleks Synlek, David Bisbal)

AfeKsSyntei^

Grabacion del Ano ■ "Aqui Estoy Yo"

(luis Fodsi, Noel Schajhs. Aleks Synlek. David Bisbal)

Bibi =5
Mannas

Mejor Album Vocal Pop, Duo o Gnipo

'Un Dia Mas" (Reik)

f ^ Mejor Album Banda

German MOntiffl^^ "Tulnspiraci6n''(Al3craiies Musical)
— T\\ "Comprendeme" (German Momere)

www.sesacldtind.com

Tambien celebramos
la participacion de
nuestro talento en:

Mejor Album Miisica Grupera
CLAUDIA BRANT, compositora
"Eternamente Romanticos" (La Mafia)

Mejor Album Norteiio

MIGUEL ANGEL ROMERO, compositor

■ "Pese A Quien Le Pese" (Los RIeleros del Norte)

Mejor Album de Musica Urbana
DIESEL, compositor y productor

- "Talento de Barrio" (Daddy Yankee)

- "iDon" (Don Omar)

Mejor Album de Musica Urbana
ECHO, compositor y productor

- "Talento de Barrio" Daddy Yankee)

Mejor Album de Rock Vocal
MARTHIN CHAN, compositor

- "Miedo Escenico" (Beto Cuevas)

Mejor Album Banda

DOUGLAS BASTIDAS, compositor

- "Vientos de Cambio" (Cuisillos)

LA SOCIEDAD DE DERECHOS DE EJECUCION PUBLICA DE MAS RAPIDO CRECIMIENTO EN EL MUNDO

LOS ANGELES • MIAMI ■ NASHVILLE ■ ATLANTA ■ NEW YORK ■ LONDON

Name That

Tune

Song OfThe Year Nods Include
Hits, Lesser-Known Gems
By Leila Cobo

'Rqui Estoy Yo'

Songwritors: Claudia Brant, Luis

Fonsi, G. Reuben

Artist: Luis Fonsi with Aleks Syntek.
Nod Schajris and David Bisbal
Album: "Palabras Del Silencio' (Uni-
versal Music Latino)
The second single off Luis Fonsi's
breakthrough pop album, "Palabras
Del Silencio," is a midtempo ballad
in 6/8 time performed as a quartet
with Aleks Syntck. Noel Schajris and
David Bisbal. The vocal quartet for-
mat is a departure for the artist, and
the track spent two weeks at No. 1
on Billboard's Hot Latin Songs chart
and 19 weeks in the top 10. Fonsi,
who regularly writes with friend
Claudia Brant, says he conceived the
song years ago but never recorded it.
"One day I said. 'Why don't I invite
three guys, three friends I can get in
touch with easily." " and pitched the
notion to Bisbal during a fishing trip.

"This would have never happened if
we all weren't very good friends,"
Fonsi says.

*Di'aTras Dia'

Songwriters: Yoel Henriquez, |orge
Luis Piloto

Artist: Andres Cepeda

Album: "DiaTras Dia" (FM Discos &

Cintas)

The versatile Jorge Luis Piloto gamers
two nods in the songwriter category, the
first with this track co-written with
Puerto Rico's Yoel Henriquez for
Colombian Andres Cepeda. The artist,
who was working with Piloto on other
songs, liked this one in particular be-
cause it was reminiscent ofhis days with
the rock /pop band Poligamia. The song
hit No. 1 on the Colombian chart and
the video features members of Poli-
gamia, with whom Cepeda last recorded
in 1997. Cepeda had previously worked
with Piloto on the album " Para Amarte

^^^^

Mejor." ^S'songwriting team. PiT
and HLiiricjiuz garnered a Latin^
Grammy nomination in 2007.

*MeFur

Songwriters: Bebe, Carlos Jean
Artist: Bebe

Album: "Y. " {EMI Music Spain)
The Spanish singer Bebe came out

with a bang in 2004 with her album
"Pa' FueraTelaraflas," which received
five Latin Grammy nominations. Fol-
lowing that. Bebe literally disappeared
I sight. The artist's new album,
-which translates to "and, pe-
riod"— was produced by Carlos Jean,
who also worked on Bebe's debut set.
"Me Fui," the first single, peaked at
No. 49 on Billboard's Hot Latin Songs
chart and No. 26 on Latin Pop Airplay.

'Verte Sonreir'

Songwriter Alejandro Lemer
Artist: Alejandro Lemer
Album: "Enojado" (El Pie Records)
Argentine singer/songwriter Alejan-
dro Lerner now records as an indie
artist after many years working with
majors. Lerner, who composes on the
piano, wrote this evocative tune after
waking up one morning and watch-

ing his wife, Marcela. asleep beside
him. "Verte Sonreir" is an homage
to her and an acknowledgement of
her support and love through the
years. "Verte Sonreir" is the first sin-
gle off the album "Enojado," which
has been released in Argentina, Mex-
ico. Colombia, Chile, Uruguay,
Paraguay and Ecuador.

'YoNoSeManana'

Songwriters: Jorge Luis Piloto. Jorge
Villamizar
Artist: Luis Enrique
Album: "Ciclos" (Top Stop Music)
Nicaraguan singer/songwriter Luis
Enrique became a salsa star in the
'90s with his brand of romantic salsa.
But he has evolved, deciding to go
pop, then delving into world music.
His sales petered out and his last
foray onto Billboard's charts was in
2002. Last year, Enrique signed with
an indie label, producer Sergio
George's Top Spot Music, and went
back to salsa. His return was one of
the big success stories of the year,
with the single "Yo No Se Mafiana"
reaching No. 1 on Billboard's Tropi-
cal Airplay chart and No. 6 on Hot
Latin Songs. Enrique turned to the
writing skills of Jorge Luis Piloto—
who has written hits for a broad range
of pop and tropical singers — and
Jorge Villamizar, the former lead
singer of Bacilos who has penned hits
for Paulina Rubio. •••*

Get your message front and center with the

Billboard Country Update*

The Country Music Industry's Must-Have Source for Weekly News and Chart Info!

"Loved the first edition. Great Job!"

- Becky Brenner, KMPS Seattle

"What a nice surprise to get Billboard Country Update today.
Great job on the first issue."

- Joel Raab, Joel Raab Associates

"Great content!"

- Crash Poteet. KSCS Dallas

of research. Well done!"

- Bob McKay, Bob McKay Media

Reach top country radio programmers and other key
country music influencers every Monday!

TO ADVERTISE, CONTACT:

Lee Ann Photoglo • 615.376.7931 • laphotoglo agmail.com
TO SUBSCRIBE: www.blllboard.blz/enewsletters
• Formerly the R8R Country HotFax

48 1 BILLBOARD i OCTOBER 3, 2009

LCR RECORDS

CONGRATULATES
LATIN GRAMMY

NOMINEE

R I O S

BEST NEW ARTIST | W I

BEST FEMALE POP VOCAL ALBUM (Aire)

INCtUOeS CO & OVD

I O S
^IAX( )

NOW
AVAILABLE!

(Humano)

Distributed by

,SELECi5i)lTS

www.lcrmusic.com
rich. carpenter@lcrmusic. com
costas@lcrmusic.com

Management • Frank White • Casa Blanca Enteruinment • frank@luzrlos.com • 310.466.9135

, ^ lunario

^^^r^^ Congratulates

gpp gianmarco

on his " Best Long Form Video"
^^2009 Latin Grammy Nomination...

^ ' ^en1?o^esS^ LU N AR I O

... and wishes to continue celebrating
many more well deserved recognitions still to come.

www.lunario.com.mx

AuditorioNacional -j-'Tionas ^A/MM^t/**^ iooammiw

#£g^ eorL.toivn
enlerlaimeni

intonnalion;

conlact: Maimoo Abaroa (305) 794 7191

Cni

LATIN GRAMMY®. EXCELENCIA.

Congratulations to The Latin Recording Academy on your 10^ ANNIVERSARY!

Presented by the Latin Recording Academy, the Latin GRAMMY® is the recording
industry's most prestigious award. Eventus has been a proud partner of the —
Latin Recording Academy for seven consecutive years producing the

Latin GRAMMY® Street Parties, _
and we look forward to the bright future ahead! " "'^

ENTRECA ANUAL

GRAMMY

EVENTUS November 5", 2009

UVE THE EXPERIENCE 8PM/7C - Univlsioti

Cri

BRAVA! MUSIC congratulates

AUREO BAQUEIRO

on his well deserved

"PRODUCER OF THE YEAR"

2009 Latin Grammy Nomination.

Felicidades por mas de 15 anos de escribir y producir buena musica.

ALEJANDRO FERNANDEZ
SIN BANDERA
BETO CUEVAS
PAULINA RUBIO
ALEKS SYNTEK
NATALIA LAFOURCADE
HA*ASH

SHAILA DURCAL
MODERATTO
GIANMARC
VICTOR Y Lhi^
MOTEL
CHENOA
ERIK RUBIN^f
MA JOSE
BENNY i
KABAH t
MOENl/
CIRCC
PAMBu

www.bra^

Cni

LIGHT MY FIRE

PISffiIng Lips sley
weird on new album

TOP OF THE LIST

Rosanne Cash pays
tribute to her father

Gloria Gaynor fetes her
iconic album

ILiCTBIC PAIRING

Siblings Jesse & Joy
plug in second set

Breathing lessons

Needtobreathe buoyed
by TV, film placements

BY LARS BRANDLE |

Hungry Like
The Wolf

Wolfmother Fights Back
After Lineup Change

Like all animals, Wolfmother faced two choices; evolve or die.

Citing "longstanding frictions," keyboard/bassist Chris
Ross and drummer Myles Heskett left in 2008. But front-
man Andrew Siockdale wasn't about to give up after achiev-
ing so much — the band sold 537.000 U.S. copies of its
self-titled 2006 debut, according to Nielsen SoundScan, and
won a 2007 Grammy Award for best hard rock performance.

"The Beatles lasted seven years, we lasted four," Stock-
dale says from the band's temporary Los Angeles base. "We
toured our arses off around the world. We did 300 shows. It
takes a certain type of person to want to continue to live that
kind of life."

Stockdale replaced his departed bandmates with drummer
Dave Atkins — a veteran of Brisbane, Australia, bands Resin
Dogs and Pangaea — guitarist Aidan Nemeth and Ian Peres on
bass and keys.

Together they crafted the epic blues rock of "Cosmic Hgg,"
due Oct. 23 in Australia on Modular Recordings/Universal.
Oct. 26 in the United Kingdom on Island and Oct. 27 in the
United States on Interscope.

Also new to the project is manager Cory Brennan. founder
of New York-based 5B Artist Management, and British pro-
ducer Alan Moulder. But despite all the changes, Wolfmother's
trademark rock sound remains intact, with standout tracks
like "In the Morning" and "California Queen" likely to more
than satisfy fans of the first album.

■■ I can listen to the whole record without cringing, which is
a good sign." Stockdale says. "I wanted to take it back to an
old-school hi-fi sound."

"It's a difficult situation to come back from." Modular A&R
manager G len Goetze says of the split. " But (Siockdale has]
worked his way through it. It's like starting from scratch on a
debut record all over again, but we already have a sizable fan

base out ihprr."

Tlie band has been re-engaging those fans for several months
now. with a carefully plotted live return involving a mix of high-
impact shows, festival dates and intimate secret gigs. The
group was one of only two acts to play both of the Sound Re-
lief bushfire benefit concerts held March 14 at Melbourne
Cricket Ground and Sydney Cricket Ground. It also closed out
the March 27 MTV Australia Awards, performing the appro-
priately titled 'Back Round." a non-album track that was a free
download on Wolfmother's Web site and the site for "Guitar
Hero 5," which features the band.

In the United Stales, the group opened for the Killers on

■ \

six dates in August and September and — after Au.sii dliaii and
European shows — will start its own monthlong U.S. headline
theater tour Oct. 29 at Dallas' House of Blues.

"They'll be touring a lot." Modular managing dirrctor Steve
Pavlovic says. "A third of 'Wolfmother' album sales were in
America, two-thirds in the rest of the world. You'd have to
think there's a pretty decent market outside America. They'll
spend two-thirds of their time addressing il."

Interscope reports considerable support from U.S. media,
with appearances on 'Late Show With David Lelterman" and
"The Late l-ate Show With Craig Ferguson" already taped and
more TV spots in the pipeline, according to marketing direc-
tor Dyana Kass. At radio, Kass says the lead track, "New Moon
Rising." has had good early reactions since it went to modern
rock, college and active rock formats Aug. 14.

The band also continues to make friends in the right places

and will play to 600.000-plus Australians when it opens
AC/DC's March 2010 homecoming stadium tour. The band
will appear in drinks brand Absolut's upcoming global Rock
Edition ad campaign, and Stockdale has collaborated on a track
for Slash's next album.

"We might do a few shows or some surprise guest appear-
ances. I'd love to have him play at some Wolfmother shows.'
Siockdale says.

All the signs are that Wolfmother can build on its debut suc-
cess, despite the changes in personnel. But Stockdale says he's
taking nothing for granted.

"At the start when people were saying. "Wolfmother returns.*
I was like, 'Don't say it's a comeback." " he says. "But maybe
a comeback is a good thing. A bit of a struggle, a challenge, is
a healthy thing to have in life. Every lime I do a gig now. I think,
"Wow. this is incredible.' " • •

OCTOBER 3. 2009 | www.billbofird.biz | 53

I LATEST
i BUZZ

»>'NEW MOON'

SOUNDTRACK

REVEALED

The soundtrack to "New
Moon"— the second Install-
ment In the 'Twilight" film
series— will feature songs
by Thorn Yorke, Grizzly
Bear, Bon Iver, Lykke Li
and the Killers, according
to an official track list re-
leased Sept. 21 on 'Twi-
light" author Ster>henie
Meyer's Web site. Death
Cab for Cutie scored tlie
soundtrack's lead single,
"Meet Me on the Equinox."
Other acts that appear In
the credits include Band of
Skulls, OK Go and Editors.
"New Moon" hits theaters
Nov. 20; the soundtrack is
due Oct. 20 on Chop
Shop/Atlantic Records.

»>COHEN BACK
ONSTAGE AFTER
COLLAPSE

Singer Leonard Cohen
returned to the stage Sept.
21 in Barcelona after he
collapsed during a concert
Sept. 18 In Valencia, Spain,
and was rushed to the
hospital. The Canadian
was halfway through his
song "Bird on a Wire"
when he fainted. His
manager later told media
that the singer had
suffered a bout of food
poisoning but had been
reluctant to cancel the
show. Cohen was released
from the hospital and
recovered over the
weekend. The artist has
been on tour since May,
performing in Canada,
Europe, New Zealand and
Australia, after coming out
of retirement. After SF>ain,
Cohen is due to perform
Oct. 17 In Sunrise, Fla.

»>LIVE NATION,
BET PAIR UP FOR
CONCERT SERIES

Live Nation has partnered
with BET Networks to
produce a series of U.S.
tours that will visit Live
Nation's House of Blues
clubs and other venues
across the country. The
partnership will launch this
fall with the 106 & Park
tour, featuring co-
headliners Trey Songz and
Mario. The trek begins
Sept. 2g at the House of
Blues in Los Angeles and
will visit major U.S. cities
through November. Other
acts featured on the tour
include Day 26, Sean
Garrett and RydazNRtist.
BET will serve as the tour's
exclusive media partner.

Reporting by Belinda
Goldsmith, Monica Herrera
and Mitchell Peters.

m:i*i¥-m by cortney harping |

The
Lips
Have It

The Flaming Lips Keep
On Truckin'

In the wee hours of (he morning on
Monday. Sept. 14, Flaming Lips front-
man Wayne Coyne was signing auto-
graphs after his band performed at
upstate New York's All Tomorrow's Par-
ties festival when a burly young fan ap-
proached him with a length of an
industrial strap. Coyne recognized it as
one of his own, used for tying down
equipment like the large cannons that
shod confetti into the crowd through-
out the band's stage show. The fan told
Coyne the strap had been shot out of the
cannon and hit him in the chest, but he
calmly handed it back, got his shirt
signed and walked away.

This isolated incident symbolizes a
few things about the Lips — their fans
love them with a devotion that borders
on insanity, the group's live shows are
such spectacles that flying straps might
very well be part of the festivities, and
they're one of the luckier bands around.

The group started in the early '80s
and has survived addiction, infighting
and a holdup at a Long }ohn Silvers
seafood restaurant; had an alt-rock
radio hit, "She Don't Use Jelly," in 1993;
and played the Peach Pit on "Beverly
Hills 90210." Critics love them, audi-
ences adore them, and they sell al-
bums. 2002's "Yoshimi Battles the Pink
Robots" has sold 570,000 copies, ac-
cording to Nielsen SoundScan, while
follow-up "At War With the Mystics"
has sold 220,000.

Now the band is preparing to roll out
anew album. "Embryonic. "due Oct. 13
on Warner. The 18-track set was initially
conceived as a double-album but will be
sold in one- and two-CD packages. "We
realized that as much as we wanted to
do the double-album, all the songs fit
on one disc." Lips manager Scott Booker
says. "We wanted to keep the costs down
for our younger fans, and we'll also be
releasing a double-disc with added con-
tent, a fur-covered double album for col-
lectors and a vinyl version."

Coyne describes "Embryonic" as
"slightly disturbed, but pleasant."
adding, "We tried to make it feel like,
'If you like two songs, you'll like the
whole record' and ' I f you don't like two
songs, you probably won't like any of
this." ° The record has echoes of acts
like Can and Joy Division and sounds
cooler and less whimsical than previ-
ous efforts, especially on the opener

On fire: THE
FLAMING UPS

"Convinced of the Hex."

While the album might sound calmer,
the live show remains frenetic, complete
with dancers dressed in yeti costumes,
Coyne rolling across the audience in
what can only be described as a man-
sized hamster bail and confetti — lots
and lots of confetti. "We have the con-
fetti shipped out to us." Coyne says. "If
we were to take it all and go out for a
month of shows, it would fill a truck. It's
a lot of confetti."

Warner marketing director Tom Os-
born says the live show is the band's call-
ing card. "Q magazine in the U.K. said
the Flaming Lips were one of the 50
bands you had to see before you die," he
says. "They've had some of the core el-
ements of the live shows in place for a
while, but Wayne is constantly trying to
do new things snd updating the visuals.
They want it to be much more of an ex-
perience than just a rock show."

For a recent string of dates, fans also
had the chance to preview the new
album. "We gave away three tracks from
the new album digitally when people
bought tickets to the last tour." Osbom
says. "Then, a week before the show,
fans got digital copies of three classic B-
sides sent to them. Finally, they could
go to a Web site after the show and down-
load a live version of the concert they
had attended. It was all built seamlessly
into the ticketing so fans didn't have to
do extra work."

Concert attendees could also listen to
the entire album at stations set up next
to the merch table. "I don't know if any-
one missed the show and listened to all
18 tracks, but the idea was to give them
a taste," Osbom says.

"Embryonic" was streamed live on
the Web site for "The Colbert Report" to
coincide with Coyne's Sept. 16 appear-
ance on the show. "1 wanted to stream
the last record, too, but Warner was more
cautious," Booker says. Osborn adds

It became a lot
more fun to be

in a j^roup
whether you
sue(*eeded or
you failed. It
opens up a
world/

-WAYNE COYNE.
THE FLAMING LIPS

that at this pwint. "we know records leak,

it's just going to happen. The Lips have

a very loyal fan base and we think they'll
buy the record anyway."

The Lips are planning to spend some
time in Los Angeles around the release
date, doing TV shows and playing
events. They also will play one-off dates
at festivals like Treasure Island in San
Francisco and Voodoo Fest in New Or-
leans, and they're planning to return to
their hometown of Oklahoma City to
participate in the annual March of 1 ,000
Flaming Skeletons on Halloween. "Last
year CNN covered it and 30,000 people
came to the parade," Booker says.

The Lips will then head to Europe
and the United States in November,
and they're planning U.S. tour dates in
the spring.

"The live show is the path in for a lot
of new fans," Booker says. "When they
play festivals . people come over to watch
them and get drawn in. It's the best way
to reach the kids. I also think this album
will appeal to the kids, because it has a
rawer sound."

Booker says the band also gets plenty
of exposure from licensing opportuni-

ties. "We never got 'Do You Realize??'
on the radio, but it was in a VH 1 com-
mercial, and that turned a lot of people
on to us," he says. "Afler Dell Comput-
ers used 'The Wand." we saw an increase
in single sales. And the Lips have songs
that can work anywhere in the world;
we put 'The Yeah Yeah Yeah Song' in an
ad for soda in South Africa, because
everyone understands 'Yeah yeah yeah/
no no no.' " He adds that as of yet, there
aren't licensing deals in place for "Em-
bryonic." due to the label's desire to keep
the album under wraps.

Warner and the Lips won't be actively
pursuing radio airplay with the new
album. "We serviced a three-song EP to
radio and we're planning on sending
the full album out, too," Osbom says.
"It will go to multiple formats, and we'll

welcome airplay, but there is nothing in
the sense of a traditional radio campaign
for this band."

"Radio has never really been available
to us," Booker says. " "She Don't Use
Jelly' was a happy accident that hap-
pened at a totally different time."

"We were on tour with groups that
were selling millions of records, like
Stone Temple Pilots and Candlebox,"
Coyne says of the early '90s. "They were
having a lot of success, but I don't know
if we really ever would pursue that type
of success on our own. We were start-
ing to be like, 'We're just taking what-
ever comes." So when we got asked to
be on 'Beverly Hills 90210/ if it would've
been six months earlier, we probably
would've still had some control issues
left over from what we thought our
group's manifesto meant. But by then
we knew that if we were lucky, there were
going to be a lot of absurd things that
you could experience if you just let shit
happen. Once we did that, I think it be-
came a lot more fun to be in a group
whether you succeeded or you failed. It
opens upa world."

54 I BILLBOARD i OCTOBER 3, 2009

OUES'I'IONS

with ROSANNE CASH

A consummate Renaissance woman, Rosanne Cash has eschewed genre conventions throughout her
long career. Of course, she had an excellent role model, being the eldest daughter of the late Johnny Cash.
She scored her own string of country hits in the '80s and continues to record, as well as write books and
contribute fiction and essays to such publications as the New York Times and Rolling Stone.

Her latest album, "The List," due Oct 6 on EMI's Manhattan Records, is a collection of covers based
on a list of 100 essential country songs that her father gave her when she was 18.

Produced by Cash's husband, John Leventhal. "The List" includes Hank Snow's "I'm Movin* On"
and Hank Williams' "Take These Chains From My Heart," as well as duets with Bruce Springsteen,
Elvis Costello, Rufus Wainwright and Wilco's Jeff Tweedy.

1 How did you react when your father first
presented you with his list of essential coun-
try songs?

1 was thrilled. I know people ihink. "Oh. 18 years
old. you wouldn't have sense enough to know
what you were getting." I did. because I had ju.st
started playing guitar. Helen Carter was teach-
ing me ail the Carter Family songs. I was really
steeped in rock and pop music but it was a whole
other landscape that I didn't realize existed ex-
cept for the most obvious things — Patsy Cline
and Ray Charles and my dad's music.

2 How did you narrow down a list of 100
songs to 13?

Some songs were clearly not suited for me

to do — they were either too gender-specific
or 1 couldn't do another version of "This Land
Is Your Land." Then there was the vetting of
which songs were suited to my voice. There
was also a sonic and emotional balancing so
that it wasn't all "Motherless Children" and
"Bury Me Under the Weeping Willow"; it was
also "Heartaches by the Number."

3 What role did your husband, John
Leventhal. play in your interpretation of

the songs?

[ohn did all the heavy lifHng; these are his arrange-
ments. It was a pure joy for me to get to sing them ,
but it was a pure joy for him to get to this. This
is the dream project for him that he's been wait-

inghis whole life to do. He's the only New Yorker
I know who has such a deep and extensive knowl-
edge of roots music and country music.

4 These are some of the best and biggest
songs of the last 100 years. Was it intim-
idating to cut them?

" She's Got You" was a little bit because 1 knew Patsy
Cline's record so well, and "Girl From the North
Country" was because it seemed like a watershed

moment in musical history. I have these pictures
of my dad and Bob [Dylan] together. But |ohn said,
"No. we're going to go to Bob's original version;
that's tlic doorway into the song," and it was. Bob's
original version is a classic folk song. The rest of
them, no, I wasn't intimidated. I've been singing
"Silver Vftngs" in the shower for 30 years.

5 On your blog you wrote that this was the
only record you could have made at this
point in your life. Why?

Because my parents are dead, and I had a pretty
serious face-off with my own mortality. You
think about the things you want to do most of
all in the world. It felt like the perfect and the
only thing to do.

You look back at your ancestry. You want to
know where you come from, who you are and
what you're going to pass on to your kids, and
"The List" is the perfect cohesion of all of that.

6 Do you feel any connection with today's
country music?

1 don't listen to country radio but I often hear
things that 1 think are fun and exciting and good.
I don't know who a lot of the young people are
or what they sound like, but the other day 1 was
flipping through the channels and I saw Taylor
Swift. I'd heard so much about her. she's sold
millions and millions of records, but I'd never
heard her sing. I saw her on a George Strait trib-
ute and 1 thought, "Wow, this little girl is really
good, she's really got something." That's always
exciting, when you see somebody who is so young
and you can see that spark in them. ••••

GLOBALPULSIE

EDITED BY TOM FERGUSON

>>>BLAKE'S BACK

Two years after launching a
five-album deal with Univer-
sal Classics & Jazz, the British
classical crossover quartet
Blake is out on its own. Its
third album, "Together." will
be released Oct. 12 in the

Classical gas:

BLAKE ^

United Kingdom on Blake
Records, the act's EMI-dis-
trtbuted startup with the pro-
duction house MPP.

Blake's 2007 self-titled de-
but album has sold 113,000
U.K. copies, according to the
Official Charts Co., while its

2008 follow-up, "And So It
Goes" (Decca/Universal), has
sold SS.OOO.

While manager Steven
Howard says the act subse-
quently departed Universal
by mutual consent, MPP co-
founder Nick Patrick says its
new arrangement gives
Blake creative con-
trol—and much more.
"With a major-label
deal, you have to sell
up to 200,000 copies
to see a profit," he says.
"Here, they sell 30,000
copies and immedi-
ately see the money."

The album mixes clas-
sical material like "Ave

Maria" and "Nessun Dor-
ma" with more contem-
porary songs like U2's
"With or Without You"
and Charles Aznavour's
"She." According to
member Stephen Bow-
man, 'There is enough for
our existing audience to
get their teeth into, but I
hope it steps away from
samey crossover."
"Together" appears in

Denmark in late November,
with other International re-
leases scheduled for 2010.
Blake plays U.K. shows Nov. 7-
10, then Danish dates Nov. 23-
Dec. 20 with further interna-
tional touring planned, booked
by the Agency Group, accom-
panying the album's interna-
tional rollout. —Haze/ Davis

>>>THINKPINK

Having been featured promi-
nently in U.K. critics' tips for
the coming year In January, it's
perhaps predictable that Lon-
don-based alt-rock band the
Big Pink is garnering critical
acclaim for its debut album, "A
Brief History of Love" (4AD).

Mixing droning feedback,
anthemic choruses and dark
electronica, the 11-track album
was released Sept. 14 in the
United Kingdom and Europe

ahead of its Alternative Distri-
bution Alliance-distributed
U.S. bow Sept. 22.

"This album will last a long
time," 4AD managing director
Simon Halliday says, describ-
ing the act's atmospheric mix
of gritty electronica and psy-
chedelic rock as "powerful
stuff that connected with us
straight away."

"A Brief History" was
streamed on the band's Web

site for one week (beginning
Aug. 3), which Halliday says
immediately generated heavy
blog chatter, boosting the
band's profile internationally.

Booked by London-based
EC1 Music, the Big Pink launch-
es a U.K. tour Oct. 8, followed
by European dates. A U.S. tour
booked through New York-
based the Agency Group runs
Nov. 13-Dec. 6. Halliday antic-
ipates additional European
and American treks to take
place next year

The Big Pink is published by
Chrysalis Music, which scored
a breakthrough U.S. synch
deal when its album track
"Dominos" was used to trail a
recent run of the British TV
teen drama "Skins" on BBC
America. —Richard Smirke

>>>LISA LISA

Teenaged Aussie folk-pop

singer/songwriter Lisa Mitchell
Is looking to export her domes-
tic success to the United King-
dom this fall.

The national modern rock
radio network Triple J cham-
pioned Mitchell's music
Down Under, helping her
debut album, "Wonder," hit
No. 6 on the Australian Re-
cording Industry Assn. chart
following its release July 31

on Warner Music.

Although she initially
emerged as a finalist on the
2006 season of "Australian
Idol," Mitchell has shrugged
off any "reality TV" stigma.
"Lisa is such a unique artist,"
says her London-based man-
ager Stuart Clarke. "We've
never felt any need for any
smoke and mirrors; It's been
about finding the right plat-
forms for exposure and leav-
ing people to it."

Ironically, though, it was TV
that stirred international label
interest in Mitchell, whose pub-
lishing is handled through
Sony/ATV— her song "Neopoli-
tan Dreams" was placed in a
U.K./Europe ad for Surf deter-
gent, which has been airing
since October 2008. Further
synch deals followed for Kraft
(United States), Vodafor>e (Ice-
land) and 3G (Australia).

RCA/Sony Music duly sign-
ed Mitchell for the world out-
side Australia. A full release is
due Oct 26, with international
releases being planned. Clarke
says Mitchell will focus her at-
tention on the United States in
2010. The singer will play 14
U.K. shows Oct. 9-27 support-
ing singer/songwriter Newton
Faulkner, booked through Hel-
ter Skelter. —Jen Wilson

OCTOBER 3, 2009 I www.blllb08rd.blz 1 55

ALBUMS

TOBY KEITH

American Ride
Producers: Toby Keith. Mark
Wright

Show Dog Nashv/l/e
Release Date: Oct 6
There's a little less bluster and
bravado on Toby Keith's latest album, "American
Ride." and it's a welcome turn. Keith has always
understood how to connect with his loyal fans, and he
may have sensed their need for a break from the in-
your-face feel of his most recent albums. The track
"Are You Feelin' Me" is a rare show of vulnerability
from the Oklahoma native, while "Woke Up on My
Own" finds the singer facing his own limitations.
Dave Koz's saxophone is a perfect accompaniment to
the tender and touching "Cryin' for Me (Wayman's
Song)," a tribute to former NBA star/jazz musician
Wayman Tisdale, who died in May. The fiddle- and
steel guitar-laden "You Can't Read My Mind" and the
I'm-a-lug-but-you-love-me-anyway "Tender As I
Wanna Be" are destined to be dancefloor favorites.
But "American Ride" isn't completely chutzpah. The
first single/title track is the only song on the set that
Keith didn't have a hand in writing— it's a look at
America and all its foibles. Meanwhile, the rocking
and rousing tune "Loaded" celebrates the working-
man's night on the town.— KT

GHOSTFACE KILLAH

Ghostdini: The Wizard of
Poetry in Emerald City
Producers: various
Island

Release Date: Sept. 29
In the past decade. Ghostface
Killah has moved away from the
esoteric beats of his Wu-Tang
Clan cuts to explore buttery soul
rhythms. On his new album.
"Ghostdini: The Wizard of Po-
etry in Emerald City," the rapper
dives head-first into R&B and
the results are more mixed than
his hip-hop output but nonethe-
less intnguing. On the first sin-
gle. "Baby." Ghostface spits
come-ons between a soaring
chorus by Raheem DeVaughn,
while "Guest House" showcases
a moody tale of betrayal with
Fabolous popping up as the
Other man. As always. Ghost-
face's penchant for storytelling
is the main attraction, with each
verse displaying impeccable de-
tail and confidence that com-
mands attention. While the
album's softer instrumentation
and thematic preoccupation
with romance may initially frus-
trate some diehard rap fans. Its
silky hooks begin to sink in with
repeated listens. "The Wizard of
Poetry" represents a curious de-
parture in Ghostface's discog-
raphy, but after his heavy-
handed past work, the set is an
entertaining breather—

KRIS

KRtSTOFFERSON

Closer to the Bone
Producer: Don Was

New West Records
Release Date: Sept. 29
As the title suggests, Kris
Kristofferson's newest album,
"Closer to the Bone," is an at-
tempt to reach new depths of
vulnerability— a portrait of an
old man. laid bare following his
2006 opus, "This Old Road"
(which was his first recording
after a 12-year hiatus). Folk re-
lies heavily on the willingness
of the artist to be confessional,
Now. considering himself near
the end of his life, Kristofferson
is exposing himself more than
ever before, exploring death
and love from this new mortal
perspective. On the song
"From Here to Forever." Kristof-
ferson sings tenderly in his fa-
miliar bear-like smoky growl,
"Here's one I wrote for my kids":
and on the title track, "I'll love
you from here to forever."
Kristofferson returned to vet-
eran folk molder Don Was to
helm the recording and also to
contribute bass to the intimate,
live-feeling instrumentation.
With "Closer to the Bone"
Kristofferson digs deep into his
long and troubled past to bring
listeners one of his most beau-
tiful moments —Z->lv

ELECTRONIC

ZERO 7

Yeah Ghost

Producers: Sam Hardaker.
Henry Binns
Atlantic Records
Release Date: Sept. 29
What is Zero 7 without its
unofficial. clear- voiced
frontwoman Sia Furler. who
left amicably last year to
pursue a solo career? The
answer: something very dif-
ferent yet unmistakably
Zero 7. Singer/songwriter
Eska takes over the alpha
woman role on "Yeah
Ghost," the fourth studio
album from production
masterminds Sam Hardaker
and Henry Binns. From her
first appearance on the
overtly funky song "Mr
McGee." Eska diverts the
duo from its usual path of
heady atmospherics into
earthier sounds and tones.
The first single. "Medicine
Man." struts like Sam
Sparro's "Black and Gold"
and calls out a lover's lies as
"simply outrageous," while
the more adventurous
"Sleeper" is half hooky pop
refrain and half minimal
synth smudges. The music
on "Yeah Ghost" is still Zero
7— but after a few cans of

musical Red Bull. For proof,
check out the lush textures
and brushed snares on "Pop
Art Blue." which features
wide-eyed vocals from
Martha Tilston.-ZCM

SELENA GOMEZ &
THE SCENE

Kiss A T«ll

Producers: various
Hollywood Records
Release Date: Sept 29
"Tell me. tell me. tell me
something I don't know." Se-
lena Gomez sings on the
final cut on her debut album,
"Kiss & Telt." Considering
how closely the new set fol-
lows similarly situated
tween-pop efforts by Miley
Cyrus and Demi Lovato.
Gomez's fans might share
the sentiment: It's not always
easy to tell what distin-
guishes the work of this
"Wizards of Waverly Place"
TV star from that of her fel-
low Disney-factory females.
That doesn't mean "Kiss &
Tell" doesn't deliver its re-
quired payload of electro-
rock delights. The song
"Naturally" (produced by
Mouse House regulars Tim
James and Antonina Ar-
mato) has a juicy and in-

stantly memorable vocal
hook, while the pop-punk
title track expertly channels
the good-natured sass of the
Go-Go's (no surprise, given
drummer Gina Schock's co-
writing credit). But if Gomez
wants to outlast her current
context, her music could use
more of her in it.— AfW

OWEN

New Leaves

Producers: Mike Kinsella.

Brian Deck

Polyvinyl

Release Date: Sept. 22

An album about settling
down and being a new hus-
band and father has strong

JOSHUA BELL

At Home With Friends

Producer: Steven Epstein

Sony Class/cal

Release Date: Sept 29

The Grammy Award-winning vio-

linist Joshua Bell returns with "At Home With
Friends/' a star-studded album of marquee-level
duets with guest artists like Sting, Josh Groban and
Chris Botti. If the term "classical crossover" sends
you running for cover, fear not: This is one duets
album that packs a sonic— and celebrity— punch. The
new album finds Bell's virtuosic violin amid a wide
array of musical genres— a jazz-inspired reading of
George Gershwin's "I Loves You Porgy" (alongside
trumpeter Botti), the bluegrass-drenched "Look
Away" (featuring Nickel Creek's mandolin master
Chris Thile) and even a foray into Argentine tango on
Astor Piazzolla's "Oblivion." Other standout sparring
partners include pianist Dave Grusin (on Tom Jobim's
"Chovendo Na Roseira") and perennial favorite Sting
on "Come Again," from his classical album "Songs
From the Labyrinth." Much more than just a publicity
vehicle, "At Home With Friends" Is an inspired, mov-
ing musical affair.- J/?

56 I BILLBOARD I OCTOBER 3, 2009

AFI

Crash Love

Producers: Joe McGrath. Jackryife

Lee

DGC/ln terscope
Release Date: Sept 29
AFI's eighth studio album, "Crash Love," remains
faithful to the arena-ready pop noir that made the
rock band a multiplatlnum superstar earlier this dec-
ade. Singer Davey Havok once again puts on his best
Smiths-esque strut while dancing his way through
glammy new wave beats, bouncy rhythm sections
and first-pumping choruses. The track "End Trans-
mission" is dressed up in '80s charm, bolstered by a
punchy bassline and pounding keys, while gang
chants and pulsating synths pepper "I Am Trying
Very Hard to Be Here." Listeners will be hard
pressed to find a single screamed vocal; it's as if AFI
has finally made the transition from "Nightmare
Before Christma5"-like spook punk to polished goth-
pop. Even though "Crash Love" isn't terribly pro-
gressive in scope and the band's '80s idolatry might
one day run its course, the set is ultimately another
highlight in a discography that's as consistent as It Is
expansive.- £L

C( ; aterial

^liVIEWS-

SINGLES

potential of being viewed by
some listeners as boring. But
Owen brainchild Mike Kinsella
manages to avoid both fates
on his latest effort. "New
Leaves." Kinsella (who now
records as a solo artist under
the name Owen, following a
long career in such indie rock
bands as Cap'n Jazz, Joan of
Arc and Aloha) plays the
same sort of soft ballads
found on his previous albums.
But don't mistake the softness
for weakness. While nothing is
as biting as the aging hipster
takedown "Femme Fatale"
(from his 2006 set "At Home
With Owen"), he pulls out the
knives and slices pseudo-in-
tellectuals on "A Trenchant
Critique." Elsewhere, he ac-
cepts domesticity on "Amne-
sia and Me." giving up his past
and declaring, "I know who I
am/A housebroken. one-wo-
man man."— CH

MUSE

The Resistance
Producer: Mike Sapone
Warner Bros. Records
Release Date: Sept. 15

British rock act Muse's fifth
album, "The Resistance."
shows growth from the
band's previous releases and
proves that it's primed for a
global musical takeover. The
album opener, "Uprising."
carries a pulsating bass and
drum groove, while the
band's singer/guitarist Mat-
thew Bellamy provides call-
to-arms lyrics ("Rise up and
take the power back/It's time
that/The fat cats had a heart
attack"), which hypnotize
the listener into a revolution-
ary-like state. The song
"United States of Eurasia"
opens with a docile verse but
quickly progresses with a
falsetto vocal line and ac-

companying guitar riff that
break open a larger-than-life
chorus and a Middle Eastern-
sounding bridge reminiscent
of Queen. The three-part
rock symphony "Exogenesis"
closes the album, combining
elements of piano and the
band's dramatic flair. The
evolution of Muse is likely far
from over, and "The Resis-
tance" teases what the band
still has up its sleeve.— £Cy

ANDREW W.K.

S5 Cadillac

Producer: Andrew W.K.
Skyscraper Music Maker
Release Date: Sept. 8
Hard rock fans itching for
Andrew W.K. to release a
new single tike his 2001 hit
"Party Hard" will be sorely
disappointed by the musi-
cian's fifth album. "55 Cadil-
lac," which consists entirely
of piano improvisations, The
wordless set will likely be
perceived as too abstract by
some fans, but comparisons
to Andrew W.K.'s previous
work fail to recognize the
virtuoso performance he
delivers on these eight
tracks. The song "Seeing the
Car" is an uplifting composi-
tion, while "City Time" is
much more manic, with a
quiet beginning slowly giv-
ing way to a racing ar-
rangement. For Andrew
W.K. —who has also released
two albums of Japanese
pop covers— the departure
from the muscular rock an-
thems isn't exactly jarring;
more surprising is the dar-
ing attitude with which he
approaches these winding,
free-form songs. "55 Cadil-
lac" offers a fun, technically
exciting journey that paints
Andrew W.K. as an artist un-
afraid of risks,— -/i.

EDITED BY MITCHELL PETERS
(ALBUMS) AND MONICA
HERRERA (SINGLES)

CONTRIBUTORS: Mariel
Concepcion. Sandra Gordon,
Cortney Harding, Monica Herrera,
Evan C- Jooqs. Jason Lipshutz.
Evan Lucy, Kerri Mason, Jon
Rogcn, Jesse Serwer, Christa L,
THus. Ken Tucker, Mikael Wood.
Lavinia Jones Wright

CRITICS' CHOICE *: A new

release, regardless of chart
potential, highly recommended
for musical merit.

PICK A new release predicted
to hit the top half of the chart in
the corresponding format.

Ail albums commercially
available in the United States are
eligible, Send album review
copies to Mitchell Peters at
Billboard, 5055 Wilshtre Blvd.,
Seventh Floor, Los Angeles. CA
90036 and singles review copies
to Monica Herrera at Billboard,
770 Broadway. Seventh Floor.
New York. NY 10003. or to the
writers in the appropriate
bureaus.

n*T3

HONOR SOCIETY

Over You (3:04)
Producers: John Fields.
Jonas Brothers
Writers: various
Publishers: various
Jonas/Hollywood
Honor Society wraps post-
breakup angst into a cathartic,
three-minute package on "Over
You," the opening track from ttie
groups just-released debut
album. "Fashionably Late" The
sor>g is delivered with fierce pre-
cision by band members (and
Jonas Brothers proteges)
Mtchaet Brurx). Jason Rosen. An-
drew Lee and Alexander Noyes.
Its production is taut and un-
abashedly pop but also offers
some added spice with a driving
backt>eat pulsing synths and gui-
tar licks worthy of arena rock. The
lyrics are about stewing over an
ex-girlfriend and the vocal riffs
are short and smart, leaving
space for the music to breathe.
In those gaps of silence, inhale
shifts to exhale and romantic frus-
tration t)eoomes fun. If this is wtiat
a breakup sounds like, it just
might be worth the pain.— SG

l:%M!i

QUEENSRfCHE

Home Again (4:41)
Producers: Jason Slater,
Keliy Gray
Writers: various
Publisher: Queensryche
Publishing (BMI)
Rhino

"Home Again," the new
single from Queensryche's

B^B ALICIA KEYS
Doesn't Mean Anything (4:28)
Producers: Altcia Keys. Kerry
"Krucial" Brothers
Writers: A Keys. K Brothers Jr
^•^B Publishers: Lvllow Productions/
EMI. Book of Dciniel Music/EMI (ASCAP)
J Records

A truly confident woman lets herself be vulnerable at the

right timo. This is tho messa^o that Alicia Keys' latest single

exudes, as she lets her guard down and admits that she's
incomplete without the man she loves. "From afar, it seems
I had it all," Keys belts on the midtempo track's chorus, "but
it doesn't mean anything sirKe you're gone." It's not tt>e first
time she's wrought inspiration from love-stricken lyrics. In
fact, "Doesn't Mean a Thing" is just the latest addition to a
lengthy list of her empowering tracks, and it can easily be
compared to previous hits like "Wonder Woman" and "No
One." But the comparisons are more than welcome, be-
cause—as Keys understands so well—everyone needs love,
no matter how independent they may be.— MC

50 CENT
FEATURING
NE-YO

Baby by Me (3:37)
Producer Polow Da Don
Writers: C Jackson.
J. Jones. S Smith
Publishers: 50 Cent
Music (ASCAP).
My Diet Starts
Tomorrow/Songs
of Universal (BMI).
Super Sayin Publishing (BMI)
Shady/A ftermath/ln terscope
On the heels of Ghostface
Kiltah and Raheem De-
Vaughn's "Baby," 50 Cent's
"Baby by Me" is another
shout-out to lucrative
childbearing, as the prag-
matic Queens rapper of-
fers a woman the chance
to "have a baby by me,
baby, be a millionaire." This
s 50's fourth try at a lead
single for "Before 1 Self De-
struct." now set for release
Nov. 17. With its club syn-
thesizers and Ne-Yo-aided
chorus, the track is far
more radio-friendly than
his past attempts. But ifs
also the least distinctive.
A song like "Baby by Me"
that overtly reaches for a
pop audience may put 50
Cent back on the airwaves,
but it won't necessarily en-
ergize the rapper's core
fans. At this point, they
might be more receptive
to hearing something out-
side the box.~JS

IMBL

QIIKiliLIVE LIKE
WE'RE DYING

KRIS ALLEN

Live Lilce We're Dying (3:32)
Producers: Sfeve Kipner. Andrew
Frampton
Writers: various
Publishers: various
19/Jive

"American Idol" winner Kris Allen has wisely chosen to
scrap his Kara DioGuardi-penned coronation song, "No
Boundaries." in favor of this impressive new single at>out
seizing the day. "We only got 864 hundred seconds In a
dayAo turn it all around or to throw it all away/Gotta tell
'em that we love 'em while we got the chance to say," he
sings. "Live Like We're Dying" was originally intended
for Irish band the Script, but Allen improves on the unre-
leased version with a nuanced vocal and a nimble, rhyth-
mic delivery. The tongue- twister verses work In spite of
themselves, and even when Allen does his best Bob
Dylan impression on the bridge, he emerges safely on
the other side. It seems Allen is still emboldened by the
risks he took on "Idol," and those who voted for the
singer/songwriter in May should be feeling the same
after hearing the first track from his Nov. 17 debut.— AfH

powerful "American Soldier"
album, could recapture the
mainstream glory that the
band achieved with its 1991
dream ballad, "Silent Lucid-
ity." The lyrics— an exchange
between a military man and
his daughter who miss each
other— are sung by frontman
Geoff Tate and his own 10-
year-old daughter Emily,
who gives a rich vocal per-
formance for her age. In less
capable hands, the interpre-

tation would have felt over-
dramatic; instead, a profound
sense of sadness and hope
intermingle among wavering
guitar lines, gritty drum
beats and gliding strings. The
universal theme of separa-
tion from a loved one pairs
well with the melody, which
flows like soothing water
over a wound. "Home Again"
—and Queensryche— right-
fully command a strong radio
salute.-CZ.7-

OCTOBER 3, 2009 1 www.blllboard.blz | 57

l y lighted material

HAPPgMIMG MOW

BY GAIL MITCHELL

A Musical
Milestone

Gloria Gaynor
Celebrates 30th
Anniversary Of
•I Will Survive'

To Gloria Gaynor. it seems like only yesterday
thai she recorded the iconic disco/pop hit "I
Will Survive." Now she's celebrating the an-
them's 30th anniversary.

" How is that possible?" she asks with a laugh
during a concert stop earlier this week in
Bologna. Italy. "I'm only 29."

Still averaging 100 to 150 concert dates per
year, Gaynor is currently overseas performing
shows in Moscow, Amsterdam and Spain. After
that, she will return stateside to promote the Oct.
27 digital release of an updated recording of "Sur-
vive" in English and Spanish plus a self-penned
gospel ballad, 'He Gave Me Life (1 Will Survive)."
The songs will be released through the singer's
own Glolo label (her childhood nickname) in as-
sociation with digital distributor INgrooves. In
turn, all three songs will be available on CD
through Gaynor's Web site, GloriaGaynor.com.

"I Will Survive" survived its own challenges
in the beginning. Written by Freddie Perren
and Dino Fekaris. the track was initially pegged
as the B-side to a song called "Substitute" that
Polydor brass wanted Gaynor to record. Per-
ren agreed to produce "Substitute" in exchange
for choosing the B-side.

"Freddie and Dino said they'd been looking
for someone to record 'Survive' for a long time,"
recalls Gaynor. "I'm reading the lyrics and say-
ing, 'Are you kidding me? This is a hit song.'

But when wc took it back to the label execs, they
wouldn't listen to it."

Gaynor was confronting personal challenges
as well. Her mother had recently passed away
and the singer had to record "Survive" in a back
brace owing to surgery on her spine a month
earlier. "That's why 1 was able to sing the song
with so much conviction," says Gaynor.

After a Studio 54 DJ got wind of the song,
other club D)s began flipping the single over
to play "Survive." Then radio chimed in and
the label's hand was forced. While "Substitute"
languished at No. 107 on pop. "Survive" danced
all the way to No. 1 on the chart in 1979.

Since Gaynor earned a Grammy Award for
best disco song in 1980, "Survive" has taken on
a life of its own. Morphing from disco hit to
empowerment anthem, " Survive" has been cov-
ered more than 200 limes by everyone from
Dame Shirley Bassey and Diana Ross to Cake
and assorted "American Idol" wannabes.
Gaynor's favorite covers? Those by Gladys
Knight and Chantay Savage.

Not too long ago. Gaynor performed the song
on Capitol Hill in support of the Performance
Rights Act. "This should have been done a long
time ago." she declares. "Writers get paid and right-
fully so; publishers get paid and rightfully so. But
what about the singers? It's the fair thing to do."

Five days prior to the "Survive" rerelease.

Gaynor will participate in a QScA and a live per-
formance at the Grammy Museum Oct. 22 in Los
Angeles. That will be followed by a guest stint on
"The View" and a performance in this year's
Macy's Thanksgiving Day Parade. On tap for 2010:
The release of Gaynor's yet-un titled gospel album
and a symphony tour in Australia. The former
will feature traditional selections as well as "He
Gave Me Life" and other original Gaynor compo-
sitions. "After 30years of telling people I will sur-
vive, it's time to tell them how," she says.

Although Gaynor has rung up a string of hits

including "Never Can Say Goodbye, " "l Am Wiial
1 Am" and "I Never Knew," she will forever be
tied to her signature ode. And that doesn't bother
her in the least.

"From the beginning 1 recognized it was a
timeless lyric that everyone could relate to."
says Gaynor, "so 1 don't get tired of singing it.
I'm always freshening it up: changing the beat,
the lyrics, modernizing the arrangement — I've
even stuck a hip-hop section in the middle of
it. I become 295% grade A ham when I do this
song because people still love it." • •

CROSS COUNTRY

With a little help from his friends, Valory artist Jimmy Wayne enters Hot Country Songs at No. 51, snaring
the chart's Hot Shot Debut with "Sara Smile." His friends are none other than the song's featured guests,
Hall & Oates: The singers and songwriters who originally took "Sara Smile" to No. 4 on the Billboard Hot

100 in 1976. (The entire 60-position Hot Country Songs chart is viewable at billboard. biz/charts.) ^ Wayne's
performance of the ballad during an audition helped secure his first record deal. The singer/songwriter has
since become friends with John Oates, collaborating with the music vet on various projects. When Wayne
claimed his first No. 1, "Do You Believe Me Now," on Hot Country Songs last year, Oates traveled to Nashville
and performed with Wayne onstage at a celebratory industry bash. ^ With its debut on Hot Country Songs,
"Sara Smile" becomes the ninth former Hot 100 hit to land on the country tally in an updated version that
also includes the original artist. The accompanying chart lists those aforementioned covers that have ap-
peared since Hot Country Songs converted to Nielsen BDS-monitored data in 1990. — Gary Trust

STILL SMILING

These covers have appeared since Hot Country Songs converted to Nielsen BDS-monitored data in 1990.

oaiciitu

WIIM

HOTCOUNItV

WITH HEW

VEU

SOIWSKtl

tlTK

SOMSPEM

MIKT

sting

1996

"I'm So Happy 1 Can't Stop Crying"

1997

Toby Keith

Kelly Clarkson

2005

"Because of You"

2007

Reba McEntire

'N Sync

1999

"God Must Have Spent a Little More Time on You"

1999

Alabama

Dolly Parton

1982

"1 Will Always Love You"

1995

Vince Gill

Huey Lewis

1982

"Workin' for a Livin' "

2008

Garth Brooks

John Waite

1984

"Missing You"

2007

Alison Krauss

■ 1976

"Sara Smile"

51 (to date)

2009

JIMMY WAYNE

The Bellamy Brothers

1979

"If 1 Said You Had a Beautiful Body
(Would You Hold It Against Me)"

2005

Dolly Parton

Jimmy Buffett

1977

"Margaritaville"

1999

Alan Jackson

SB I BILLBOARD I OCTOBER 3, 2009

Copyrighted material

BY AYALA BEN-YEHUDA

Step

Siep

Jesse & Joy Spark
Top 20 Stateside
Hit With 'Adios'

Mexican brothcr-and-sistcT duo
Jesse & loy's sophomore set. "EIcc-
tricidad," debuted at No. 14 on the
Billboard Top Latin Albums chart
this week. And while that represents
less than 1.300 copies these days,
the singer/songwriters are busy
spreading (heir music around in a
lot more places than just retail.

[esse & Joy won a Latin Grammy
Award for best new artist in 2007
on the strength of their 2006 debut
Warner album, "Esta Es Mi Vida."
It went platinum in Mexico with
sales of more than 100,000 copies.
Jesse Sl Joy's music has since been
used in campaigns for Verizon's
VCast music store, |C Penney and
Old Navy; the pair even composed
the theme song for the hit telen-
ovcla "Las Tontas No Van Al
Cielo," a Televisa-produced soap

that aired in the United States on
Univision. Jesse & Joy also ap-
peared in "High School Musical:
El Desafio," Disney's Spanish-lan-
guage film production of the fran-
chise in Mexico.

Though promotion of Jesse & Joy
in the United States was slow to take

Stateside
connection:
JESSE a JOY

off at first, the siblings have now
scored their biggest stateside radio
hit so far with "Adios," which holds
at No. 17 this week on Billboard's
Hot Latin Songs chart. The 26-year-
old Jesse and the 23-yearK)ld Joy will
perform this month In New York and
Houston as part of the Latin exten-

sion of the Grammy Celebration
Concert Tour series presented by T-
Mobile Sidekick.

"If you sit down and listen to the
first album, you feel like there's a
band playing live for you.' says Joy
Huerta. who wrote much of the new
album with her brother while they
were on tour. "Electricidad" pos-
sesses a bigger, more textured pop-
rock sound with touches of British
and glam rock, but "it's still that
same feeling." adds Joy.

Featured in Wal-Mart's "Sound-
check" series. Jesse & Joy are also in-
tegrating a green message into their
promotion of "Electricidad." The duo
linked up with the Natural Resources
Defense Council's "La Onda Verde"
campaign to create a viral video with
Earth-friendly tips. Visitors to Adios-
GlobalWarming.com can submit
their ideas on how to fight global
warming to win an acoustic concert
by Jesse &. Joy at a school, university
or park; tree-planting activities are
also in the works.

Tlie Latin Grammy win "made us
push ourselves," says Joy. "It helped
people get to know us from different
parts of the world that hadn't heard
us yet." The bilingual Huertas. who
have an American mother, would
eventually like to record in English.
"But,*" Joy notes, "we're trying to go
step by step. We're trying not to eat
the world in one bite." ••••

CLIMBING

On paper. Porcupine Tree Is a band whose suc-
cess is 3 little puzzling. The progressive rock act's
songs are lengthy, complex works that almost
defy commercial arplay. Band leader Steven Wil-
son rehjses to give away his music and ensures
his CDs are experienced as complete albums by
wrapping them in elaborate packaging instead
of offering them as digital bundles.

Despite these uncommmerclal proclivities.
Porcupine Tre« has been amassing a loyal fol-
lowing since 1987. The latest evidence: Fans
snatched up all 10,000 limited-edition copies
of Its new album, "The Irtcident" (Sept. 22, Road-
runner). They contained two CDs, a DVD and
two books (one of photos, one of Illustrations)
that complemented the record for $109, accord-
ing to manager Andy Leff. (Double-CD and
thre«-dlsc vinyl sets are also available.)

Why has Porcupine Tree developed such a rabid
following? Wilson believes that despite the
"dumbing down" of culture by entertainment like
reality TV, "there Is definitely an equal and kind
of opposite reaction against that by people who
still want something with a little bit of emotional
resonance, emotional depth . . . sorrtething they
can immerse themselves in and kind of appreciate
over many listens."

'The Incident" is a loose, semiautobiographk:al
collection of songs "under this umbrella of being
incidents of significant points in life, life-chang-

f % ! t

Loyai foltowing:
PORCUPINE TREE

irtg events." Wilson says. The most polgr»nt exam-
ple Is the lead single, "Tinw FHes." In it, Wilson re-
flects on his mortality and celebrates his Wrth year,
1967— a milestone year for rock music.

Leff says that to market "The Incident," Porcu-
pine Tree is repeating the s^tegy used for 2007's
"Fear of a Blank Planet" (53,000 sold, according
to Nielsen SoundScan), which "privatized" the
album's mariteting tiy hiring the independent put>-
licity firm Shore Fire Media to contact critics like
Rolling Stone senior editor David Fricke, who's
t>ecome a fan. "We'll always support the people
who supported us," Leff says, "but we want Jon
Pareles of the New York Times. We're looking for
artistic validation, not just genre-speclfic press."

To that end, Porcupine Tree hosted two listen-
ing sessions in 5.1 surround sound this summer

for Journalists. "We take everyone's BlackBerries
and cell phones away, give them a pad of paper
and a pen, and nnake them sit for an hour and lis-
ten," Leff says. "And they love It."

Besides detxiting the "Time Flies" video on AOL
Spinner, Porcupine Tree hosted a listening party
Sept. 24 at its Terminal 5 performance in New York.
The band started a two-week U.S. tour Sept. 15 in
Seattle and will launch a European leg Oct. 5 that
will run through December. The band's Web site,
PorcuplneTree.com, acts as the focal point of the
group's universe, where people can stream music
and purchase It from the site's download store.

"This whole album cycle Is almost like a
cycle of disengaging from the mainstream
and becoming a self-contained enterprise,"
Leff says. -Christa Titus

MUSIC FOR
EVERYBODY

It's a long way from Possum King-
dom, S.C., to Disney's Hollywood
studios and Boston's Paradise Rock
Club. But NeedToBreathe Is accus-
tomed to covering a lot of territory
geographically— and musically.
Buoyed by extensive touring and
key film and TV placements, the At-
lantic mainstream rock band's third
album, "The Outsiders" (released
Aug. 21), has spun off two chart-
climbing songs: "Something Beau-
tiful" and "Lay 'Em Down."

The former, which moves 21-20
this week on Triple A, is the act's
second top 20 single on that chart.
Meanwhile, "Down" rises 11-8 on Hot
Christian Songs, the band's third top
10 on that tally. "The Outsiders"—
the follow-up to 2007's "The Heat"
and 2006's "Daylight"— debuted at
No. 20 on the Billboard 200 and has
sold 37,000 units, according to
Nielsen SoundScan. It debuted at
No. 2 on Billboard's Top Christian
Albums chart and holds the No. 3
slot this week.

Though signed to Atlantic, Need-
ToBreathe is also being marketed and
distributed to Christian consumers
through Word Records. But the t>and
is quick to note it shouldn't be classi-
fied as just a Christian rock act. "We
appreciate that there are many ways
to get our music out to the public,"
says lead vocalist Bear Rhinehart,
speaking for drummer Joe Stillwelt,
bassist Seth Bolt and guitarist/brother
Bo Rinehart. "And our faith is really
important to us. But one thing we
don't appreciate is people calling us a
Christian rock band. The Implication Is
that you have to share our faith to like
our music and that's not true. We
make music for everyt>ody."

The group's musical diversity has
opened the door to various TV and
film placements. "Something Beau-
tiful" will appear in the new film
"When In Rome," due In January
2010. Another "Outsiders" track,
'These Hard Times," was featured on
NBC-TV's new drama series "Mercy."

The band's live appeal is another
success-building factor. "One of the
greatest assets we have with this
band Is their power live." notes An-
thony Delia, Atlantic Records sen-
ior director of A&R and marketing.
"They are great, both electrically
and acoustically. We'll win if people
just see them play."

—Deborah Evans Price

www.billboard.biz | 59

Billboard connect with the music industry's most important decision makers

For ad placement in print and online call Jeff Serrette 800-223-7524/iserretteia)billbpard.cpnr)

WANTED TO BUY

Immediate Payment

American Royal Arts, celebrating 24 years in
business, is looking to purchase music memorabilia ,

Ruurs
Set Lists
Autographs
Memopabllia

Concert Awards
Concert-Used Instruments
Signed Contracts
Original Posters

Contact Jerry Gladstone 561-869-0600

AMERICAN ROYAL ARTS

SIGNEDR0CK.COM * entertainment fine art * Since 1986
jgladstone @ americanroyalarts. com

BUSINESS
OPPORTUNITIES

Nothing But Beauty Records
is now looking for sponsors
& distribution deal for its
artist A.W. Irving's debut
album "SEXSOLISIOUS" &
featuring old school pioneer

Kurtis Blow & any other
new artist male & female or
groups who are
looking for record deal.
Please contact:
thev@victorthegreatcom
Nothing But Beauty also
donates to the animal
society & the homeless. You
can go to amazon.com or
cdbaby.net or itunes click in

"Sexsolisious" for request
www.rnyspace.cxxn/starbuilders
no calls please
(only the serious apply)

MUSIC
MERCHANDISE

MASTERING

BUY DIRECT AND SAVE!

I ■ ■ i ■ .'iig iheir pncK we

■ I ■ I " ■ Boohs. Casseiies

ir^ trcn Itif ma^.t

: (609) 890-6000-
Fa» i;609) 890-0247 of write
Scorpio Music, Inc.
PO Box A Trenton. N J. 08691-0020

omail: scorpiomus:!^ aol.com

tangeiineMASTERING.com
Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

SOMETHING TERRIBLE HAPPENS WHEN YOU DON T AOVERTISE . . .

NOTHING!

BE CREATIVE 'KNOW YOUR OPTIONS
ADVERTISE WISELY

Billboard EFF SERRETTE senior account majuuier

I PNOOe: S4e'654-4e97/Bll0'223.7524/F«X: 51«.654-ailfE EMAIL JSERRETTEaBIUIOAND.COM

BILLBOARD CLASSIFIEDS

www.blllboard.com

for more Info call:
800-223-7524

r DUPLICATION

DISPLAY UNITS

TAX PREPARATION

LISTENING STATIONS '

REPLICATION

PUBLICITY PHOTOS

BANKRUPTCY SALE

FOR LEASE

VINYL PRESSING

INTERNET/WEBSITE

COLLECTABLE

DISTRIBUTION NEEDED

CD ROM SERVICES

SERVICES

PUBLICATIONS

EDUCATION OPPORTUNITY

DVD SERVICES FOR SALE

BUSINESS SERVICES

TALENT

HELP WANTED ^

PROMOTION & MARKETING

MUSIC INSTRUCTION

SONGWRITERS

MASTERING '

SERVICES

BUSINESS OPPORTUNITIES

SONGS FOR SALE

AUDIO SUPPLIES

MUSIC DISTRIBUTORS

COMPUTER/SOFTWARE

DEALERS WANTED

ROYALTY PAYMENT

AUCTIONS

MUSIC MERCHANDISE

RETAILERS WANTED

PRINTING

RECORDING STUDIOS

T-SHIRTS

WANTED TO BUY

MUSIC PRODUCTION

REAL ESTATE

EMPLOYMENT SERVICES

CONCERT INFO

METAMUSIC

INVESTORS WANTED

PROFESSIONAL SERVICES

VENUES

STAGE HYPNOTIST

STORES FOR SALE

DJ SERVICES

NOTICES/

CD FAIRS & FESTIVALS

EQUIPMENT FOR SALE

FINANCIAL SERVICES

ANNOUNCEMENTS

MUSIC WEBSITES

STORE SUPPLIES

LEGAL SERVICES

VIDEO

NEW PRODUCTS ,

FIXTURES

ROYALTY AUDITING

MUSIC VIDEO

DOMAIN NAMES ^

CD STORAGE CABINETS

POSITION WANTED

For print and online contact Jeir Serrette; 800-223-7524 or jserret terabillboartJ.com

60 BILLBOARD I OCTOBER 3, 2009

THE

A WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

Following the daatb of
tter, Paul A Mary's Mary
avert Sept. 16, the act's 200S
It "The Vary Best Of d«buts
1 Top Pop Catalog Albums at
o. 29 (5,000 copies: up
)6K}. It's the first time the

t has been on a Billboard
bums chart since 1987.

Jim Brlckman garners his
th No. 1 on Top New Age
bums (viewable at billboard
om/charts) as "Beautiful
'orld" bows atop the list. He
»s Mannheim Steamroller for
e most No. Is In the chart's
year history.

Newcomer Justin Moore Is
e first solo male artist to
ke a track from a debut
bum to No. 1 on Hot Country
>n9s in more than three
•ars, as "Small Town USA'
les 3-1. That hasn't
ippened for a new male
tist since Jason Aldcan
ached the summit with
Vhy" In May 2006.

Jay-Z Holds At No. 1 While VMAs Shine On Charts

Jay-Z remains at No. 1 on the Billboard
200 with "The Blueprint 3," which sells
298.000 copies (down just 37%) in its
second week. The Roc Nation set bowed
atop the chart last week with 476,000.
Traditionally. No. 1 debuts that start with
huge sales weeks have a steeper second-
week decline.

However, |ay-Z's drop
was fairly soft for a cou-
ple of reasons. Last week
was the album's first
proper week of availabil-
ity, as the set had its off-
cycle Friday, Sept. 1 1 ,
release pushed up to
Tuesday, Sept. 8, at the
last minute, and many re-
tailers didn't have the set until later that
week. So, its 476.000 start could have
been much bigger.

Also, the set probably got some sales
traction from its placement in Target's
circular last weekend, where it was ad-
vertised for $9.98. |ay-Z also performed
on the premiere of NBC's "jay Leno
Show" on Monday, Sept. 14, and the
residual buzz from his MTV Video
Music Awards performance on Sun-
day, Sept. 1 3, likely bled into the cur-
rent sales week.

Speaking of the VMAs, the song that
closed the show. )ay-Z and Alicia Keys'
"Empire State of Mind," rockets 50-5
with Greatest Gainer/Digital honors
on the Billboard Hot 100. It sells

Over The
Counter

KEITH
CAULFIELD

205.000 downloads (up 374%) and
vaults 23-1 on Hot Digital Songs.

Back on the Billboard 200, Whitney
Houston's "1 Look to You" climbs one
spot to No. 2 with 156,000 copies — up
77%. The album's sales gain is due to
Houston's much-publicized two-day
stand (Sept. 14-15) on
"The Oprah Winfrey
Show." In three weeks,
the album has sold
548,000 copies.

Looking ahead to next
week. Pearl Jam is on
course to nab its first No.
1 album on the Billboard
200 in 1 3 years. Indus-
try prognosticators sug-
gest the band's new "Backspacer,"
released on Sunday, Sept. 20. could
sell between 175,000 and 200,000
copies by week's end.

VMAs PACK PUNCH: MTV's annual
Video Music Awards show smiles on
the Billboard 200 as a number of eye-
popping gains come likely as a direct
result of the program. It's no wonder,
as the show earned nearly 9 million
viewers, according to Nielsen, the most
for the VMAs since 2004.

Pink, who performed an acrobatic
version of "Sober," sees her "Fun-
house" album fly 63-28 with Paceset-
ter stripes, signifying the chart's
greatest percentage increase — it's up

95%. Lady GaGa's "The Fame" ben-
efits from the performer's best new
artist win and her dramatic rendition
of "Paparazzi " as the album climbs 23-
12 with a 76% increase.

Green Day, another winner/per-
former, skips 59-54 with "21st Century
Breakdown" earning a 1 7% jump.

Taylor Swift, who took home the
best female video award for "You Be-
long With Me" (and performed the
song on the show), moves 10-8 with
"Fearless" (up 37%). Meanwhile, her
self-titled debut — which is still on the
chart— rises 48-45 (up 21%). Her un-
expected VMA acceptance speech vis-
itor, Kanye West, isn't on the

Billboard 200 this week. His last set,
"808s &, Heartbreak," has been absent
from the chart for the past month and
declines 7% in sales this week, selling
less than 2,000.

Collectively, the album catalogs of
all of the major VMA performers
gained 40% in sales this week. That in-
cludes the aforementioned acts along
with Beyoncd. Muse, Janet Jackson
and Alicia Keys. (However, it's an un-
fair comparison to lump in the sales
of Jay-Z's brand-new "The Blueprint
3" and "Blueprint Collector's Edition"
and Muse's "Resistance," so they aren't
counted in our tally.)

REMEMBERED: The Sept. 14 passing
of actor Patrick Swayze causes some
unsurprising surges in sales this week.

The soundtrack to his smash 1987
film " Dirty Dancing" re-enters the Top
Soundtrack chart (see page 64) at No.
13 with 3,000 copies (up 390%) while
a 20th-anniversary version of the
album re-enters at No. 20 with fewer
than 2,000 copies sold (up 446%).

The album's signature tunc, "(I've
Had) The Time of My Life." by Bill
Medley and Jennifer Warnes. sold
6,(MH) downloads (up 444%). Swayze's
own soundtrack contribution, the No.
3 Billboard Hot 100 hit "She's Like
the Wind," went from selling fewer
than 1,000 downloads to nearly 8.000
(up 1,351%).

l\/lai-ket Watch

Weekly Unit Sales

MIUIE

DKIIM DieiTU
UBUHS' TRIOS

ThlsWetk

6,431.000

1.447.000 19.875,000

LailWeek

6.711.000

1,422.000 20.099.000

Clunge

-4.2%

1.BK -1.1%

TNsWHtUlta

6.924.000

1.263.000 19.289.000

Oaagc

-7.1X

14.6% 3.0%

Weekly Album Sales (Miiiion units)

A Weekly National Music Sales Report

Year-To-Date

OVERALL UNIT SALES

Ubums 291.406.000 250.625.000 -14.0%

DlgilallndB 776.963.000 864.905.000 113%

StmSlnglK 1,226,000 1,318,000 7,5%

lolll 1,069,595,000 1,116,848,000 4.4%

Uumw/ia- 369.102,300 337.115.500 -8.7%

I, ii' , I Biiuivalont .vtium uilri. I T£A) wtlh 10 tract" Oown>uai]i iNjuiviilenI

niclscn

CcTvitod from a rvftontf unvio of r«*l *tone »na fat* • ■ ■

MlM fworts cotocted arrJ provKlod by SOUndScaft

Year-To-Date Album
Sales By Store Type

120 million units

15 I

10 I
5

2008

200t

ALBUM SALES
•08 ■
■091

.2ili^>nllllon

JFMAMJJASONDJ

SALES BY ALBUM FORMAT

CD 244.034.000 194.812.000 -20,2%

DItflal 46.028,000 54.001.000 173%

Vinyl 1,241,000 1.768.000 42.5%

OlIlM 103.00 0 44.000 -573%

Indies Non- Mass

traditional Merchant

CHART
BEAT

>Chubby Checker celebrates 50
tan of charting In Billboard, as
rhe Fly" debuts on Hot Singlet
lies at No. 40. Checker first
jpeared on the May 23. 1959,
illboard Hot 100, with "The
lass." Ifs the latest lofty honor
.r the beloved entertainer: Last
iar. Billboard named his classic
rhe Twist" the No. 1 song of the

ot 100-a nrmt SO yaarm.

>Between 1968 and 1993. Living
oiour sent four albums to the
Illboard 200. Its first entry,
/ivid," rose the highest,
iaching No. 6 in May 1989 the
ime week that the set's "Cult of
ersonallty" peaked at No. 13 on
le Billboard Hot 100. This week,
te rock band returns, as "The
hair in the Doorway" furnishes
ie Billboard 200 at No. 161.

Read Chart Beat
every week at
bliiboard.com/chartbeat.

Go to www.billboard.biz for complete chart data I 61

ii iihii

ARTIST

Title

1 &

1 2

RIjay-z

^Hfln^i.'**""'' SWft'.e-JtO (10 08) *

Th* Blueprint 3

^ 3 T 3

[mfm] WHtTNEY HOUSTON

1 Look To You

nTrTri ,

ISSI

MUSE

' ' ' ift-WMNER tROS |1*9tlS

The RestttifKe

-J

KIDCUOl jj,

'..I---.-.- .■vrO-3W\l«(tG(n9l|+

in On The Moon: The End 01 Day

■

M1LEY CYRUS

The Time 01 Our L»v«S (EP)

■

DRAKE

So Far Gone (EP)

■

LIL BOOSIE ^^^^^^^^ ^^^^^ Sup«B«l: Th« Holurn Ot Boo«e Bad A«

■

10 9 ,

TAYLOR SWIFT

■

MEGADETH

■

Mat""
K'.

7 11 Q

THE BLACK EYEO PEAS

■

■B

g 7 Q

KINGS OF LEON

Only By The Night

■■

■ir

23 25 Q

LADY GAGA

- M . ■inH>ii«t«ifBscnptDmoi',«»|i?9aj

The Fame

_ MB

■■

12 13 Q

ZAC BROWN BAND

The Foundation

a 3 Q

TREY SONGZ

■ ■ ■ ■. ■■ ■■■J a& cj sii

Ready

■

■H

» 0

BROOKS & DUNN

• ■ . . , U7, ,1J 3B|

#1s ... And Then Some

■

11 s Q

COLBIE CAILLAT

Breakthrough

■

■B

MARK KNOPFLER

G«l Lucky

HONOR SOCIETY

^■Monably Lata

1< 18 Q

VARIOUS ARTISTS

'.<^:^-iONVWUStC|II.N)

NOW 31

■

i< u 2

SOUNDTRACK

Hftnruh Montana: The Movie

-■

■r,'

17 19 Q

MAXWELL

BLACKsummetsnlght

' □

RAEKWON

Onty Buitt 4 Cuban LInx... Pt. II

■

12 23 Q

JASON ALDEAN

Wide Open

20 20 Q

DAUGHTRY

Leave This Town

■

PORCUPINE TREE

The Inctdent

Bl-

11 le Q

GEORGE STRAIT

TWang

ACE FREHLEV

Anomaly

63 51 47

MailM 1 tua. HT»'JLG {13 U)

Funhoiitft B 2

21 17 Q

REBA

Keep On Lovmg You

■

■i"

. B

BOYS LIKE GIRLS

Love Drunk

■

32 »||]

EMINEM

lai :■• ii-r(ii.'irri riTEflSCOPE (13 98!

Relapse

■

27 21 Q

VARIOUS ARTISTS^ ^qw That's What t Call Country Vol. 2

29 2. 15

NICKELBACK

Dark Horse

"■

I®

TRICK DADDY FHl»l»y F»mou»: Born A Thug. SlUIAThug

SHADOWS FALL

1,1 .11 • .'jiPLirnifS fffiBd iioit*' nn <i* w, *

Retribution

24 8 Q

PITBULL

Rebelulion

25 22 f1

SKILLET

Awake

■

UNCLE KRACKER

■ ■■■ ■ iOlUMI

Happy Hour

■

NELLY FURTADO

« ' '.' < il LMinomitUWf (11.98)

Ml Plan

■

BEYONCE

.■.■.>.■ . 1 .1 r.'>,.t lilDESCW l*l*C 111 »ei

1 Am...Sasha Fierce

PETE YORN & SCARLETT JOHANSSON

Break Up

■

U 34

LADY ANTEBELLUM

Lady Antebeltum

THE BLACK DAHLIA MURDER

Oeflofate

■

DARIUS RUCKER

■1. tdfh:

Learn To Live

■ta .17 "

TAYLOR SWIFT

Taylor Swift

EVERY TIME 1 DIE

New Junk Aesthetic

■

THRICE

Boggnrs

■

26 6 Q

CHEVELLE

Sci-Fi CrNiioB

36 IS Q

CHRIS YOUNG

The Man 1 Want To Be

37 42 Q

DAVE MATTHEWS BAND ^h. GrooGruK King

m 1

Ihe alburn earns
Ihe greatel gain in
units ItifS week (up
6B.0O0 (ODies. d
77Slntr«ase),
Ihaaks to Houston'^
mudi-pubtlclwj
two-dar stand on
"Tlie Oivah
Wintrev Snow"
SepL 14 and IS.

The mi tiio enlf n

with mm

copies, a cateei-
hlgli lot the act.
That figure more
Itian doutiles the
band's ptevious
best week. wtKn
2O06's "Stack Holes
and Bevetalions'*
MuMand
PHMltNo.g
iMh 41,000.

A stunning reentrr
gnctslheset

(K.OOO. up

1,55\) .V i: ■ ■ ■

detauteil 1
ago at No '.1
a (fcgital-onlv bow
Aug 11. On Sept IS.
thepltyskatCD hll
retHL

This is Iik€lv ttie
band's Sept. IS pei-
torraaiHe m ■■lit*
iMiiglil Siiow I'-iih
ConanOBrci'
a new Cad. 11.1 'f

iH-al leiil.ir: .

'i'.

ARTIST

' i NUMBtR . [HSTniBUlHIG LABU

Tilie

§ U

SHINEDOWN

The Sound Of Madness

OWL CITY

■.i':r. iTOM

Ocean Eyes

■

SUGARLAND

(U«

Love On The Inside

«■

GREEN DAY

21 St Century Breakdown

•■

FABOLOUS

9t!f 4-

Loso's Way (Soundtrack)

NEW 80YZ

■ L. ■■ .JLH^:, *«Hriift BBOS MJ

911

Skinny Jeanz And A Mtc

■

RASCAL FLATTS

Unstoppable

SOUNDTRACK

■■■ i89«t

Hannah Montana 3

KElTH URBAN

-■, . ■ ■•-■'if \lflW,

[)etylng Gravity

PHISH

Joy

■

SOUNDTRACK

: .-.-i^hTir.'itiWs-i.i; 1

Twiligii:

B 1

KRS-ONE a BUCKSHOT

Survival St^iiiv

KENNY CHESNEY

Greatest Hits II

■

OEMI LOVATO

Here We Go Again

■

JUSTIN MOORE

Justin Moore

■

BRAD PAISLEY

-■■ :.- .1, ■ 1; /; r 1 *i|

Anwrican Saturday Night

NEIL DIAMOND

HOI August Nighl/NVC

THEORY OF A DEAOMAN

Scars & Sou vent rs

■1

INSANE CLOWN POSSE

Bang! Pow! Boom!

MICHAEL JACKSON

The Dellntltve ColleciKin

SUGARLAND

UVE On The Inside

KIDZ BOP KIDS

Kkl2 Bop 16

JASON MRAZ

■ "I. (■(Mif

He Sing. We Dance. We Steal Things.

■

THE FRAY

The Fray

JEREM1H

Jeremlh

VARIOUS ARTISTS

The 99

Most Essantisl Baroque Masterpieces

0 TIP

■ -j'-yQ- m lis am

Kamaal The Abstract

RODRIQO Y GABRIELA ,,,,,

'■- - .--1 :ivD[ • '

SOUNDTRACK

Wizards Ot Waverly Place

■

LIL WAYNE

■,'-1. .t:im,

Tha Carter 111

B 1

41 Ifi

THE USED

Artwork

LETOYA

r-Mfi.i -.-:v.'im

Lady Love

■

"*[; 'Ji-BiiDPt [I12S30- «* (1399) *

No Line On The Horuon

KJON

1 Gel Around

30Ht3

Want

IMOGEN HEAP

Ellipse

KELLY CLARKSON

All 1 Ever Wanted

87 76

HOLLYWOOD UNOEAD

Swan Songs

THE BLACK CROV/ES

Before The Fro«L..IJntil The Freeze

JOHN FOGERTY THE BLUE RIDGE RANGERS Rides Again

■

•1

JONAS BROTHERS

Lines. Vines And Trymg Times

■

74 60

CHRISETTE MICHELE

Epiphany

■

LOS TIGRES DEL NORTE

La Granja

110

114

LMFAO

»K eiUlMU

Parly Rock

a»'

BILLY CURRINGTON

Little Bll 01 Everylhing

■

110

191

PHOENIX

Wohgang Amadeus Phoenix

■

ARCTIC MONKEYS

Humbug

■

THOUSAND FOOT KRUTCH

Wetcome To The Masquerade

■

SAOSIN

In Search Of Solid Ground

■

too

LEDISI

V[RV( IC"iEl:*3l oue'J.vo <I3 9SI

Tum Me Loose

■

THE BILLBOARD 200 ARTIST INDEX

C*W 171

KEIffYOfSNEV n

BiuycuRRncrm

UlfV CYftUi i

L-CEPEWnOH OMtD m
m OUUMO 67
IMRIEOIGBY IBS

omw .«

m-QMM IM

DVMfnuS . Itt

ROOeHANOeRS 90
COLT FOND 179

Mmmoi 190

SPUAiUD Ibi
THEHWr 71

AanwMLiY 77

KEUTFUHTAtra T'

mum m

GLOnAM . ..1(C

«(Xl¥W300LNDeAIi SI
MOTCflSOCtTy !S

WKHiajIDISON 70
JW-I MM
UASauOMHU 147

jfflBm 75

JK . . 181
JAMrrjOmSON IM
JONAS BROTHERS .Ji
eCORGfJCIIS im

KIDCUD) 1

nueoPKUs t?
TiCKUfiis m

KIILSWITCHENGVE T«6
NJNGSOrifON 11

Vim m
Kxm M
UAmmCFHiR 17

KRSOHEABUCKMIt C

LADTOAOA 12

LEOiSI too
UTtWA .- «

\xwm ... H
UlMCOLOUfI 111

LMFAO M

tCMtOMTt) W

ai.LtWUJw' ". ill

MtcncwMKEvs 9:

FfWNCESUSATTSniil
1TJ

TWBEATUS .IM

LIL 3CC5S :

BonuKEeins x
enooMS&ouKN is

ZKSRMNBWf) 13.1^

CHMLU 48

CHCXENTOOT 1)5
EMCCNUKH ISO

KaircLMKBn. a;

COBRA SWSHP \2i
COlDPWr ,127

nrrsMWccNi i9S
caiEcnirtsom m

OMECOOK m
PAMDCOQK IH

BGBmUN 171

T)U£ 1 EiE at

CaONDAV M

eazavBUH m

OAMDauCTT* 1U

ANTHCUrr HMOITDN
MOGttltfAf> M
HHISOM; ttt
KERIHItSON IM

^iXt HCRffiiSV AKI THE
MOISOIAMFtS iie

KVOt^ 4». i«r
ncBiACKimit

UUHDER 4]
TIC BLACK CROWS M

COlBIECWUAl 16

UNiAtOTH^ 144

62 I Go to www.billboard.biz for complete chart data

Data lor week ot OCTOBER 3. 2009 I CHARTS LEGEND on Page 67

Cni

SALES OAT*
COMPIIEO BT

niclscn

SoundScan

Sill

t K S i 1 K i

■1 H .^■lUUo^^H

G|
5 S

So go ARTIST

»3 53 iMi Ht'u 1 SUII8U ; DSTHiuiTiWi aati icnicE>

Title

J
it

Se S= S" ARTIST

3» *S '."^I'f A NUtlBffl . ttSinWIIM tAHL tPHCEl

Title

j®

SICK PUPPIES

Tri.Polar

151

J MOSS

Just James

5fi til GLORIANA

'° H>t ■ ■ Ml- ■ 'i.'.in'dlltl i'3

Glorlana

1 1

1S2

, , , . ,| ALL TIME LOW

Nothing Personal

Hii!

109

» H GEORGE JONES A Collection 01 My Best Recoileclion

™ .1 . ' WARKflSD113U [XUlf 111 9ei

Is 1

153

lil ar ^°"''°^''*Smi»o! iumi Trmstonnors: Rovsnno Of The Fallon: The Album

■

Q JAMEY JOHNSON

That Lonesome Song

His ninlli [tid'ifJ
sRiuni. ini tiii !irsi
WKe 20M's Ho.

164

,.„ ZAC BROWN BAND Th, cn,

■

n Ifl THOMAS

^ lU HJI-.:M .'.'./.MIL iUIUAii (51 »*l *

Cradlesong

H3t15Q'<^'-'-'E""='<h^,^.

Kellie Pickler

■

Bb*
B"*

- 11 ■'"■^

1^ II 1.- i --iittnf> i<.ufli}m<iPM0|i9Hi

The Bluephnt: Collector s Edition

"ftikVM D^s."
maikshtsSKonit-

ANTHONY HAMILTON

The Pwnt Of it Ail

■

Bit

„p SEAN PAUL

Imperial Blaze

™ -56 TOBY KEITH ^^^^^

35 Biggest Hits

■

07 n HILSON

Of .. ..i-£0t»0a'IC«|13Ml

In A Perfect World ..

bed rank since
t«5. Ilw sel.wtiidi

156

. J,, THE DEAD WEATHER

Horehound

■
■

M VI MATISYAHU

^ U r.'UUtlCIIIMl

Ugtil

leatufMhis?- :ind
KeHti iinil ttti^seli.

DESPERATION BAND

Ught Up The World

■

81 n WILLIE NELSON

° .< ' . - . 'i T-!3r,'siG<i;9a)

American Classic

100

1« 139 ^ E?,": CH JRCH , , _

Carolina

■
■

n A FINE FRENZY

' mm ■<■

Bomb In A Birdcage

Im rmt for Vtrve.

(SIS

LIVING COLOUR

The Chair in The Doorway

■

101

K 0 ELEPHANT

Cage The Elephant

^ n GAITHER VOCAL BAND

Reunited

104

U VARIOUS ARTISTS

NOW 30

•

124 103 5"*"°°"'^^*,

One Love

■

m YO LA TENGO

Popular Songs

149 169 Q '"(^"''E'- FRANTI i SPEARHEAD

All Rebel Rochers

■

M Q CHICKENFOOT

Chickenloct

■

166

153 131 Q °?°"<5E ^^f"*!^.

Troubadour

■

BRUCE HORNSBY AND THE N0I5EMAKERS

Levitate

166

159 196P™',''°°*V ,

Revelation

■

■SI

72 iQ SOUNDTRACK

(500) Days 01 Summer

The rock super-
gfwp-toiw
Obml.Jim Jimes,

im 179 IfI BEVONCE Above And Soyonce: Video Collection & Dance Mixes (EP)

■

91 B PERRY

One 01 The Boys

■

■WW "'.'"OfETUS

Descend Into Depravity

■
■

wBa

84 Q JORDIN SPARKS

Batlletietd

Mite H03I1 and M.
Wvd-starts wllh

ISO 128 n '*""-'-"*^- CRAIG a DEAN

Fearless

■
■

liaigAVENTURA

The Last

an earlr digital

mil^yg ASKING ALEXANDRIA

Stand Up And Scream

■
■

154^^°?°^'^'^. Playlisi: The Very Best 01 Bob Ovian -705

releaw H
Amaion'vNP]

'1' I'll!:. f .1.1 ■'4.t".\Eif BSns j 1 3 34^

Bright Nighls Dark Days

■
■

120

9B Q HALESTORM

Haleslorm

■

store before Itie (D
vrtmlSeiit. U.

132 118|J|°™^'-''8E»R

Veckatimest

■
■

Category F5

177 182 Q FRANCESCA BATTISTELLI

My Paper Heart

Q '^EEOTOBREATHE

The Outsiders

107 33 IQI CROSS CANADIAN RAGWEED

Happlrwsa And All The Other Things

10t

„ fl COBRA STARSHIP

Hot Mess

SOUNDTRACK

Jennifer's Body

lis

127 Q SOUNDTRACK

Fame

176

145 140 H^*"^

isolated INCident

111

Iva Le VIda or Death And AU His Friends

li.

1 1

177

177 fl3 VI COLLECTIVE SOUL

i<r ai> , , , 1 .,i:^?6(ic>j«inum«En I'SMI

Collective Soul

f« BARLOWGIRL

Love ft War

Il46 1 1

19Z 174 Q , ,1 -iN'iCSi!»7'*C(i»»ep*

Piptr Trail

■

Amazon's MPJ slor?

19«

IW .,, ir ■ <oxv»dSiC tn W! *

The Sound

Rkte Through The Country

112

90 Q MODEST MOUSE

No One's First. And You'tb Next <EPi

The Lost Get Found

■2

B7 Q VICKIE WINANS

How 1 Got Over

«7

,5= ,3, =^ JOE

Signature

i»

^ Q THIRD EYE BLIND

Ursa Major

1,^^ BRiTNEY SPEARS

Circus

^^■Mj KITTIE

In The Black

The akum bowed
tastimkon

Breathir>g Underwater

102

You Deliver Me

David Cook

135

136 Q sTlversun pickups

Swoon

■

116

trains

Hello Love

138

Oracular Spectacular

ttetjeelm akiiit''
atHo.nt-- '

166 146 Q KILLSW1TCH ENGAGE

KllUwilch Engage

12)

IWH^^CALFLAT^^^^

Greatest Htts Volume 1

wek-ea-;.
reteas«. selii:i^
2.000 (opiK. Now

187

170 180 0 KEARNEY ^ ^^^^ ^

Oily Of Black & White

106

79 n ■K<^'^ID MICHAELSON

Everybody

168

,T PLEASURE P

The Introduction Of Marcus Cooper

1»

130 Q VAfllOUS ARTISTS WOW Hits 2009: 30 Of Th» Ykw'B

Top Christian Artists And Hits

•

with ttw CDavall-
Mt. the [ombined
ulM junp ID !.0O0

166

THE-OREAIW

Love V.^ Money

l»

117

JIR Ifl WILCO

^ IkJ N.-it<fbu[:h ■■..i.;.^- BROS tiS98i

WUco (The Album)

190

JAMIE FOXX

Inluiti'Hi

1 3

133

117 Q '^^'^ JACKSON

Good Ttme

•

1»1

131 167 ^ TENTH AVENUE NORTH

Over And Underneath

13t

132 Q "EQ"''^ SPEKTOR

Far

Ihe SOS lumble ol
Itie wt sliouMn't bf

1fi4 m n HILLSONG

HI ^'i-' ■■^litUStiWHl.SOKVMUSCmMl

Faith + Hope + Love: Live

^^■H MONSTERS OF FOLK

Monsters Of Folh

103

MARK SCHULTZ

il3«SI

Come Alive

113

92 IQ LOVE AND THEFT

World Wide Open

194

GINUWINE
■"■ .■■■■JS (18981

A Man's Thoughts

121

11* n CHARLIE WILSON
"'III " . . T39BI

Unde Charlie

3 surpriM, siiKe it
MS available in

160

KEYSHIA COLE

A Different Me

Its

170 R WISIN * YANDEL

La nirv«lu<;Hoii

bmited i|u«illti«

Kumrtirie. [tw
stereo boxed s«l

VEAHYEAHVEAHB

11 G Bhtz!

^^■M MASON JENNINGS

Blood Of Man

197

,-| THANK SINATRA

Nothing But The Best

•n

137

12bQ randy H0U5ER

Anything Goes

falls oft the diarl.
drooping 95S In Its
second week.

106

, THE KILLERS

Day & Age

•I

123

105 Q SOUNDTRACK

Mamma Mia!

■

40 Q "^^^ BEATLES

Th* BmUm In Mono

149 Q ^^^^ AGAINST

Appeal To Reason

-3

All Hope Is Gone

I3S

JJJ^SLIPKNOT^^_^^^^_^^^

•n

UUWEU NCBnOBICAniE 131 BHW)I%fiLfv M
ufr.umvt a wnKiin'mN ita uTvPcmv tiH

TOBClfWitTiiH

<Am at. JORDNSMRKS MS «*WtAMMmi*KA IME

MAiK ^ri4ii'7 lat nnrwvsPEjuis i» movif

H ^^■■n^HiBi CHRIS roujH in ^^^k^h

TBnHMOUtCRIH W IRt^SOKW Ii
0 TtrnmrnFinnEuui ea TRtrii Mfiiw « rr^v-Tr tt

rt* VEtKS TOP YOWtEWiO tlA
CtlHSTUM ARTtSTS Kit YDM & SCAftCTT
AHIIHIIS 'lit jOHAtOSON 41

MUMI

IM NEWaOVZ M PHUIPS CflACiDEM

71 awfuA 1117

SPB

KIDR .1« JDIMFCFrseODY t

b tmroow ih t'msta m TtfseuosiesseNTuu.

ftGWDUICHAElSCM I3« MCKaSlhCK 33

CHRISETTtMICHtLf « BnmMCUi ISO Ptl'^t >>fl

saw 134 GtEMOESmUT IMJMAUW
■■■ SHAOCMS FAU. 3S SUWUW M. 71 IRAHSKWMEI

9 TmRDmSUW .137 BAROOS
ROe TMOyAS . lOS ■■■O^^B IMSnRPCCES

UOOtSIMOUSt 130 PM';(-M> %
IKW5TER50FFQLK Iti ^^^E^^^H ^hJ! (-' tuP

JU5TMHD0RE M flWLClTr 52 fiS> 2i

MCKWQN

ftASCftLfmns

R£BA

a SHMDom SI

a W SCXWPHB Jl»

tt SLvEfSfliPHnujps m

AVIW

SWI

~! 6.1s RevEHGtOf M»U£N TMNSANOFOOTKRUTCH UZ C NOWSO 113
rxEALBUW 153 ... SB JNCli MUCKER » N0W31 tS

.. I'-IH TWIAHI A1 TWBtT *7 iCFllH llflUAN M MnWTMIT^UMn 1 1

VICWE WHAMS 131
WSHliiTINQEL 14fl

JUOES

15' l-V-iiii. 11.

FOSEAOWST

l» trufffSNATRA 197 (SOOl OAVS OF SUMWR WUFlOSOf WAVfRLV

ti i7i WE USED i< cowmrrwLi

J«S(MMHU
4U»

7,1 iLiJx--. ,1'- P 'Slj
■1

MflUSniCKHt

FAME

llf ITOU
l»

» UBTDCSOB-wiK n wownisian 30»

Data for week ol OCTOBER 3. 2009 i For chart reprints call S46.6S4.4S33 Go to www.blllboard.blz for complete chart data i 63

Cni

9 TOP INDEPENDENT

iilib«ard.

0TOP DIGITAL

ARTIST

It.' ■ ,1 ■. Vi-;^ .■ WilHiSlltltlC .*B£l iPKlUI .

Kl JASON ALDEAN

Title

Wide Open

ACE FREKLEV

Anomaly

TRICK DADDY Finally Famouti Bwn A Tnug. SUI A Thuti

SHADOWS FALL

Relflbutttm

THE BLACK DAHLIA MURDER

Dtlloiale

EVERY TIME 1 DIE

New Junk Aesthetic

THRICE

Beggars

PHISH

Joy

KHS ONE & BUCKSHOT

■■ 1 '6 «l

Survival Skills

INSANE CLOWN POSSE

Bang! Pow' Boom'

VARIOUS ARTISTS Tne 99 Most Essential BaroQue Masterpieces

Q-TIP

Kamaal The Abstract

RODRIGO Y GABRtElA

11 11

THE BLACK CROWES Belotc The FfOsL- UnW Trw hem

n'JM'iU PHOENIX WoHg

lang A/nadeus Phoeiwi

ARCTIC MONKEYS

CAGE THE ELEPHANT

Cage The Eleonani

VO LA TENGO

Popular Songs

CH1CKENFOOT

.1- ■■

Cfiickenlaoi

SOUNDTRACK

Fame

VICKIE WINANS

How 1 Got Qve-

I THIRD EYE BLIND
rklTTIE

, SILVERSUN PICKUPS

MONSTERS OF FOLK

I LIVING COLOUR
1 DYING FETUS

Tlw Cluir In The Dooiway

Descend Into Depravity

ASKING ALEXANDRIA
GRIZZLY BEAR
DANE COOK

Staml Up And Sueam

ISolale<f INcidenl

I est*

Ride TTirough The Country

DORROUGH

Dorrough Minii:

SMOKEY ROBINSON

HIKSij mi'W il6 981

lime FVs When Vou're Having Fun

THE XX

■ L liC litCf IS SfiOJI* IMM

MATT & KIM

!i,r'=i 1 j'.ii nans- <ti Mi

Grand

M.O.P.

Fouixlatio't

EARNEST PUGH

LIVE: Ram On Us

ffipE |I3M)

PASSION PIT

Manners

7tei

SOUNDTRACK

American Itfal Season B: The 5 ScflO EP

TECH N9NE PRESENTS BIG SCOOB Mor.slenfik

YOUTHFUL PRAISE FEAT. J.J

HAIRSTON RL'SCng On Hs Promise

Ht DIES TODAY

bvidilv

OTEP

Snush The Conliol Maclbne

RICKY SKAGGS

Solo: Songs My Dad Loved

PROTEST THE HERO

Gaiop Meets T)w Earth

SLAUGHTERHOUSE

Slaughterhouse

The Broad Stfeel Sully

THE TINQ tings

Ike Ffftilev debuts at Nr.

onH-r nil

Top tndeiHiKlefit Albums i

lop DlQitai
] ul'Onlvs«l was sold

64 I Go to www.billboard.biz for complete chart data

ARTIST r.tie

ii/. i. M r ;.TiipiijTii»;i.M.l.

ill

1 KlJAY Z The Blueprint 3 .

MUSE T)ie Rflsislancf!

' ■

A
W

KID CUDI Man On The Moon TnoEndOiDay

••■.1 ; ■.iVch' -.iv MOTOWN UMftfi *■

* B

WHITNEY HOUSTON 1 Look To Vl j

' m

DRAKE So Far Gone iLPi
vr .'r,5 V'-j'.':' Ti^ti V'D^i'' LWWERSilMOlOWN lUWdG

6 ^1

LADY GAGA Itie FaTie

PETE YORN & SCARLETT JOHANSSON Break IJ[i

, .;, . .^^:■n mr.HO

KINGS OF LEON Only By The Ni^M

" 5

TAYLOR SWIFT fearless

fE)

MEGADETH EniMaine

9 H

■
■

VARIOUS ARTISTS The 99 Most Essenid BaroQue Masterpeces

THE BLACK EYED PEAS The E N D

If.'-l^iiCIIPt Hit

10 1

m
I

NELLY FURTAOO Mi Pld^

39 ^1

OWL CITY Ocear tjcs

» n

■

MARK KNOPFLER Get lM<v

17 1

PINK FuniDii-sfl

29 ^

DAVE MAnHEWS BAND Whrshey And TTie Gronnrj. Kirq

UNCLE KRACKER Happy Hi>ur

39 1

■

C0L8IE CAILLAT Breaktlroygfi

It m

RAEKWON Only Built 4 Cuban Linji Pi II

22 H

HONOR SOCIETY Fashionatily LstB

■

LIL BOOSIE ^jperBad The Return Ot Boosie Bad Azz

7 1

■

ZAC BROWN BAND The FoundatXKi
'." i.WWM'ATlJlHnC 'Ml

19 1

^ BOYS LIKE GIRLS Love DriJnl>

30 f

■

TREY SONGZ Resi:*

14 H

QtOP INTERNET

•s2 SS ARTIST Title

35 ■ .■■■:'3<ITIMlL«!i

13 S

^^H^QmuSE The RflStstaiicfl

Jff^ PORCUPINE TREE The InciOf^r;

2 m THE BEATLES AbDey ftOid

4 '^i- ^"^^'^ Bluepfinl 3

Jl^y^ MARK tSNOPFLER G« LuCKy

BH HONOR SOCIETY FllhlOflallly UR

Pin MEGADETH Endgame

5 ^jt' "^HE BEATLES The Beatles

12 n WHITNEY HOUSTON ILoohToVwi

g ^ BEATLES Sgt Pegper s Lonely Hearts Club Rand

J ^ THE BEATLES f '^

9 BEATLES Rubtx '

16 ■ BEATLES Past K'v-.

MIH' KID CUDI ManOnTneUoon TheEmir':

■llilH i.v-.H -, ri gNi'iERSAi. yOTIMttOO^M-'UMRC *

[|U ACE FREHLEY Ar-.: .

•I

„ ^ """"^ BEATLES Lei It Be (Sound!.. .

,g m THE BEATLES Uaf^al MysiCfy Tout (Sounciij ■

3 ^ THE BEATLES The Beatles In Mono

,y M the" BEATLES A Ha?d Day s NigM iSDuna^racl^

KRS-ONE a BUCKSHOT

(i2

P H THEY MIGHT BE GIANTS Here GoniEs Sr > i-

18 IP '''"^ BEATLES Help* (Sounri i ■

■

[i^jl^ THE BLACK DAHLIA MURDER Dei:cir.!:i

Pff^ EVERY TIME 1 DIE New Junk Aesthi^tic

,^ ^ "^"^ BEATLES Piesse Pmase Mr

—

EXCLUSIVE CHARTS
FROM BILLBOARD

THIS
WfEU

WEEN
WEEKS
ON CHI

^l^j^g The »Mk ( irant-sliaunvit imieo

iF.Ti^l |.,VII--i>lh' , HHf,.

SCF.AOL

KIWHITE HORSE

TELL ME SOMETHINQ 1 DONT KNOW

s(viN> i^mu ■ . ■ ■. ii!i

LOVE STORY
niTUxinnFT : -tti

NEW CLASSIC

DHEW SUiV & SfLlM ODMEZ (RAZOf) g HE)

-i's.

PICTURE TO BURN

t*ivQH ii-lfT ■ ■.[

OUR SONG
TUTUMJWWT ■■

TEARDROPS ON MY GUITAR

IWIDB SWWt uk- M;i[".r.L.

SINGLE LADIES (PUT A RING ON IT)

•dfOMCt |ULI';IG flOHir COUMQI,! 1

ABOUT YOU NOW

MiiMMi«eiitenonii(inEioDEoii'CoiuMHiJ>i

LEAVE rr ALL TO ME

MIRUU CSUROn lEnwWB OiW ecu iNICMELCiilEOVt

I'M ONLY ME WHEN I'U WITH YOU

r«iLuniwrr inu w(,LiiiNii

, CHANGE

^ FLY ON THE WALL

YEAR 3000

J0W.5. BflOIWW fiui.'»aO0l

LOVEBUG

JOUS IROnM iHOLLVMODl

YAHOO! V MUSIC
VIDEO

TITLE mw«*'e woWMwwd vMne m

ilMCFiV' ;Ailti;

, nU YOU BELONG WITH ll«E

THRILLER

OBSESSED

WUUH CMtT

I'M EVERY WOMAN

WHITNII HOUSTOH ' HMCj

TINY DANCER
(iiOM ii:hh '11 .iMi 1

, 1 LOOK TO YOU

WtllTHlY HOUSION H'lr.-.', ifMi;i

ALWAYS BE MY BABY

SINGLE LADIES (PUT A RING ON IT)

BIfCWCt

KNOCK YOU DOWN

llRi HlUdh 'EAtLl^mb UNTE WUT t M^VB <MDS((Vi7Cml 4.<lHtEHSC0ni

, BREAK

,. IN YOUR EVES

I'.'i W 'iOCJt iLAPIIOLl

POKER FACE

IWT 6«U . - 'liAMLiHLII.OI(UVl'CH(NFiVtn£i.W1EnSCiy^l

HALO

lETONCE :ir: MCWLt^COLUWlAi

SHE WOLF

UMBHE.LLA

niHjMNA FE«nHM6MIH rSRP MF JAHIDJUet

rOP SOUNDTRACKS

■

TITLE

ARTIST nM^t-IU' pll^inieiJIINeiUEli

Kl HANNAH MONTANA: THE MOVIE

BCS Sf ill's TRAM I'.'.Ll C'lSlltVi

, HELP- [THE BEATLES)

LET IT BE (THE BEATLES)

i;llJ^nIn*Cll ""h

MAGICAL MYSTERY TOUR (THE BEATLES)

tOUWDTilACK ■■'■■•■^V-

■

A HARD DAY S NIGHT (THE BEATLES)

tOUXUinACK ' TJL

LOSO S WAY (FABOLOUS)

^Ot]»DmCK : - - - -'iiMntFJAAiVUMSt

HANNAH MONTANA 3

tOOMDtMACK Ii--.:M

TWILIGHT

&DIMDTIUU ll^UVUIT <.liaP SHOP ArLAflTC LUi

YELLOW SUBMARINE (THE BEATLES)

SOLIDIRACi * -. Ml

, WIZARDS OF WAVERLY PLACE

Mii.nmiPC" ■■■ -1

(500) DAYS OF SUMMER

^DUNDIRACK Ml, '^JIIMCI BWOS 1

FAME

SOWDTRACK ,|Jl;-MnilEi

DIRTY DANCING

SOL'*lDTnACIC . ML^O

MAMMA MIAI

SOIUDTHACK ■

f ■

TRANSFORMERS: REVENGE OF THE FALLEN: THE ALBUM

SOWIDIKACIl ...L-' : .■..■■i.l.Li-

Data for week of OCTOBER 3, 2009

Cni

UWLAT ULQ DAT*
HOttllORf D IT CtWPtLEIt IT

Billboard 1 i

4 HEATSEEKERS ALBUMS"

ilii

ARTIST

. .il' L 1 NUMD(R OlSTniBUDNC LUtt (PfllCf )

ARTIST

Li.Ba iL rtuMBEfl ; ttsnuMTHiB uaa mm

lids 1

MONSTERS OF FOLK

Monsters 01 Folk

1 .» •

i-^i?-C0LUMBUi«Mi No More Stories Are ToW Today Sony They Washed AwayL. H

1 ■ ."'

^uSiSi MASON JENNINGS

Stood Of Man

SONDRE LERCHE

Heaitbeat Radio

I 43

RANDY HOUSER

AnyffikigGoM |

j A mere U ftin

' after it^ rirsl-and.

■•E

■nn

ADELITASWAY AdaH.- Way

■n

DYING FETUS

Oescefid Into Depravrty

TERCER CiELO

. J" '.'I'SIC l»IlN0tM7«,'liillK1?<BI

Gents Cemun. Suerws Extraordlnafkia

■or

ASKING ALEXANDRIA

Stand Up And Scream ^

DAVID BAZAN

Curse Your Branchva

S 30

COLT FORD

Ride Through The Country

tuat uiiUK, in iiie
MkoftliesiKtns
oTIkeiocunKnlirY

THE PROTOMEN

Act II The Father Of Death

S 13

TRAILER CHOIR

on The Hillbilly Hook (EP)

TOM RUSSELL

Blood And Candle Smoka

3 <

THE XX

"T1«HAotII."

3 INCHES OF BLOOD

Here Warts Thy OoOfTI

20 22

MATT & KIM

■Jii.-.- ;n W:'

Grand

M''

ERIC HUTCHINSON

.'. .i S[R B«I>S (1) 981

Sounds Uka TMl

IT DIES TODAY

UvWRy

nnomKnoldie
hrWllilfilOon

KSM

,■,».- MSJlFr lUSBt

Read BetweenTheUnaa

It »

THE AIRBORNE TOXIC EVENT

vii anrMii ,Hi .It' h,i:to«*:isi*nd

The Airtomt ibxie Evatil

(•Oasial

SIDEWALK PROPHETS

These Sample Thittia

19 2

THE ISAACS

cs ... Naturally: An Almost A CappaNa CoHteUon

POLVO

■ . • '5 Ml

In Priam

2 3

MAYER HAWTHORNE

A Strange Arrangement

kMr.uo'' --

IMIIltlHi:

dsomtHTipiU-

CAROLINA LIAR

i.-iji,^.'*Gii}*!i

Coming To Terms

THE 69 EYES

Back In Blood

VIM YAMES

Tribute To {EP)

THE DODOS

■,.:.(»:, .mil-

HEALTH

GET COLOR

le !6

DAVID GARRETT

- ■5i:i72,UNfifEflSAl CLASSICS enflUP (M JBJ

David Garrett ^ HBtefpiKBS.'"

INFECTED MUSHROOM

Legend Of The Black Shawarma

a ^

PETER WHITE

M00«-'CONC(!«ID|i4Mi

Good Day IP |HB^|H1

BO BURNHAM

Bo Bumham

■nr

THE ELMS

rHU>l incMPORAtED 16m 14 Ml

The Greet Anwrtcan Midtange

MAKANO

Te Amo

ANVIL

TTiiS Is Thirteen

GROUP 1 CREW

Ordinary Oreamara

RENEE FLEMING

Vena mo

KEITH & KRISTYN GETTY

Awaken The Dawn

EDWARD SHARPE & THE MAGNETIC ZEROES p^^^ 3^,^^

Itie iHlidle Qi;i:Iol
^ itrikes Nfly. wiiti

CASEY DONAHEW BAND

Moving On

JESSE a JOY

ttKiigiUreiHw
olibilifaulwLrhe

POP EVIL

■ 1 -iH'lK'ViSfei, H^f IHtlt aiMN.UMfiG tM Ml

Upstlcfc On Th« Mirror

Eleclncldad

M-antr

16 ;i

SAFETYSUIT

■i ■ • ■ 'LtnG 111 98l

Ufe Left To Go H P*"y«a<

TEENAGE BOTTLEROCKET

They Came From The Shadow*

A^RON V/ATSON

■■ ■, --.r . II -/ ■ 1 ycH\, (H 38 CD ev:!. *

Deep In The Heart Of Texas: Aaron Wateon Live

KNiKViii irmi
ttsdaitiMstion

GRUPO EXTERMINADOR

Pa' Corridoa

WOMEN OF FAITH WORSHIP TEAM

A Grand New Day

M-wriT

SEVENTH DAY SLUMBER

Take Everything

4 HEATSEEKERS SONGS I REGIONAL HEATSEEKERS "1 ALBUMS

Hm (IMMMt 1 PKOWOinit LABQ-k

gljGETTIN' YOU HOME (THE BLACK DRESS SONG)

WASTED

eUCCI MANE FfATUniHQ Pl«S OK 01 U JUICEMU i UiMY -iH tCCr MAt^MH OfMi ,

SEXY CHICK

OAvin curmFEAruxMOAUN iQiM AsniAiVfFnKS.CAmoLi

LA LA LA

IMAQ... ■ ' Wil, . AMCMSnRYTHEfmiERSCOPt)

DROP IT LOW

cs- tR DOfi FLAruRIMC CtMS MOWN OtARVf WSOHilfm I'SmEMIlMC.wrBtSCOPB

REPLAY

n« :.:< it,-r,BtlUOA HEI8Hlt.«PFIIS£)

DO 1

LU»E BIIVIM "II .- :i ri^'-l'ilLlT'

LOVE YOUR LOVE THE MOST

EH;C CmKH . - ■ -. ■■ i, a::

■-

BOOTS ON

RAID' MOJSiR : ■. . ■ - ■ -.; Ilrti

IM IN MIAMI TRICK

l«*AO ' ■■ ■ ■■■■ .1 ■iPf>

■

R LIN AW AY

UIJL AND [Htn . . 11 1

FALLING DOWN

it_!NHQOME; A rw SCENE .("JLLVWDOOt

RED LIGHT

MEET ME ON THE EQUINOX

DlltH CAfl =ns CUni iCtigi' iMOF AIlANIlCl

■

5 STAR CHICK

r: GOTTi ■ ..=■[■ i.HMSi

ON THE OCEAN

YOU RE GOING DOWN

SI';" •Tjmti ."■ ■ ■. 1 '"^ ■

CITY ON OUR KNEES

ICBrWAC if'JilEfnOKt.Eyi CMlii

JARS

ChEVIl-ie ["11 1

BAREFOOT AND CRAZY

jicumiiAH

AIN T NO REST FOR THE WICKED

HfiEm (lEPKAMT .1^- ,i,- JUii

SHE IS LOVE

PKRUMUIE MFR"l;F?¥1uiHrii

WHEN LOVE TAKES OVER

□AVIO UIEHA fCATuniHG ItllT IIOMMI i OUU'ASTnAtWrtftKS.'CAI'nK)

:t3

SHOTS

LIWAO rUTuniNC LII JW HOiX WHL I AXI.CHEHIWTRELIIlIERSCOPEl

WILD AT HEART

I^.DMAHA itVSlfU^EPniSf.'VlWIMHBnOS WDM

Blood Of Man

Mason Jennings

The Great American
Midrange

The Elms

Blood Of Man

Mason Jennings

MID ATLANTIC

Dying Fetus

Meson Jennings

eiooO Ot Man

Asklrtg Alexandria

StMtia tip Ana Scmm

MonstaraOfFollt

MontlwnOtMk

Paul Cardall

Sacmd Piano

■

The Alrixima Toxic Evant

The AMwme TOmK Event

Randy Houaer

AnyfMngGoM

'RavorHafi
riMorHalt

RDIealbday

iMdOr

EdHsnlShanxa llwMagnetic Ztiroes

LIVE: Deep In The
Heart of Texas
Aaron Watson

Blood Of Man

Mason Jennings

NEW ON THE CHARTS

Asking Alaxandria, "Stand Up and Scraam"

The Brtttsh band's debut enters Top Heatseekers Albums at No.
5 with nearly 5.000 sold. The set saw 37% of its first week come
from nontraditional retailers, which includes Hot Topic. Another
22% came from digital downloads.

Ride Through The Country

Colt Ford

SOUTH ATLANTIC

The Airborne Toxic Evant

The Airborne ToKtc Event

Randy Houaer

Ajiflhing Gow

n Dies Today

Data for week of OCTOBER 3, 2009 I For chart reprints call 646.6S4.4633

„ Edward SharpeA The Magnetic Zames

™ Upf'omBeioi*

Go to www.billboard.blz for complete chart data 65

BOS SoundScm

^THE BILLBOARD HOT 100*

ss go k5 title

3SE ni3 £5 ■•noo'JCtH isohCrtBiiifl'.
1 1 iR B|l GOTTA FEELING

-4
- it

4 B

10 W - 2

;

Bi
l«

lie

Ki
P'

■tea

!•*

la.

Fib

Itao

^ 42

6«

ESD

Go to

OBE«nST
GAINER URPIAV

DOWN

RUN THIS TOWN

JayZ. Rinanna ft Kany* West

*!?T[ WrilSOT.B.FPirt/U>LWW fyiWCIIWKWi
Jay Stan Faahirlng Ul Wayne

■ ■ ■- i:c*iiT^R! — MwycKtAWwaikntwaii:

ORtAIEST
CAmEn DIGITAL

YOU BELONG WITH ME

I EMPIRE STATE OF MIND

PARTY IN THE U-S.A
PAPARAZZI
FOREVER

"niylor Swm
Jay-Z + Allda Kays

"""" tes"

Mliey Cyrus

♦ KOLLWIXID

USE SOMEBODY

Draka Featuring Kanya Waat, LM Wayna ft Emirwn

H^KWHWSTQCAFmRMMOIKRSi O MMWTf MWCWmia 4'SWtMmifcjlltnWCOT

WHATCHA SAY

0 fltUlfi*HrtCHT&-fttM

HOTEL ROOM SERVICE
SHE WOLF ^

BEST I EVER HAD

GOOD GIRLS GO E

SUCCESSFUL

SWEET DREAMS

I -WWltS J Q SCwEFFES W WlLWhS Rl

THROW IT IN THE BAG

Fabolous Featuring Tne-Oream

BATTLEFIELD

21 GUNS
BE ON YOU

BIG GREEN TRACTOR

BOOM BOOM POW

Jusim Bieber

LOVE DRUNK

NO SURPRISE

<BOttitB.B WtSTBfHStML)

ALREADY GONE

Zac Brown Band

'.G*WWMIWETTt.JMiy«W9,SI*llltJHS) C HOME GHOItHATL^MTlCiit:,!:.;- ■ .1. -:

NEVER SAY NEVER
FALLIN- FOR YOU

Ttii- Fmv
(5 ■
ColDie Cdiiliil

PLEASE DON'T LEAVE ME

PRETTY WINGS

9 H(L\\M-1.VMHIK BROS

AMERICAN RIDE

I M GOING IN

YOUNG FOREVER

' > !EHS,l BtftHAflD S C OflttRH fttSn
FIRE BURNING

Jay-Z ♦ Mr. Hud^,(

ICE CREAM PAINT JOB

ONLY YOU CAN LOVE ME THIS WAY

EVACUATE THE OANCEFLOOR

. ■■IIK- 1 t tiltH.A tSHUUS M BtUTlB)

SMILE

M iimrtw H oitLi J wHoiw J lost -

Uncle Kracko'

I M YOURS
HAPPY

Leona Lewis

NEED YOU NOW

GETTIN YOU HOME (THE BLACK DRESS SONG)
SMALL TOWN USA

Gucci Mane Featuring Piles Or OJ Da Juiceman

SEXY CHICK

■

•

' 'as

■

39
47

•

ilii

TlMsmger (onlin-
ws to make those
wtwvottdher best
KwaftlsiatttM
HTVVU«oHiisi(
AHaidt (Sept. II)
loot siurt. 9\9
joinQiristtai

UBlCMty MMII

iMtdKadetotol-

iKt four top Kh
trofn a tebiil

IMS supentar track
nT6,000 diHm-
loads solil) Irofl)
the uptooiing
leElron Jiine docu-
mnitary "Here
Than a Game" Is
one d( eigfti songs
to launch in the top
10 this Tear. Three
belong 10 Nilev
(imii/Tbnnah
Hontana-

Ihe Biilisli singer
pie\/ie«i i«-
Mid altiuni "Echo."
due Nov. IT. with i
Ko.U start on Hot
Digital Songs
($2,000) and air-
play on U Stiltons.

Th« N«w tentr

rodlin maAe h 2S

lMSlln2SvNnol

dwlintoiiiheHoi

IN.nKM!in9k

■nB-ncOKll,-

dwlln.H),N*B

nito. ii«i«*in

lop 40.

The Iratts rrieaie
Id dtgital retiiien
Sept. U will send
the song soaring on
iHit imh's Hot TOO
and Hot Digital
Songs charts.

TITLE Arlisl
■■ f- IWPttWt . PBOIWIION .

NEW DIVIDE UnMn Park

" 1 ■ '. • ■■■ l-iR*,' 0 UACMINf SMOP.T**B«H i •

■

HER DIAMONDS RobThorrta.-

'■ -i ; 9 fM1tUM'*i ■■■

•0

3t 56

53 57

IMMA STAR (EVERYWHERE WE ARE) Jeiemh

o iCML'L-; j,-v ■

51
59
53

PURSUIT OF HAPPINESS (NIGHTMARE) Kid Cudi Feat. M6MT & Ratatat

• ; 1 O tWEAMOH'OOOO-'WIViRSH Vi'h ■

LIVING FOR THE NIGHT Qaorga Str.n'
■.--I.-.'. . "■■■■ii .I"--'. ■ .■.II : .L?N| • UCA KA!.>'. .

LA LA LA LMFAO

v^i LiSiEDiKOl L-iSIEDi • nWI» m)ti.mi.l AI*.-Ct1tlWTTR£t1»UB^[.

LOL :■) Trey Songz Featuring Gucc) Marw ft Soul)a Boy Tell'em

I ■tJ .1 PPAZf ■! PifvfflMN 1U*IW t SCALE R n WivB n»VlS| O SMG flao^nu-T

DROP IT LOW Ester Dean Featuring C^rls BrDz-n

I'M ALIVE Kenny Ctiosney With Dave WatlMca'.

WELCOME TO THE FUTURE Brad Paisley

1 WANT TO KUOVJ WHAT LOVE IS Manah Caro,

«6

1 WILL NOT BOW Braaktng aanjami

«HOtl.■■,^

77
54

REPLAY lyn.-
'='■ ■■■■Hn.irHOMASl •H«EI5M0ll£l'.'KLLC*«OH1SHi>"i'

YOU RE A JERK New Boy.-

■ !'■■<:■■■: ■ - t;-. ■;>.' ■, . H 1. O SMOm.ASnuU.-IVIlRHER i-.'"

DO 1 Luke Bryan

C «EU£yDKtW0ODi 0 Clfl'i.- 'iJ -'- ■

ALRIGHT Darius Ruchui

'-''iA-\ 11"' n^C'tn ffiC43EBS| O LJIPIUl V»:^'i'. . .

LOVE YOUR LOVE THE MOST Eric Church

. II t ■ ; H! HtH w PttftNi'-i O c'.*'itr; n ■ - .

THE ONE Mary J BEiga Featuring D'iiiko

(■ lbM«.'(S |M ; a\.m fl JEflHWS f &t|*M»M| & VsrfilABErt t,['f<'; 'iTFt^-riii

GOD IN ME Mary Mary Featuring Klerra "KIKr' Stieard
.'. ■ - ' CJ-WPfltU E AHfflS-C»MPeElL T «I>;iHS-Ci>MPBELL; O M' iiL^C 'j;. ■ ■

MEET ME HALFWAY The Black Eyed Psa^
'Vi.ojiMSAP<fiEo*jeowLzsfEnik)so)iiKiuAnisj»neif.8GoaDOii> ©iHit-

THE FIXER Pearl Ja"-

-.U'.i'. .'..U'il M CAUiNQM SGOSSARDW MCCUADD IM UuL' [ < A

EGO Beyoncfi-

i .yiLl itUH HU.^.B k^yA.iS (( WMIMilS MllUT M B KHCWUSt MUSIC AOL I'm

I'LL JUST HOLD ON Blake Shelion

iir.j.. . l-'.-<,l.«!tOLSEh • SIM(>S0ll> O WAnNift BflO^ IM.SHi/11 1 t '

EVERY GIRL Vbung Monct

" . M<.UjMErU(CiU'.iiEIOI«0HCMrAC»I> • lunCi tcwi tKnC"-H'l>^'; >

BOOTS ON Randy Hous^r
'.■■•.1' ■ . ... HcjsERaiuiiiavi e III. J

I'M IN MIAMI TRICK LMFAO

■■ . . , ■ . , rA' ; PiRT. B,ii .

SUMMER NIGHTS Rasciil F'atts

■ ■■■ ii ■■■.I -. ■i.'iTi IGLEVOIB J*MES,BUSB£Ej Q -

S7
79

SS
St

70
>7

1 LOOK TO YOU Wliitney Houslon

. i,V'"l L ■ II,1-JIIIIWAS0«. JR ffl lUlLfi O A-^USIi ■■'

UNDER Pleasure P
■ .■- I'liH LBEHtWflWWJFRANMIH I JONSS » StfPMIKSOW « tOOPtSI 9 AtL.iM

•

81
80

as
®

94
98

STARSTRUKK 30HI3 FMIuhng Kaiy Perry

:jii; ^- 1 ,t fO<lfM*N.K UOTIEl ©PtlOIOflNlSMATlAMi'. ■■

NUMBER ONE R. Ketty Faaturing Kerl Hilso<i

- -L..' ' ii.-.i.' ":r, R HUtlLtDK IH KEU'.R XAMILtOH.H HMMroH K 1 WLSOlTI O

RUNAWAY Love And Tho"
--|A.L(SB.LILIS.CSyini.lllL»CtLIDGtl O lihll,,

BREAK Ttiree Days Grac

-.i'l ■l; '■■ir^BACCflSlOCKi ftji.'i .

TRUST Kayahla Gda DiMt WWi Monica

J. 1 . 1 1 1>yinn n ^ Kt'OflDl ft •UNl'lieMtHi-MrCHSL II

76
N

•1

luc u/cDcu'T nr^DM cm r mMi tn, .
rfc WcHtn 1 DL/nFf 1 (J rULLUW BOn JOVi
■,■ : . ■. .;iUI HSJUMaORA) 99 MteiCUfOH: Ik'

3wur<4Uo Li^t Lire \ \j Mt UAi ryi nor ley

■ ■ - 1 MNHEU 1 9 S'Bll-UDAWfii:: 1

•X

FALLING DOWN SMana Gomez & The Scene

.(■■'. ■ " ''"li I fif-..'i[H ' ViII-T Jt G SCMOCK) 9 HOUjrapOOD

MAKE HER SAY KM Cudi FMiwing KAfty* VMM ft Common

FIFTEEN Taylor Swift
. "I TSWin) 9 BI& Mi ■

1 WANNA TTw AH-Amencan Regeci:.

:i::-!lI:i 9 OKiMUUSt Oi;;: ^lit^ .

COWBOY CASANOVA Carrie Undenvooa

■.Ml- .■ ■ 'I-. ■■ ..i..'2«MB JAMtS) 9 IS Alil3'i lAv"'. .: f

COME BACK TO ME David Cool.

[■ ::fiKllwDt 9 iS.SC. ="

LAST CHArJCE Qlnuwin*-

■ -i-lt WtUSI 9 NOItf l>«YlUMTII*Rtt« e -.

CHECK MY BRAIN Alk:e In Chains

.-. ■ JCANIBULl A VlH'lilN'ti^il ■

CLOSER TO LOVE Mat Kearney

1 BEUi 9 »*'AR; mf-JP crii^iy-;;

BETWEEN THE BULLETS

SWIFT MAKES CROSSOVER HISTORY

AtttT bctoniing ihc first country artist to win an MTV Video Music Award. Taylor
Swift continues her trailblazing ways, rising to No. 1 on Hot 100 Airplay. With an au-
dience of 117 million. Swift's "You Belong With Me" edges the Black Eyed Peas" "I Gol-
la Fffling" by 25,000 itn press ions. Her song is tlic first country crossover track to top
Hot TOO Airplay since the list began using Nielsen BDS data in December 1990.
Among country artists who appeared on Hot 1 00 Airplay in that span, Shania Twain's
"You re Still llie One" (1998). Paith Hill's "Breathe" (2000} and Swift's "Love Story' (in
March) each chnibed as high as No. 2. — Cory Tru.si

www.billboard.biz for compl9te chart data

Data for week of OCTOBER 3, 2009 I CHARTS LEGEND on Page 67

AIRPUT
MONITORfO BY

SUES Dtn
CMPlLtO IT

niclscn
BOS

-"r Billbsard.

OQll

3 H

2009H

^OT 100 AIRPLAY

Win

TITLE

»flIIST MCHINI PHIJM'JUUN LAfltLi

-S

TITLE

millST IIMPRINI 1 PWQMOtlDN UBEl)

TITLE

ARTIST \mm\ 1 fflOUOTlON lABELI

niYOU BELONG WITH ME

BBS TATion SWIFT 4.nBnjvu;i

I M YOURS

JASON MRA2 i.M,,UJI.: flnr,

5= 12

TRUST

■rrSHUt COU Dun WTTU UOtflCA ilUAUGfnDillJlRXCiF^i

1 GOTTA FEELira;

THE BLACK tTCB PTAi

■7

1 KNOW YOU WANT ME (CALLE OCHO)

PITIULL uiIHAi

s6 2

ALREADY GONE

KELLY CLARKSOM i! ^ -'<y- -IVu.

A
w

DOWN

JAY SEAh fUI LK WATK <CAS)I UOCVumERSAL flEPUGUCi

LIVING FOR THE NIGHT

GtOIHil BTBAIT iMCA ».aSKtflLlEi

■•i '11

EVERY GIRL

YOUNG MOWV ir 1 tic MCKYlCASH MOtCY.UIuetSM. MOICNW.

USE SOMEBODY

KINGS OE lEOM RCA HMSi

PAPARAZZI

"TRii'.'i r.' >OHlNt'CHEI«VTMt«rFR^f -^F* i

I'M ALIVE

(ENNY CHESNEY WITH RAVE MATTHEWS 'KT|A.<

A
%J

RUN THIS TOWN

JAT HiHANNA A KANTE WEST iHOC NATION)

SWEET DREAMS

■fvanci )'.' 1 .1 .Ml) " ■ct-.; iJMBiA)

61 3

SOUNDS LIKE LIFE TO ME

OAltniL WOHLEY "1 .1 ■

OBSESSED

MAniAH CAHET ' . in ir/^,

'.9t

SHE WOLF

SHAKifA

FIRE BURNING

SEAM KINbSION lilUUGA HEIGHIS.'EPlCl

KNOCK YOU DOWN

"IBJHISWFEAT KAKTE WtST A HETO iVl CICi Jff CT.TIT:

ONLY YOU CAN LOVE ME THIS WAY

SEIIH UHBAK ■ ■ ■ ,

EGO

BEYONCE lUU'ulC AORLD'COLUUBlAi

BEST 1 EVER HAD

OHAAE . M 1'.. ■ ■■. ■

GETTIM YOU HOME fWE BUCK DRESS SONG)

CHfllS roUHG I" . ■ ' . 1

57 20

ALRIGHT

DARIUS nUCKER (CAPITOL MASHVILLE)

THROW IT IN THE BAG

EABOIOAIS EIAI TMt-lWAIi iltii^ll SlCHMttT JAMILUMbl

HER DIAMONDS

HQB IMOMIS iI Vk ,^11 iiNIICi

POKER FACE

LADY GAGA r :^F>WI HtKtWUVtCMERFrYTflEEiWTFRSCOfTj

BREAK UP

MWIIO FEAT GUCCI MAK 4 SEAN OMCn i:iFO STttCH jl«Ai|

GOD IN ME

MVII MARY FUl. IIEHHA SHUM |MV BL0CK<COLUM8U)

21 GUNS

CREENDAY il'l. 'Kk'ti

HOTEL ROOM SERVICE

t'lTBULL ■ ■ ■ • lTlCr> J BAACi

TOES

UC BMM UM iXOMt GROMM AlLANIlCB»GEn PWtUnf,

NUMBER ONE

R KELLY FEAT KERI HIUDM MIVE JlGl

PRETTY WINGS
MAJtWELL 1. . .-'II .\|

WASTED

(lUCCl MANE FEAT PllfS iMi, ''" h lC£V V(ARH(fi BHOS )

DROP IT LOW

ESmXlllF«rORSK!»<II'-Vi'.!'V.^..'ti\»i I'JIi'L'MJtl.----'.

SUCCESSFUL

»UAE fEAl TWl IdtU 'T.NGUi(yCAS4UEKVtMeiS4WTMSi

WELCOME TO THE FUTURE

itw PAisifr I---' !)■■ 'i-^

LAST CHANCE

GWUWIHE f/'IMi. VI "V rtAi^'.ffi BPfj'-:. 1

PARTY IN THE U.S.A.

WILETCTHUS ■. 1 Li A'OOOl

BOOM BOOM POW

THE BLACK EYED PEAS M ' ■ ', ! Lil5CGf 1 1

RUNAWAY

L0« AND THEFT i L i.-;iJL',Mji3Di

WHATCHA SAY

JASON DERIFIO Htl J jA H:IGH1S.WARNER BROS )

I LL JUST HOLD ON

HUWt SHtLION .'. iK-.-h H-ii-, |t*iJiHs(lU tl WHNi

- 1

BAD HABITS
MAXWELL i: "miMmJ'-i

BE ON YOU

FLO RlOA FEAT NE TO iPQE &0V AltANtlC)

SAY HEY (1 LOVE YOU)

MCHUi nwm t SPiAfKN) >»:>j ma ;uka!i-i a/mrsai fmaci

EVACUATE THE DANCEFLOOR

CASPtllA 'l-^-liS!;;

BATTLEFIELD

JORDIN SPARKS 1 '■ JIVE.'JLdl

FALLIN' FOR YOU

COIBII CAILLAt lUMVt'lSAL 1tF[;lJLl(;i

NEED YOU NOW

LADY ANTEBEIILIM dAPitUv rit^-^HVlL Lt I

NO SURPRISE

UAUCRTRT ■ . .'. 4Mfji

UNDER

rUASUMP>.A;iANTiCi

FIFTEEN

lAYion SWIFT i.ii., MAc^mtt

WAKING UP IN VEGAS

KATY PERRY 1 in

LOVE DRUNK

HOYS UNE GiriLS ^CDl jUUIAi

I LOOK TO YOU

WMiThlY HOUSTON ■ftMlSTA.HMG)

AMERICAN RIDE

lOBYKfirH ■ . , ,LE|

ICE CREAM PAINT JOB

DOFWOUGH iSGEMUb til

IMMA STAR (EVERYWHERE WE ARE)

JEHIMIH MIL- :)..-.,LIiUU JAWI^i.Ulil

SMALL TOWN USA

JUSTIN MODRi . ■

LOL :-)

IVY lONGZ FUE lUa MNC • SOULM lOr Sa« aCCKAJlMTC)

NEW DIVIDE

lINKtH PARK iMALHiUf SKi:iP V/ARN£H BROS i

BIG GREEN TRACTOR

JASON A lltAN . ■ ,

FOREVER

DRUE iMAIwrv («S0fl70>« l'SlREAMtl«,iNtEnsCQ«|

MEET ME HALFWAY

THE BLACK EYED PUS nr.TEnsCOPEi

GOOD GIRLS GO BAD

BOOTS ON

BANO'' HOUSfR ; ■■ sii -sOIJIMj

- t

DO 1

LIMtBRYAM <l Al-in. NASMVIHtJ

NEVER SAY NEVER
THE ERA' 1

LOVE YOUR LOVE THE MOST

(RIC CHURCH 1: ■■.■.-11, -MSHlfKlEl

ON THE OCEAN

K'JM iMPiyiP Drit TVME uNIVEfiiAl HEPuflLIC

PLEASE DONT LEAVE ME

pim nAr.'.i;f .IG.

COWBOY CASANOVA

CAnmi UNOCHWOOD ARISTA NASHVILLEi

SUMMER NIGHTS

fUSCAL FlAnS iLVKIt STRtt'l

HOT DIGITAL SONGJ

si is

TITLE

ARIISI f MRRINT , PROMOTION LABEL)

3»

sS
is

TITLE

ARTIST I'MPfllNT 1 PflOMUIION LABEL)

TITLE

ARTIST IMPHtNT i PflOUanOK lABELt

Kl EMPIRE STATE OF MIND

BRfl >AV-E . AUOA KEYS IROC HAIIOK)

1."

LOVE DRUNK

BOYS LIKE GlflLS iCOLUMBIAl

•

1 WILL NOT BOW

BREAKIKG SEHJAMIN i HOUV'AOOD)

, FOREVER

ALREADY GONE

KtlLY CLAflHSON |l9.'RCA,'RhK|

NEVER SAY NEVER

THE FRAY : 1 .

•

PAPARAZZI

LACJYGAU I' r.-:>IMM.O<RBVTREl«TB1SCt>'E.

SMILE

U'ICLE KlUCKEfl iTOP DOG.'ATLANTIC»

BREAK UP

hMAOIfAT fiUUVAM & SEAM UnCfT {3H] SIHSl' JflriGl

PARTY IN THE U.S.A.

M)L£Y CYRUS ■ l-WOOOl

PURSUIT OF HAPPINESS (NIGHTMARE)

HiDfl^IMSiriWT -■ ■■■

. 1 WANT TO KNOW WHAT LOVE IS

EAAITIAH CAAIY i . .

. RUN THIS TOWN

JAT Z. RIKtNNA 4 UNTE WEST inOC NATION)

BEST 1 EVER HAD

OKAM -■ 'j -r.i.

THROW IT IN THE BAG

FWOlOJSFEAITHE-OPtAH tiTLi ' . ]i.--;.'.: T j.V.lL^i.V.

1 GOTTA FEELING

IME BLACK EYEOPMS tINIERSCOPt)

JUST DANCE

■

PLEASE DONT LEAVE ME

PIUK iLtriCi .lIj'

DOWN

JAY SEAN FEAI El WW B:A9< AOCY 1M4YISA1 RI n a j: 1

BIG GREEN TRACTOR

JASON ALOEAH iBROIES (fO'Hi

•

I'M IN MIAMI TRICK

LHFAO ■■'-'■■■V-.y- .i-.riL it,TE«S: jPE)

WHATCHA SAY

JAIW OmiO ISEIUGA HEIGHTS WARNER B))L<:

TOES

ZAC BROWN SWO itCtt aOm-KmiTcmsJt FCT'.*'! 1

FALLING DOWN

SELENA G0ME7 1 THE SCENE iHOLLVAOOn)

YOU BELONG WITH ME

TAYLOR SWIFT i'. r.-n;:nin' )

POKER FACE

lADTtnGA ^■iw..^^r^",^..-J^^toeIWl^REL^mRSC^!f1l

LOVEGAME

lAOY CACA ; V,'IM.*0WM,O«F¥TBt£«TtRKmt

USE SOMEBODY

KINGS OF LEON ' RMli)

■

SEXY BITCH

OAVII) cur lA FIAT AHQN )i .1 M ASIHAlWEFVl'vCAPITi.;! i

THE ONE

MARY J ILIOE FEAT DfWE IIMIRHfOiWnrtWTERSCOR,

SHE WOLF

SHAKIRA 1.1 vC LATHifPICl

EVACUATE THE DANCE FLOOR

CASCADA i: '.

THE CLIMB

MILEYCYBUS .-...I OlSNEViHOLLYVfOOD)

OBSESSED

1 KNOW YOU WANT ME (CALLE OCHO)

NO SURPRISE

KtABIAR CAREY i 1

PITBULL ■ .'-"I'll

OAUGHTKY ) - ■ ■ Ml.

GOOD GIRLS GO BAD

aWll«*#-JIi6»'WEJlEl > J J') - -.r^-- L'.': -

•

FIRE BURNING

SEAN AINGSIOM letLUG* HEIGHTS EP1C(

STAHSTRUKK

IOH'3 ■ .■■ -[IT.: RBPl

•

YOUNG FOREVER

JAY J f MR RUDSON >ROC NATION)

FALLING FOR YOU

CCHBIE CAILLAT ■ ■.r.F^l ill HEPvanEj

LOVE STORY

TAYLOR SWIFT ' i' !. WACHIMtj

21 GUNS

GREEN OA' i-lETDI^E)

•

NEED YOU NOW

UOV ANneELLUM iCAPiTOL fiASHVIlLEi

WAKING UP IN VEGAS

MTY PtflflTiCAi'llOil

„ ONE TIME

JUMI« BIfStn ilMAfKI lOlWr.i

REPLAV

lYAI -'Mf :^,M0'«tYBE.l)GAMEIGMl&.«£PRl5tl

SOBER

PIHK-la'Af.^ jlGi

HOTEL ROOM SERVICE

PlIBULl .)' ■ . ■. ) . -1 :■. .) »)K1G

BATTLEFIELD

JOHtllM SPARKS 1 ' Y !.■ iGi

DONT TRUST ME

JOH'3 'Ml :ii MHl-jH)'AIlANI>C'BftPl

■

J SWEET DREAMS

BtTONCE ■': 'Wd^l ;i cm UWBlAt

SINGLE LADIES (PUT A RING ON IT)

BEVONCE If,' )!■ ,ViiK i'.: nMhUi

. THE FIXER

*- PEAHl JAM iM : .> ■ )WnLlli:M

UPRISING

MOSE I- C. LM-J ' AAHNtR BROS 1

BE ON YOU

FLORIDA FEAT NE-TO i' .1 iL ■ .■■I..^:.! .

ONLY YOU CAN LOVE ME THIS WAY

KEITH URflAM ■ .-.1 ; ■■■■ i'i,,..l 1

„ SAY HEY (1 LOVE YOU)

KNOCK YOU DOWN

OH MSat (lAI UNYI MIT t «-W T.U («— '("J",

HALO

BEYONCE mm- WDHIO/COIUMBIA)

■

IM GOING IN

0HIIiUIULMiaMaY<ajCKIEi'J9<KIEY>JMGl«aM

ICE CREAM PAINT JOB

DtRHOUCH ■•■l.,r. : : 1

, DROP IT LOW

EITED JEJM lUT ml ERAN DIAT' >JL9^Y)( tsmilAmiBGCHi

HAPPY

lEONA LEWIS ISVCO'J'NUG)

NEW DIVIDE

LIPIAINPARK rr-'-itu '.KOP.IHAnNEn BflOS 1

■

, SOUNDTRACK 2 MY UFE

AIOCUDI I" v: 'H .iNIVEHSAl MOTOilEII

FIREFLIES

OWL CITY IMVLHSAL HtPUESLICI

YOU HE A JERK

NEWSOv; ).■)■:■.■■ :.'\- . 1, 11

AMERICAN RIDE

TOBY KEITH ' ' ' ' ■ )HVIvlEl

SUCCESSFUL

, IMMA STAR (EVERYWHERE VlTE ARE)

JEIIEKAIM ■ MM . )V ■ )l .

BUST YOUR WINDOWS

ClEt CAST ■ ' 1 ■■ )■/!■

BOOM BOOM POW

LA LA LA

TAKE A BOW

IMf eiACK EYED PEAS All AM INUHSCOREl

CI.EE CAST ■ ■ 1. iJl.JMBIeVi

Data for week of MONTH XX, 2009 I For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 67

ALBUM CHARTS

&al«s d*la compllKl from • cofnpretwalw pool of U.S. music
merchants by NteiMn SoundScan. SaI«s data for RSB/hip-hof)
r«Uil charts is compjl«cl by NWMn SoundScan from a natioiMl
subset of core stores Ilvit specialize in those genres.
9 Albums with the greatest sales gains this week.

Where Included, this award )r>dicates the title
with the chart's largest unit Increase.

I Where Irvcluded. this award Indkates the title wHh
' the chart's biggest percentage growth.

Indicates album entered top TOO of The Billboard 300
and has be«n removed from h4eatseekers chart.

PRICING/CONFIGURATION/AVAILABILITY
CD/Cassette prices are suggested list or equlvalenl prices, wf>lch
are profvctcd from wholesale prlcev 9 after price indicates album
onty available on DuaK^tsc CD/DVD after pr>ce Indicates CD/DVO
combo only svaHable. t> DualDisc available. ♦ CD/DVD combo
available * indicates vtnyl LP is available. PrKIng and virtyl LP avail-
abaty am not irKluded on all charts. EX after catalog number Indi-
cates title Is exclusive to or>e account or has limited distribution.

SONG CHARTS

See legerKb on respective chart pages for the Billboard Hot 100
ar>d Hot RAB/Hip-Hop Songs.

RADIO AIRPLAY CHARTS

Hot TOO Airplay, Rock Songs. Hot Country Songs. Hot Rap
Songs, Christian Sorigs. Hot Latin Songs and Latin Airplay charts
are compiled from a national sample of data supplied by NIetstn
Broadcast Data Systen^. Charts are raf>ked by number of gross
impressions, computed by cross-referencing exact times ol air-
play with Arbitron Utterwr data. Mainstream Top 40, Adult
Contemporary, Adirtt Top 40, Alternative. Triple A, Acthw Roctc
Heritage Rock. Mainstream R&B/Hip-Hop, Rhythmic, Adult RSB,
Hot Christian AC Sortgs, Hot Gospel Sortgs, Hot Dance Airplay,
and Smooth Jazz Songs are ranked by total detections.
0 Songs showlrtg an increase In audience (or detections)
over the previous week, regardless of chart movement.

■ Where included, tNs award ir>dlcates the title
with the chart's largest airplay IrKrease.

RECURRENT RULES

Sor>gs are removed from the Billboard Hot lOO arwj Hot TOO
Airplay charts simultaneously after 20 weeks on the Billboard
Hot TOD and If ranking below No. 50. SorYgi are removed from
Hot RftB/Hlp-Hop Songs after 20 weeks If ranking below No.
SO, Songs are removed from Hot Country Songs after 20 weeks
if ranking below No. TO in detections or audience, provided that
they are not still gaining enough audience points to bullet or if
they rank below No. 10 and post a third consecutive week of
audience decline, regardless of total chart weeks. Sor>gs are
removed from Mainstream Top 40, Rock Songs. Attemative.
Active Rock. Mainstream R&B/Hip-Hop, Rhythmic. Hot Latin
Sortgs and l^tin Airplay charts after 20 weeks If ranking below
No. 20. Descending songs are removed from Adult
Contemporary and Adult Top 40 after 20 weeks if ranking
below No. IS, after 26 weeks If ranking below No. 10. or after 52
weeks if rarYkir>g tMlow No. 5. OescerK>ir>g songs are removed
from the Triple A, Heritage Rock. Adult RAB, Christian Sor>gs,
Hot Christian AC Songs. Christian CHR, Hot Gospel Songs, Hot
Dartce Airplay ar>d Smooth Jazz Songs charts after 20 weeks
and if ranking bekiw No. IS.

CONFIGURATIONS

9 CO single available. ® Digital Download available. O DVD
single available. O Vinyl Maxl-Slngle available. O Vinyl single
available. O CD Maxl-Slngle available. Configurations are not
included on all singles charts.

HOT DANCE CLUB SONGS

Compiled from a rvitkxial sample of reports from club DJs.

^ Titles with the greatest dub piay increase over the previous week.

IJiWlLl TtvsiWNvd irxicates the tM^aaiMilty belcM the top 20 and on
Uluii the chart the week belore; with the largest Increase In points.

AWARD CERT. LEVELS

ALBUM CHARTS

• Recordir>g Industry Assn. Of America (RIAA) certification for
net shipment of 500,000 altiums (Gold). ■ RIAA certification for
net shipment of I million units (Platinum). ^ RIAA certification
for net shipment of 10 million units (Diamond). Nijmerat wItNn
Platinum or Diamond symtjol ir>dlcates attyjm's multi-platirMm
level. For boxed sets. ar>d double alliumt with n running tirrte of
TOO minutes or more, the RIAA multiplies shipments by the num-
ber of discs and/or tapes. Certification for net sNpments of
1O0.0(X] ix>its (Oro). i Certlfk:ation of 200,000 units (T>latino).

it Certification of 4O0.0(X] units (MuRl-PUtino).

SINGLES CHARTS

• RtAA certrfication for SOO.OOO paMi downk>ads (Gold).

■ RIAA certincatk>n for 1 militon paid downk>ads (Platinum).
Numeral within platinum symbol irvtcates sor>g's muKiptatirYum level.
' ' RIAA c»rtMcation for not sh«yr<ent of SOC^OOO sirtgles (Gokfl.

MUSIC VtDtO SALES CHARTS

• RIAA gold certification for net shlpnwnt of 2S.OOO units for
video sirtgtes. ' ' RiAA gold certification for net shipment of
5O,O0O units for shortform or ktngform videos. ■ RIAA platinum
certification for net sMpmerrt of S0,000 units for video singles.
□ RIAA platinum certification For sales of 1O0.(XX} units for
shortform or lor>gform videos. Numeral within platinum symbol
Indicates sor>g's multi platinum level.

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA gold certlAcaOon for net shlpnwnt of 50/>00 units or $1 mil-
lion in sales at suggested retai price. ■ RIAA platinum certlfKaSon
for sales of lOO.OOO unKs or t2 milion In sales at suggested retail
prtce. ' ' IRMA goW certHlcatkjn lor a minimum sale of t2S.0<X) unit*
or a dollar mkwne of S9 milion at retaN for ttieatricaHy released pro-
grams; or of at least 25,0O0 units ar>d $1 mWon at suggested retail
tor non-theatrical titles. IRHA platinum certMcatton for a mMmun
saia of 250000 units or a dollar wMne of $18 mMkxi at tetai for
theatrically released programs, and of at least 50,0(X) units and S2
mlilkin at suggested retail for nofvttMatrical titles.

Cr.i

BillbMraL

M^NglREAM

TITLE

aniisT rvipwim caoMOiiott l*biii

If,

^^ll GOTTA FEELING

Q^I^IHf BLACK EltO PUS itr4TERSC0ft|

YOU BELONG WITH ME

TATLOfl SWirl ii'-rM''. - iNi .'. v'iRSAL Rbf'UBUt I

USE SOMEBODY
KINGS Of IIM RCi fiMr.j

DOWN

JAY SEAM FEAT m WHm UASH UOWVUMWtfiSAi ftEPUBlK)

PARTY IN THE U.S.A.

MiLtf ctHiiS 1 vivnooi

BATTLEFIELD

JOHDIN SPARKS ■ IVL .iLGi

KNOCK YOU DOWN

(IWXHSaHIUI t,WE«U1 AW'n<WI.T>i.EY.':(M «-niEK&co<t^

1-1

Nn ^iiRPniRF

OAUGHTHT n9 1CA nUGl

LOVE DRUNK

■OYS LKE GIHLS iCOltAISIA}

WH&TCHA

ffrlMlwrlrm OMf

JASON MRUUI tBELUGA HEIGHTS. WARNER HROS >

!®

MARIAH CARET n' . J.NH I'.'lir.-i..

HOTEL ROOM SERVICE

PITSULL .1- ' ^ii i'.'L..

NEVER SAY NEVER

THE FRAT .1 '1 1

WAKING UP IN VEGAS

«AIY PEftdV .:"-riiLi

lrtj2Jl£l] PAPARAZZI 1
RTiri?!^! iwrim'^jtHJK.UKj«toeariRKWincmi|

SWEET DREAMS

•ETONCE iv . Ii .MiMi. ' COLUMBIA!

BEST 1 EVER HAD

ORAAE 'I ■..[,' !i:;HU0rifVWirvtRSALMOIOW»i(

SAY HEY (1 LOVE YOU)

;«»

SHE WOLF

SHAKIRA

no HIOAFIAT Kl-TO itCf BOV AUANnCl

t®

oiiM Tuic Tr^ULfu
rturi 1 ni3 ivjv¥ri

JAY I FIIHANNJl & HAUU WEST (ROC ^Atlon^

r%\J 1 McAIN 1 9 KJ Oc

THEORY OF A DEADMAH ;bI)4'()0AnRUNKER.HflP|

^KIC Title

JUSTIN BIEKEH I 'M MJH in.lMfl)

MLnCAUT VJUnC

KEllT CI»RKSON " HMI.i

FALLIN' FOR YOU

COmiE CAIlUI ■■■■A\'.-^>,1 HEI'uBltCj

STARSTRUKK

JOM'J (tAl »AIY PtJlRY iPtlOTO fINlSH'AlLANIIC.'RHP)

1 WANNA

THE AU AIKIWAB REJECTS iDUUHOUStOCt lNItHSCOPt)

NEW DIVIDE

LINKIN PARK lltPifc iHOC WAKNER flflOS i

21 GUNS

GREEN DAY li'.fPRr.El

cVALiUATc Trie UANUcrmUH
CASCADA iROflSINSj

HER DIAMONDS

ROB THOMU lEMflE EM' ATLANTIC)

FIREFLIES

OWL CITY iuSfvfRbAt REPUaiKl

FACE DROP

SEAN KIHCSTON (BELUGA HElGHTS'tPKl

DROP rT LOW

inntorMrw oiMMnnMUMYHMCNTnf 4i^4UM.«Tiiscnn

MEET ME HALFWAY

THE BUUN ETtO PEAS (ililEHSCnPE)

FUNHOUSE
PINK ILAFACt'/OUtiAl

THROW IT IN THE BAG

FUaumnAINMIHEMI (DESERT SIOHUnEf JAM IOJMCi.

MIDNIGHT ROMEO
PUSH PUT iWIND'UP)

REPLAY

ITU iTIUt IS UONEV.'BELUGA HEIGHI&'REPRISEl

Format veterans and rookies alike enjov stiEcess on HalnstrNii
Top 40.

The Bbck Eyed Peas extend (heli lead lor the most hits among
groups Ihis decade, as "Meet He Halfway" befomes their 13tti chart
enlrv al No. 16. Bacltslreel Boys and Hkheibath rank second with 11
(hatted titles each in tlul s{>an.

At No. !7, fHnk charts a fourth track-the title (ut-from her
album "Funhouse." Among tier aibuffls, only "Wssundaitood," trom
2001 to 2003. previously yielded four chartlrHi softss.

Among the newcomers, long
Island, H.I., quartet Push Play
bows at No. 39 with "Nidnighl
itomeo." (he lead single Irom tts
debut album, "Bound." Al No.
40, iiii opens with "Replay."
The 22-year-Dld Virgin Islands
natrve was discovered on
NySpace by Sean Kingston,
whose own "Face Drop" lifts 36-
S4, and the pair is touring
Canada and the United States
through November.

TITLE

miST i-MPRISl P«0UOIHM( LABELI

KIthe climb

YOU FOUND ME

HER DIAMONDS

1 M YOURS

JASCN MRA2 '''''' "-'i I

COME ON GET HIGHER

;

It)

imuyd YOU BELONG WITH ME 1

LOVE STORY

BETTER IN TIME

HOT N COLD
RATT PERfiY i_»i''l^OLf

1. 2. 3, 4

PLEASE DON'T LEAVE ME

FALLIN' FOR YOU

NO SURPRISE

(lAUGHTRV 1 1 ^ A Rr^G't

HAVE NT MET YOU YET

mCHAlt BUBLE .1 1 ' L " '.

IF TODAY WAS YOUR LAST DAY

NICHIMCK .I- . ;;i-.'.M" HH^'i

COME BACK TO ME

DA«0 CM« 1- - "II" t r,l,'.

SHE IS LOVE

PARACHUIl " '.iGi

CLOSER TO LOVE

UtI KEARNEY ' i .i MBIAl

SECOND CHANCE

SHINEOOWN imT.p>VTk:i

KISS A GIRL

KEITH URBAN OtfllDt NA.SKVUlt CAPITOl)

1 WANT TO KNOW WHAT LOVE IS

UAMAH CAHTT itSl ANQ.IDJMGi

1 LOOK TO YOU

WHIIHIY HOUSTON li",;. RWL.

BEAUTIFUL WORLD (WE'RE ALL HERE)

JM inCKMMI « AOMI CflOSan iM«IH:,tI UMiLo.uCu':,! JKIKI.

CHANCES

FIUE FOR FIGHTING (AA'ARE COLUMUlAi

USE SOMEBODY

KINGS OF lEOM >P[A nMGi

THIS
WEEK

LAST
WEEK

TITLE

ARTIST I MPRINT PROMOTION LAOEl)

Kl USE SOMEBODY 1

El^a KINGS Of LEON iPv&.'RMG) |

NO SURPRISE

DAUGMTRY . ■

YOU BELONG WITH ME

TATtOR SWin :'ih >.i.M" r< >.[ llNlVEflSAl REPUBllCt

1 GOTTA FEELING

rHE BLACK EYEI) rtAS 1'. '1 'I^CO^f |

PLEASE DON'T LEAVE ME

PINK 1 ••>M \ 11

FALLIN FOR YOU

COIBIE Cimilil ■. . " I I - .1 ■

WAKING UP IN VEGAS

KAIY PERKY ■ -■ H

HER DIAMONDS

ROe IWHAAS iMd.-.M A",irCiL .

NEVER SAY NEVER

THE FRAY lil H." ■

COME BACK TO ME

DAVID COOK • ' F.riHilfii

SAY HEY (1 LOVE YOU)

MCHMt i>u«in ywdoji ■ ■ -■■-iWMWin-uiwiBSA. HPiiitc-

SECOND CHANCE

SHINEOOWN .' . 1

21 GUNS

GREEN DAY ■ : ■ i 1 -

CLOSER TO LOVE

MAT KIARNEV AA'ARl. COLUMBIA)

SMILE

UNCLE KRACKER [TOP DOC. ATlANTtCt

ALREADY GONE

KELLY CLARKSON il'i RC;a RMG)

BATTLEFIELD

JORDINSPSniiS 1 "■ i; .>!

WE WEREN T BORN TO FOLLOW

BON JOVI ' II ' '.':>i

CHANCES

FIVE FOR FIGHTINe i AWARE COLUMBIA I

STARING DOWN

COLLECnvt EOUl lEl LOUO & PROUO ROADRUKNEft RRP)

HEY, SOUL SISTER

TRAIN jCOiliKlBlAi

NEW DIVIDE

LINKIN PARK ' AARVEH BROS 1

1 LL GO CRAZY IF 1 DONT GO CRAZY TONIGHT

\)! ■ ", 1 1 . ■-; ■ -'r ,

BE THERE

HOWIE OAT 1

PARTY IN THE U.S.A.

ttlLET CmiS <HULLYW000l

THIS

iS SS

TITLE

ARTIST (IMPRWT PROUOTfOM LAElfLi

Kl CHECK MY BRAIN
IIBI *i iTE in chains i Vlfl6IN. CAP(I0l )

JARS

CHEVEUE a: iC.i

THE FIXER

PCARlJA)il ',' ■.►! •.'.-EliCMi

NEW DIVIDE

LWKINPIUtK '.V 'Hi;;- -.HOP WARNER BFIOS 1

1 WILL NOT BOW

BNEKUNG BENJAMIN I'^OILYWOOO)

USE SOMEBODY

KINGS OF LECH iliCARMOl

UPRISING

YOU RE GOING DOWN

SICK PUPHES .'. -III,!

SOUND OF MADNESS

SHINEOOWN i.WL.\MIl;i

BREAK

THREE DAYS SMCt . JIVb JlGi

i©

OF rOU K WONOCntG r 1 WANT TOU TD| 1 VUWT YOU TO

WEEZin .1", r.-f ■I'.i'ri'f 1

PANIC SWITCH

SUVERSUK PtCKDPS 1 lAIGERSIRD)

i©

OVERCOME

CREED ,M', ■ iif

WHISKEY HANGOVER

DDDSMACK '. . ■ ■ ■■! '.1 !■ '

BURN IT TO THE GROUND

NICKELBACK i*iIi.MiR I'.'.fH l-.H^'i

NOTION

KINGS OF LEON il^ta ftVUi

'ft

AINT NO REST FOR THE WICKED

CAGE THE ELEPHAKT iDSP JIVEjJLG)

SAVIOR

RISE AGAINST lOGC UlTERSCOPE)

CHAMPAGNE

CAVO -ItI -I'-f 1

21 GUNS
GREEN DAT '>'n'i'-i.E|

IGNORANCE

PAHAMORE .lUL.tJ BY HAMEM AILANIIC'RRP)

FEEL GOOD DRAG

AKBEHLIN r-' ". flFPUBLICl

MEDICATE

AFI lL'l.C: IIIIlHitaPEl

SHE'S A GENIUS

jn i"tAL HunnoRSHOw.'FivE ^even-'Capitod

CRAWL BACK IN

DEAD BT SUNMiC (WARNER BROS 1

1 GET OFF

HAlESIOflM ifinr

NO YOU GIRLS
FfUUD FERDINAIID i

(T\
W

1 LL GO CRAZY IF 1 DON T GO CRAZY TONIGHT

U2 . ".■ ■ ■ II..'

OniSSI (MEET ME ON THE EQUINOX
nnrniH DEAIHCAIFORCUTK ^ATLANTICj

IF YOU ONLY KNEW

HARD TO SEE

FIVE riMSEH DEATH PUNCH iPHOSPECI PARK)

SEASONS

THE VEERUMIOH i.'uVEHSU MOTOWN)

1901

PHOEtHX iLOYAUILGLASSMTE)

FUGITIVE

DAVID GRAY ,Mf "./rl'; MUf ■ 1 [iii'/AinWIl^

BACK AGAINST THE WALL

CAGE THE ELEPHAHT ,

HELP I'M ALIVE

MHRtC iMEiKIC LASt GANG)

AGAIN

FLYLEAF A&V.OCTONL'lNIERSCOPE.i

BREAKING

A»BERLIN iliMVERSAL REPUBLIC)

WHY 1 AM

DAVE MATTHEWS BAND iSAMA RAGS.'RCATtMG)

BY THE WAY

THEORY OF A OEAnUM iG04;R0A0RUNNEfl. RRP 1

ONE DAY

MATISYAHU iJOUS/OftEPICl

INVINCIBLE

AOUHAS WAT (VIRGIN CAPIIOli

FIREFLIES

OWL DTT .UNIVERSAL RFPUBLICl

TALK TO ME

BUCRCHEdHY ■taWi t.tVf.i

MONSTER

SKlllFI .■■■-MT Ml ATLANTIC)

FAR FROM OVER

HEV TH£0fi< . . HH'/jtS.'MftiOOF.IMlC.'INIERSCOPEj

FOREVER IN YOUR HANDS

ALL THAT REMAIHS il ^r.iMHEIIC HAfOR i Uti

BLOOD ON MY HANDS

THE USED I. :■ .

. 4«

SAY HEY (1 LOVE YOU)

YOU NEVER KNOW

■KMiNONES^dtVARNER BROS 1

D«tti Cib lor Ciitl( blasts onto IkIi
Soats al Ho. K wilh "MhI He on tht
Equinox" (3.7 million in audience). The
song previews llw Oct. 20 soundtrack
"The Iwlllglll Saga: Hew Hoon." wlllcli
will atw lealure music Irom Tliom Yorkc,
Hie Killers. OK Go and Nuse.

DEATH CAB
.FORCUTIE

6g it

TITLE

ARTISI ir.'t siNI .■ PROUOriOH LABEL)

1^1 YOU'RE GOING DOWN |

JjO SICK PUPPIES vi.:i,l'. .' .'.^'ir L . J

CHECK MY BRAIN
ALICE IN CHAINS . 1

WHISKEY HANGOVER

GODSMACK iI-'NIVEHSAL REPuaLICl

JARS

CHEVELIf 1 ' "1

1 WILL NOT BOW

BREAKING DEKJAMIN ll. .. it-W-DOOl

It.'

CHAMPAGNE

CAVO (l-l-'lli'.tj

OVERCOME

CREED ..■■■Ml ..Ii|

H'li^'iVtti BREAK 1

LsllKIljil THREE DATS (MACE <J1VE/JL6| |

BURN IT TO THE GROUND

WCKELBACK , hij;,: ; ^ ulltic R HRPi

MARn Tn QFP
rmnw i kj occ

riV( FINGER OUTH PUNCH 'PROSPECT PARKi

SOUND OF MADNESS

SHINEOOWN i.'Il»NIii:i

NEW DIVIDE

IINHIN PARK iMACHlNI SHOP "WARNER BROS 1

INVINCIBLE

AOtLlTAS WAY iViHOIHCAPIIOLI

1 GET OFF

HALESIOftM lAILANIICl

THE FIXER

PURL JAM UDTmEVWRENCH)

:©

MONSTER

SKILLET ..IkllENI.INO. ATLANTIC)

FOREVER IN YOUR HANDS

ALL TH«I REMAINS ■ ''^ ' ■^" 'HE TIC.'HAJOR A Uti

?©

BY THE WAY

THEORY OF A OEAOMAN r.CJ ROADRUHMER RRPl

TALK TO ME

BUCKCHIHHY . I . ' ' ,{Ni

i©

CRAWL BACK IN

DEAD BY SUNRISE lAAithlLR BROS )

AGAIN

(lYLEAF 1.1 .4f.' i;(:TfJNE iNTERSCOPEi

IF YOU ONLY KNEW

SHINEOOWN ..'.!.,■.•.; ,

MIND CONTROL

lANIRIC ■■■II .'Jl l,f.iiiHiTV.liGl

SHE S A GENIUS

jn .1-;^". •■..RRC^StirnVUVt SEVtM'CAPITOll

IS)

SHAME

[MOWNING POOL KLEVEN SEVEN!

TITLE

inrisr |..^r ..i'tT . promotion LABEL)

Kl CHECK MY BRAIN 1

B^SalKI INClUINI(VIRGAL-C4mOLI 1

OVERCOME

CH([U .'.'irr; UP.

BURN IT TO THE GROUND

HICMIIBACK ..^niriRUNNER'HRPl

NEW DIVIDE

lINim P*Rli ..'.Mxirii ^.KOP WARNLR BROS 1

WHISKEY HANGOVER

CHAMPAGNE

CAVD ■••[I'l.l >

SOUND OF MADNESS

SHlNEOOHrH All AriTIL;

THE FIXER

PEAJiL JAM .'.'..NKtvyiRENCH.

1 WILL NOT BOW

SREAKING BENMAWH l.tOLLVWOQOl

1 GET OFF

HALESTOHM '-ILASIICI

MODERN DAY DELILAH

KISS M . .

JARS

CHtVEllE '■ ;

UUIUXU BREAK 1

nrWTliH THKE DATS BMCC |JIV&JLei ]

21 GUNS
GREEN DAT f i >

AIN T NO REST FOR THE WICKED

CAGE IHt tlEPHAAI ;i .■.i^t.lLul

"©

SHE S A GENIUS

AH ■ '^i..'. HUE SEVEEI CAPITDEl

YOU RE GOING DOWN

SICA PUPPIES -I'M': V f.r.i'l CAPITOL.

SOAP ON A ROPE

EHICAENFOOT L.tLtM .

STILL UNBROKEN

LTHYRDSKVUYPD . PROUD ROAORUIMER/RRPl

IF YOU ONLY KNEW

SHiHioowii !'.[ ■■■'.ii::

TALK TO ME

BtJCKCHERHY .ELEVEEl SEVEN)

BY THE WAY

THEORY Of A DEADHAN |604.nOAURUItNER RRP.

SEASONS

THE VEER UNION lUNPi EHSAL WDTOYVSl

USE SOMEBODY

AIHGSOE LEON Hi L HIJ',

INVINCIBLE

ADELITAS WAY .V.RGIN.CAPIIOCJ

68 I Go to TNWw.billboard.biz for complete chart data

Data for week of OCTOBER 3, 2009 I CHARTS LEGEND on Page 67

HOT COUNTRY SONGS

TITLE

I • 'iCiUCEft iSONG*HITtHi

H SMALL TOWN USA

AMERICAN RIDE

!2S

»S

■

1 1

■

e 8

■

19 19

Justin Moore

♦ VAIORV

Toby Keith

Q SHOW Dw, '.iHiH^u ; r

BIG GREEN TRACTOR
LIVING FOR THE NIGHT"

Jason Aldean

Georgo Strati

ONLY YOU CAN LOVE ME THIS WAV

Keith Urban

GETTIN YOU HOME (THE BLACK DRESS SONG)
WELCOME TO THE FUTURE

Brad Paisley

I LL JUST HOLD ON

"i'i i-ii h'T ,H HiVjLIPl OLStN.B SIMPSONi

TOES

Zac Brown Band

LOVE YOUR LOVE THE MOST

COWBOY CASANOVA

W BfllCHT (C »HDEWW)OD,W ILIfQIlDOi

I M ALIVE

Eric Church
Carrie Undervfood

iLSMEY.D DILLOM.M TAMBUflttlO)

Kenny Chesney With Oave Matthews

SOUNDS LIKE LIFE TO ME

/ - ■ - ■i .M.HLtV WV*flBLE.''0'OONNElLi

Darryi Worley

0 STHOtiDAVUH^Oii!;

RUNAWAY

.1 . . ■ !■ LILES.C SMitH.BBlACRltOGEt

Qni|| NEED YOU NOW

UjLllJ i' I V LADY ANrrBClLtfU (D KAVWOOD,C KEUEV.H SCOTT J KEAFIi
BIjIII FIFTEEN

QmM do ■

QiDaJ ' ^rtvEws ft »<nfAii,c KimyjmmoODi

BONFIRE

_ J ^: 'I .' .'i J BOIKIH HKWItY.C MMGAWM HQUEBSi

Love And Theh
G CAROtwmifi
Lady AntebeHum

9 CAPITOL KASHVILLl

Taylor Swift

O BIG MACHNt

Luke Bryan

O CAPIIOL HASMVlUt _

Craig Morgan

RED LIGHT Oavid Nai)

I I .i',:iLfTnrai pfincc nuAiKosKVi ® ■■iri Mistivi.if

HONKY TONK STOMP Brooks & Dunn Featuring Billy Gibbons

ALL I ASK FOR ANYMORE

Trace Adkins

I WANNA MAKE YOU CLOSE YOUR EYES

■_ ■ ■. - '^iirtTLEYj

CONSIDER P^E GONE

Oiorks Bontloy
Reba

Martina McBnde

IS I

22
23
24

BillbMMl

With 21.! million
impressions in its
JZntJ chart rt^-'h
Cliurthcli:!
fiRttoplu t I
this, the singer's
closest brush with
the top tier was a
No. 14 peali (or his
introductorv single.
"How "Bout You,"
in July 2006.

y *

Up 7.9 million
impressions (a 61%
increase), the teistv
Iracli crosses Ih?
Airpower thretwid
wilh Greatest
Gainer honors in its
third chart week.
Her third album,
"Play On." arriwes
al fetaH Nov. 3.

J HEIUE5 (.1 0 MEITltS.H BySH B ANOERSONi

TITLE

'ROOUCER fSONGWrUTERl

Artist

iMPfllMI a NUMBER PROMOTION LABEL

CF'IT

BELIEVERS

i -.!■.■ TiRi :v .■. --"H'- 1- „IHEH|

Joe Nichols

LONG LINE OF LOSERS

■ II-'. ■, ■ ;i; . IRiiig.ti

Montgomery Gentry

»:

EIGHT SECOND RIDE

■ nuqiiflNct'i

Jake Owen

-J
»S

HURRY HOME

Jason Mtchael Carroll

9 AmsiA ri'. 11,11 1

HISTORY IN THE MAKING

, ,i. I- i. MiU.Si

Darius RLicker

e tifHUL N--/ ".II ■

ROCKIN THE BEER GUT

Traiiei Cnopi

1 STILL LIKE BOLOGNA

' II. ■■ , L JACKSOrti

Alan Jiickson

9 AfllSTA h.\'M\ ILL !

TODAY

'i' 1. .VLL«S (B LOKG.IL J&MESi

Gary Allan

O MCA riASH'/tLlf

OUTSIDE MY WINDOW

■■Wf ^' .1 ttUDSON.G BURR)

Sarah Buxton

LvR.i; ;t''|[t

SOUTHERN VOICE

.'<',', D .SUrlX < r DOUGLAS .B a<P1EFtO|

Tim McGraw

RADIO WAVES

■■ ■ ■■ iJ UEUi

Ell Young Band

0 REPUBlll 'Ji.l 1

WHITE LIAR

r : . II n HEMBVl

Miranda Lambert

BEER ON THE TABLE

Josh Thompson

O Till ■■Ml-li

WHY DONT WE JUST DANCE

Josh Turner

tt MCA IJAtH'.JLLi

A LITTLE MORE COUNTRY THAN THAT

■1 ■ ■ ■ FEEK «VAflBLti

Easlon Corbin

O UERCUFiV

MOO LA MOO

Steve Azar

COUNTRY FOLKS (LIVIN LOUD)

The Lost Trailers

THAT'S HOW COUNTRY BOYS ROLL

Billy Currinqton

OIDN T YOU KNOW HOW MUCH 1 LOVED YOU

Kellie P.rklpf
©

LONG AFTER I'M GONE Big Kenny

'Lri'. ■ ... . ■■.T. ,-, H ALPMIN.MBEISON.HSUPAt Q LOVE EVERVBDDy.'«.OWT0Wf4 EttiGfR :

LOVE LIKE CRAZY

Lee Brice

THAT THANG

. 1 HAHRISOI (J HARRISON J SIEVENSI

Fast Ryde

9 BtPUBlIC NiSHi/lil f

LOVE LIVES ON

■. ■■ ■,\t:^ri

Mallary Hope

O W-'. . ,1. ■

KEEP ON LOVIN YOU

Steel Magnolia

9 Vi> iii-,i

EVERYWHERE 1 GO

Phil Vassar

9 UNIVERSAL SOylH

■

TOP COUNTRY ALBUMS"

TOP BLUEGRASS ALBUMS

ARTIST TIIH

.: ■i.''i;r- ni'^jniBllTI'tG LAQtl (PHICEi

E] mma tavlor swift ^^^^

PESlilkLliM 61'iUACHItlt 0200 (16 98) *

ZAC BROWN BAND TlKRxindalion

■

#1S... And Then Son«

SOUNDTRACK Hannah Ito^na: T1» Mo»o

■

f SON ALDEAN Wide Open

•

GEORGE STRAIT

■. ..v^fKM.BB,* KeepOnUMngYbu

VARIOUS ARTISTS N0*H«>WM1M6«.,V« 2

LADY ANTEBELLUM Antebellum

•
■

DARIUS RUCKER ^^^^^ Learn To Live

J'^}^^,^*"".,,,,^. Taylor Swill

CHRIS YOUNG The Man 1 Wan, To Be

SUGARLAND ^^^^ Love On Th. Inside

■

RASCAL FLATTS Unstoppable

■

..„.,., Detying Gravity

KENNY CHESNEY Greatest Hits II

JUMIN MOOHt Justin Moore

1::

BRAD PAISLEY Amaio, Satirday Mgh.

="°*"^*''°,,.„„,.o,. UVEOiThel,^

?"-LV CURHINGTON ^,,110 Bit Ol Everything

GLORIANA rinrian.

■1 i 1 t WARfitB BROS Mg'ai! WHM

GEORGE JONES ^ ^ *Cc*d<ra»,B«(te*c.oi

JAMEY JOHNSON That Lonesome Song

•

WILLIE NELSON^^^^^^^ AtiHwican Classic

""l^".^ .„ G'salest Hits Volume 1

AM 1

ARTIST Tllla ti »

UF'l^lfiT « >(t)MeEfl CHS1RIBU11NG lAGEt |PFllCE> S

*1-*''„:'*".*°^,.M„,„,., Good Time •

RANDY HOUSER Apything Goes

ZAC BROWN BAND ^ TheRxMaior

KELLIE PICKLEH ^

'?^.!'^"" .0334,u«(l.«, 35BiggestHits ■

ERIC CHURCH ^ ^^^^^ Carolina

GEORGE STRAIT Troubadour ■

CROSS CANADIAN RAGWEED ^^^^a,^

3,'

COLT FORD Ftide Through The Country

TRAILER CHOIR OIIThe HWy Hook (B>)

■i

DIERKSBENTLEV^^^^^ Feel That Fire

KENNY CHESNEY Lucky Old Sun

^ RICKY SKAGGS g^. g^,^ i^*, Loved

„ Easy Does 11

2
1

MARTINA MCBHIDE g^^^^

"^'OOS ARTISTS ^ »J«T.«««,«ICilQ«,

1
t

Greatest Hits: Limited Edition

°AVlDNAIt. ^ ^ taAboullbComeAl.*

BLAKE SHELTON ^^ ^^^^ Storlin F„e,

JACK INGRAM ^ gig 0,,^^, j

':*»'

AARON WATSON a«f>,^<*i«0,t^^^i«

47
3

48
47

50
49

RODNEY ATKINS Ir, America
DIERKSBENTLEY *,to„,aMa

TRACE ADKINS t.„

■I^IIOL KASMiriLLE ?02B! MB 981

s°

ARTIST Title 9

^■^■|.|NT A ri JVlBtn Dl^lRteUnNG LABEL

KM RICKY SKAGGS Soto: Songs My DM Loved 1

^' Ai' /' 1 'All: '1 '.101009 1

THE ISAACS lliiaiGs NaiitrAiiMnsACaiidtiCtiMni ^

STEVE MARTIN TIeCiw tlel«5[<lgsltITheF«^SlI^gB3^o M
I. -njuNriLt !■

YONDER MOUNTAIN STRING BAND Ihe Show rljl

OLD CROW MEDICINE SHOW Ininessee Puslm

STEVE IVEY Ultimale Bluegiass

"I'.l'.li- :• '111 ...1: IS MBS9i'MADACV tflj

LOUDON WAJNWRIGHT ID H^IMIeSHntimllE Dale Rde nun |||

Biii'iLnii:wi^r'iH|ii>aE3MenBCS isoamiuikiamnitii H

•
©

9
13

6
4S

THE WAIUN JENNYS Live At The Maucti Chunk Opel] Hotlsc B

FIFE! nCiU^.[ 2.^B ^1

STEVE IVEY Best 01 Bluegrass B

K1ADACY SPECIAL PROOUCTS S39B5 MADAO

BETWEEN THE BULLETS

FAMILY AFFAIR

ConntT\/bliiegrass masler Rick)'
ska^B^* ^^^^ No. I bow

on Top Blucj^rass Albums, as
"Solo Songs My Dud l.ovcd"
opens witli 2,000 copies (No. 39
on Top Counlry Albums). It
widens bis lead as the artist with the most No. 1 debuts since tlie
15-positioii Bliiegrass list laimched seven years ago. Wilh tliive
top starts during that time, (lie Bouider, Colo.-lused Yonder
Moiinlain String Band is right Ix-hind Skaggs among the acts
with the most No. I debuts. His (irst solo albuni since "Ancient
Tones" in 1999. "Solo Son^s" was the subjecl of a Sept. 18 "All
lliings Considered" segment on NFR. — Wade jesscn

Data for week of OCTOBER 3, 2009 i For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 69

TOP R&B/HIP-HOP
ALBUMS

(?''

ARTIST

TITLE IMPfllWI ' WSTRIBUTtNQ LABEl

R^flrw BuiEpnin i noc nation S208sfi aq *

BBSl WHITNEY HOUSTON

1 LOOK TO TOU ARISTA 1 DOSa'ltMG

RHoRAKE

KmmmnmxmKBWeiimBLmmnmm

LIL' BOOSIE

HmMDfmiiHMnniiffniiiuiinMBn

KID cuDi se

TREY SONGZ fM

flEADT III, LMii> ,'.|.),||tlC 5iaTQ4/AO H

RAEKWON S

(WLV BUILT 4 CUBAN LINX .. PT- II ICC H?0 S4794 H

MAXWELL ag

eUtCKStMMERS1«6(nCQIllURIA8D14?.saWUISK *i jK

TRICK DADDY ■

fNU.Lt lAMDIlS B0miTHI£STliATKI6HMI!r<l]Beini H

THE BLACK EYED PEAS ■

IHEENO liriHHMI^I 01?He:'TGA ■

FABOLOUS ■
mm Bw iioMonumitstm srLRUDtF juoixtB* tiM •! H

NEW BOYZ K
SKNNT XJW MO A K EKITTV ASVLLM UMIVMWei iraa Bl

LETOYA ■
LADY LOVE [APITQL 97259 ^|

fe*

PITBULL S

REBELUTIDN Lift MIS-POLO GROUHDS J SI99imMa |H

KJON ■
1 Gn AROUND 1 PIUIPLINIVERSAL REPUBLC DllTSZtMIG ^|

LEOISI

TURK WE LOOU VERVE EURECAKI (II?677'VG t K

EMINEM ■
RELAPSE •■'V-: r^WlY AfTERMAIIItmRSCEFE Ot2aS}*TGA^|

CHRISETTE MICHELE M

EPIPHANT ' H "M i': ;':i"Mri+ ISr

■c

•

KRS'ONE & BUCKSHOT M

SURVIVAL SKILLS : ■ 91

BEYONCE .tm

IM* iASMA 'IERi:£ ' ' 'i" iSEKSCMtMUSC

■i

JEREMIH ig

JEREMIHLT' lUi.i i; liLI lAM 01 J09S*.'I(UUG ^|

JAY-Z H

THEUPHWCOLaWBIBIIIIHtCHmAlgJWamfiBUBiM

VARIOUS ARTISTS B
NOW 11 tLii iiiliVtHSAL ZOMSA 2B6T7.'SONV IMUSIC^I

KERI HILSON ■

NiAnWECItVOflLO •.VNnKMAMTERSCOROTnOaiGA ■

CHARLIE WILSON ^
UNCLE CHARLif i IIVE 733B^JL6 ^1

ANTHONY HAMILTON Wt

TW raiMI OE IT AU. METIERS MUGK.^ SO OB ZJSST'JUi

LIL WAYNE M

IRA CJVITlAHIVilMKTlMiEftSALMOrmM 011977- IBttG^I

SEAN PAUL B

IMPEETIAL BLAZE VP AILANIIC MWHT/HB ^

TWISTA S

CATEGOAT F5 GUG 964 1 2 ^|

411

MARY MARY " 7

THE SOUND MY HLa:iLT:rAlltiHilA29(IB7'StltEYMI£C * ,'i '

GINUWINE H

A MAMS THOUGHTS Wllf-LAb'^LM !)1914*'WW£RQBOS

oTip a

KJtMlAI TH[ IBSTIUrT BATIFRY fi'iSIQ* 'JIVF If-

THEOREAU H

LOVE V 5 MONEY -1 • It . Km JAM 01»7e*,1IUMG ■

i»

LAURA IZIBOR

LET IHt TRUTH BE T<HD ATLANTIC !il2}4IX'AG

PLEASURE P M

THEimiOOLKTai»IMIiaiSCniBIAIUWTCSlESa'W

JOE W

SIGNAIUBE 5r3 001)05 KECfflR Jf-^.

MICHAEL JACKSON M

THE OEFINITIVE CN-IECTIOM UOTOMH 013;»7iUME H

ED
El

39
43

JO
4

KEYSHIA COLE WM

ADIMIKINI Ml IMANI l,HltN UTng&.'l6A H

GEORGE BENSON M

sows AWO ITORIH MOtiSTEH 3036<.'COWCOHD »' U

J MOSS m

JUST JAMES '^tJiXU CO:^PO CENTRICVtRITY 479I(kJLG |B

RICK ROSS ■

JAnnlc rUAA

INtUlttON ' 'I- ''Vti,

■

BEANIE SIGEL ■
THE enaAD street buiiy -iicchess nti 67 ^|

M.O.P. 2t"
rouMUAiioH 1 . '1 ^

SMOKEY ROBINSON jM

TME FLIES umCM TtHini HAVIMG FUH HOBSO 4<IU?00 |H

JADAKISS ^

TMuBi OH n i^rt"-: i:,:iafi:<.qt *f;aAgjj*[wiiws|fc

bORROUGH fi
oonnoiiGH MUSIC i i iii..'. ^lUiXi ^1
METHOD MAN & REDMAN S

BmwouT'! \--. .■■[> . .u!.. ;»i .^jm OIJWJftMi U

KILLER MIKE ^ K

UhOf HGHOUKD ATUNIA . - '. ':V:i >~FICUl 347-.Si1C

SLAUGHTERHOUSE S7

SlAUCHTfflHOUSE f I 2 ll': '.' '^fj'

While no aitlsl has m momioM ne ton
tm> tmMm of UiM UtstMRnmiislf.

thiw ungen hne plmltm ungs In Die
toi) ttir». NaxweM is the btpsl to do u, with
"PrettY Wings" (No. I) ml "Bad Haliils"
(No. 5). Fantasia and Afida Kpys iKEOfiipltshed
thp feat Bl 2005 and 2008, lesueEtiwtv.

S5 TITLE

iS ARTIST I1UPRINI PROMOTION LABEL)

1.'

SUCCESSFUL j

BREAK UP

MJi^lO FLAT GUCCI MANC I SEM GMRTn l2m STREET jnAil

PRETTY WINGS

UAlliVElL ' .MfllAi

UNDER

pLEAso«(i'i'''.AH' n

RUN THIS TOWN

JAT-;. RIHANNA A KANTE WEH iHOC KATlOit)

WASTED

THROW IT IN THE BAG

FAGOIOUS FEAT THE-OREAM lllBEHI STOKM'DEf JAMTlUKKl

OBSESSED

MABIAH CAREY JLUND.'IDJM[Si

LOL :■)

nn lOMU Ru Guco MM 1 SOL* vr tiufli sflNG sox^m/Knc^

ICE CREAM PAINT JOB

DOflROUQH iS^>LMUS.E1i

EGO

BEVWfCE iMUSiC WORLD COlUMBlAi

NUMBER ONE

n HElir FEAT KEItl NtlSON JLGI

TRUST

KEYSHIA COU DUH WITH MQMIU IlklAUGfrnriMTERSCOPEl

5 STAR CHICK

YOGOiTi ■••mil ;.Ri; ■-.[■; i HMfii

BEST 1 EVER HAD

DRAKE Ml MliliEV t:A5H MONEVUNIVERSAL MOIOWNi

REGRET

LETOYA FEAT. lUOACHIS iCAriTDLl

■

IMMA STAR (EVERYWHERE WE ARE)

JEflEMIH ■.■IL> -'JH^Lr: [Itt JAM □JP.-bi

GOD IN ME

MWrr MAflY FEAT. KIEIffU IHr SHEMIO iW KU:Cv',:(.LLM*A(

JUST A KISS

HISHDM -l>':~:--l lOM * bl(i[AMllf<f iMtWIiCGPtj

EVERY GIRL

VQUIG HOHET fTlMG UDNEYCASH HWEY.tMWtSAL MOIOlVNl

BECKY

PLIES lit b 'L,;>I:-^ 5l!P-I<-SL(DE'ArLANr(C|

FOREVER

THE ONE

MARY J BLIGE FEAT OtUUE iMtlRlUCH'GtfFEtHWIttlSCOPEJ

I'M GOOD

CLIPSE FEAT PHAHRELL WRIIMIS IRE UP'COLUMfllAl

SWEAT IT OUT

THE OflEAH tmatO KllI.A.OEf ilAM.iOJWGi

THICK'N

MUllACE -ll-iiV 'tn E.H. .MMJpjIVE Jl(i|

BETTER BELIEVE IT

LLiOCSIEFEAI KMHG JEEIY i IffM AS>UMV(W£=< 9^ |

DIGITAL GtRL

iAMIE fan FEAT OftANE KANYE WCST t IHE-MCMI U RMGl

m,.

YOU'RE A JERK

MEW eOYi Mi ■ 1 , . , M BROS 1

TIPSY IN DIS CLUB

PftnTYniCKY IMF MC, CAT TOMMY BOft

1 INVENTED SEX

IREI SOHII; ftAT OfUIE i>'':h^ BOOK. ATLANTIC)

WHAT YOU DO

CMRISEITE MICHELE FEAT NE-TO 'JH JtWiD.Vbi

BUY YOU A ROUND (UP AND DOWN)

I^ERSE SIMMONDS I' .-^-.l (' . :.' I - : '( !

SLOW DANCE

KERI MILSOK '.t., .L-Y^OTIE MNIERSCDPE)

DROP IT LOW

[^n ttJW "A i>fB MM HMT> UlfOtSM tsm>W^^

TROUBLE

fitNUWIHE fEAT WM • itlOTIf lASYLUM-WftRNER BROS 1

BODY

MAHQUES HQUSTWI iMUStCWOanS 1UG /

YOU'RE NOT MY GIRL
HEARD EM ALL

AMEfllt FEAT LIL WAYHE iliH JAM ID.IMGj

FRESH

i TRf 0 iMi-jij>,STUNE Jl'.'t [>*tTERV,i

4YTHMiC

Bsi

i| TITLE

tS ARTIST . II/PRIEIT PROMOllWt LABEL)

E^l DOWN

HS3 ivr SM FEU u wmc iDt9itDir'U«BSM Fmao

El ^

OBSESSED

MARIAH URET |lb.A)JIl li)JU<i|

Ell

■

RUN THIS TOWN

tfV-Z. WHUm 1 UtfVE WEIT (ROC HATIONi

IH ^

BEST 1 EVER HAD

DAUE i'':<i Ml r; '.;v caSH UOIIEV UNIVERSAL MOIOWNj

BE ON YOU

FLORIDA FEAT N£ YO '•<}( fiflV *Il AJlIICl

THROW IT IN THE BAG

rADOLOOSFEAT THE QHEAU i. i LI-:' SIGRUDEF JMAVLMG)

HOTEL ROOM SERVICE

PITBULL 1.'- .1 - . nili JflMGl

1 GOTTA FEELING

THE BLACK E'fO PEAS M - - - l liCti

BREAK UP

MARtt rUT GUCCI MAM A SEAN GARRTn ' .''U :;TnEn.'jmiGl

KNOCK YOU DOWN

KEH mm FEAT lUWTt WEST A NE-VO 1 • .'iM -tnHnSCVf 1

^ 13

HH WHATCHA SAY

■■1 JUflN DEWU (BELUGA HEIOHTyWARNER BROS )

SUCCESSFUL

M FIK nn iOS 1 UL MM W« VDCTC^ m 'JMWA UC'WI

EVERY QIRL

VDtK HOWT rrOJSt I.W.FV CftSM I*jrri«VtHSAL WIOMfi

OUTTA CONTROL

BAHVBASHfEAT PlIfiUlL i .-■■-l iTA .^UGl

ICE CREAM PAINT JOB

IQI 19

WRITTEN ON HER

BIROMAN (EAT JAY SEAN rZKWH UUI*Y LMVtHSAL UOlOWHi

m 18

IMMA STAR (EVERYWHERE WE ARE]

JEWMIH iM.:^ iCIIULT^.DEf JAM injMG.i

ig|2o

SHAKE MY

THREE 6 MAFU FEAT HALENKA IHYWIUE MIHOSCOlUMeiA)

[Ql'23

DROP IT LOW

tjTiHxwFtAioMSKMn t^grw^'suimmMjitmaKi

■ l5

BIRTHDAY SEX

JEHEHIH lUlLK SLHULIZ'UEF JATAIQjUCi

LOL :-)

nn soHGi Fw am HW « soulm hi ieiem -^iti^ ^^c. um

FOREVER

wn *» OIK «ic u MW 1 mm ■ * 7. m ■-r.mnvmr.i*-.

WETTER (CALLING YOU DADDY)

rwiSTA FEAT [RIKA SHEVOR iGtl MONEY {.ANG CAPnOL 1

^22

LOVEGAME

UOTGAM ■Ht-Vi.iNtKOHLWLCH£FWVIfit£.lNTERSCOPt>

Hi 24

FIRE BURNING

SEAN AINGSIO«l iBELj^j* MEIGMIb iPIC.i

BECKY

PIUS GAI[& Slip N-SllDt,*TLANTiCi

LA LA LA

LMFAO lI'AP"^ HCiCSVilLLIAWCHEHnriHtttNTERSCOPE)

Ql 31

FACE DROP

SEAHKIMGSTOM :!_.]■:!* HtlGMTS>lPIC)

El%

TIE ME DOWN

HEW >0V2 FEAI HAY J (SHOTrY'ASYLUU'WARKER BROS i

lii

MAKE HER SAY

ID OD FW nwn WOT t COMDI ii; U 0 D. l/AfRSi^ WTCWKi

ONE TIME

JUSTIN BIEKER :■■.[> iDJMGl

32 HEW

SWEET DREAMS

BETUHCE : ■!■ ,M IHI Il COLUMBlAi

LETS GET CRAZY

CASSIE fUT AXON BAD BOY ATlANTICi

PAPARAZZI

LADY GAGA ■:,rHti/.'i.lfitl>OflLN't CMEflfirTR£E)INTERSCOPE)

WASTED

GUCa *MNE FUT FLCS OR OJ DA JUKtMUl iM» V mWVHR 8V£ >

NUMBER ONE

R KELIYFEAT KERI HILSO« i JIVE .1 Gi

37 HE

SEXY CHICK

DAWnCUETTA FEAT AXON ,n, \1 AiTRALKVtRKS CAPITOL*

YOU BELONG WITH ME

TAYlDRSVflFT lii i. M/i ili'a ; IJIVEflSAL REPUBLIC}

US*

SHE WOLF

SHANIHA 1 1 -'!•:. 1

NOW I M THAT BITCH

LIVVI FRAW FEAT PntUlL UfUt JLG)

BETWEEN THE BULLETS

DRAKE, KID CUDI HIT TOP FIVE

Kid Cudi makes his R&B/Hi
2(K)with ItM.UOOsold. Mis set is
Hot 100 in May.

With uii caily debut due to strcel-dale violations. Drake's "So
I'ar Gone" soars 95-3 with Greatest Gainer honors. TFie seven-
song EP contains selections from the rapper's previously re-
leased mixtape, including "Best 1 Ever Had" and "Successftil."
which will most likely also appear on his fuU-lcngth album
due next year "Gone" debuts at No. 6 on the Billboard 200
witli 7^m) sold (No. 6).

On the radio charts, "Successful" gives Drake consecutive
trips to No. 1 on Mainstream R^iB/Hip-Hop after "Best"
spent seven weeks at the summit this suTnmer.
p-Hop Albums debut at No. 5 and also at No. 4 on the Billboard
powered by "Day "N" Nile." which peaked at No. 3 on tlie Billboard

— Raphael George

■n
mm

■1

■

wit

v
V

I-)

■1

TITLE

ARTIST jiMPRIMT ' PROMailON LABa)
PRETTY WINGS

IWXWELL iCOLUMfllAi

I LOOK TO YOU

WHITNEY HOUSTON .ANI .U iHiW

BAD HABITS

MAIWELL H.l.lLUMfll*,

ON THE OCEAN

KJON ■ ■: '

CAN T LIVE WITHOUT YOU

CHAHlIt WllSUri ■• nvi .llGl

LAST CHANCE

CIHUWIKE :•, ii- ■ ,.;),! A'ARNEB BROS I

THE POINT OF IT ALL

ANTHONY HAMILTON .Ml .rER'S MUSIC JIVE JlGl

IN LOVE WITH ANOTHER MAN

JAJMIWE SULLIVAN l Hr.>Ui

SOBEAUTIFUL

WU5I0 SOULCHILD i^^T^iXNliCI

GOD IN ME

MARY MAHV FEAI KIEFIRA XIKi' SHCAMI iMY ftfCKCfHUMaHl

NI'.'LRSAL REPUBLIC)

BLAME IT ON ME

CHIIISETIE MICHELE i:n . 'H

EPIPHANY (I M LEAVING)

CHRISEIIE MICHELE M irjlf/bi

FROM MY HEART TO YOURS

IAURAIZI80R .'I 'ill

THERE GOES MY BABY

CHAHllf WILSON -■ M i-.l'" .ilV£ JLGl

GIVE IT TO ME RIGHT

WELAHIE FIONA i 'I'i .''.Ki-K UOH

KEVON EDMONDS fi

TRUST

KtYjmA caij DUETW

A iMAMGEFTTHOTRSCOPf I

COIN THRU CHANGES

LEOISI ..in'.L HjfliCAST VifiVti

DONT STAY

lAURA 17I80R ■-■ I II

MILLION DOLLAR BILL I

WHITNEY HOUSTON lARISTA/lWGJ [

THIS TIME

KJMFWILEEaQJICJIilMai^NnmiJ'^PUIlg&lt.Hm^

CANT GET OVER YOU

iOE lURiNTfflAi

GIVING MYSELF

JENNIFER HlMtSON lAXII^TA RUGi

25 TITLE

m 3to ARTIST ilMPRiNT . PROMOTION LABEL)

KB RUN THIS TOWN
B^a^^^L RIKAWtA * Umt vaSX (ROC NAUOWf
SUCCESSFUL

DRM>EHIT(TSlKil^ll>n«

•

■

IbI?

ill

ij wf ■ CA>- Mjf 'jw&iLwnaw

THROW IT IN THE BAG

FABOLOUS ILA1 THE OILtAM tltSERT STQWAHCf JAWOjMQ)

BEST I EVER HAD

_DF1«E i> L IA:)H MOMtY.'UHIWRSAL MOIDWIH

WASTED

ICE CREAM PAINT JOB

OORROUGH i'.Ill-, I ■ _ ! I

HOTEL ROOM SERVICE

PITBUii I i ■ I .-i-.riiiNCISiJ'RUGi

H FOREVER

EVERY GIRL

YOUNG MONEY 'i 'lU',l,K'rj|
5 STAR CHtCk"

■ I'AS^l kV:HEylHF>tBS« MOTPAHl

WETTER (CALLING YOU DADDY)

IWlSIA FEAT ERIK* SHIVON iGET MONEY GANG. CAPIIOtI

OUTTA CONTROL

BABY BASH f£AI PniUll lARISTARMGl

• GRO;.HD UP.'JIVE. JLGl

YOU RE A JERK

NEW BOYZ lilMOT-iv A^.VL.

I 'WAR HER BROS I

WRITTEN ON HER

BIRDMANFEAI JAY SEAN ( a:.h lAONEY UIMRSAL MDlOWSi

I M GOING IN

DWMFEATULWJlWi-i;.

'.'rCYUSH MOWVilMBeAL MDIOmj

EMPIRE STATE OF MIND

JAY-f . ALICIA KEYS Hii. lUllONl

I'M GOOD

CLIPSE FEAT PHARRELL WILLIAMS |Ht UP.'COLUMBIA)

BOOM BOOM POW

THE BLACK EYEOPEAS [WA l AM'ISIEflSCQPt)

I KNOW YOU WANT ME <CALL£ OCHO)

PITBliLL

MAKE HER SAY

KIDCUDIIUlKJWMwmACOItllWiGQOD-UliWtSALMCITDllW

BABY BY ME

W CENT FEAI NE-YO IVH*[IV AFT tRMftlH.'INTf RSCOPEl

SHAKE MY

THREE fi HAFU FEAT KAUNNA ilfrPNGTCE WIDSCOLUMOIAl

70 I Go to www.bjilboard.biz for complete chart data

Data for week of OCTOBER 3, 2009 l CHARTS LEGEND on Page 67

niclscn nidscn

BDt SoundScan

^HOT R&B/HIP-HOP SONGS

a» cs,« 9a

TITLE

» p-S i__iGiJCER tSONQW'filTffli

PRETTY WINGS

H DAtflP.MUS^E tH DAVIO.

ArtiBi !=■ 51
IMPRINT /raOMOTlOHuatftL g

Maxwell

P COLUMBIA

2 2

BREAK UP Mario Featuring Gucci Mane & Sean Garrelt

i.-RHnif. CRaWfOflfl is garreit s CRaWFOflD fl Davis, Q :w_ -.V-tttl ; hf.-:,

j SUCCESSFUL Drake Featuring Trey Songz & Lil Wayno

I S SHEBIB (A GRAHAM 14 SHEBIB.I NEVifiSON D CfiflTEHi ® VOUNG MCNEV.CISM ■ I', ■. ! r.^ A, Mr ' .A";

FATBrjt a i>0IIG;A5 R DAVIS AWASMINGrOMf

-fl » Rj WASTED

iv . ; mm "

IIRMD ^"'^ TOWN

Gucci Mane Featuring Plies Or OJ Da Juiceman

TFR K WEST E WIISON R FEMTV* AlATASl

Jay-Z. Rihanna & Kanyo Wl-
9®0 "I I '

It ALU NEW.J FRANKLIN I JONES K STEPHENSON U

Pleasure P

® ATLANTIC

GOD IN ME Mary Mary Featuring Kierra 'KiKi" Sheard

1 V, -^>.'f!i:LL L,i.M--baL EftTKIMS-CAMPBElL.TAIKIHS-CAMPSELl) t> MY flCOCH.' COLUMBIA

** ia TRUST

i ™j '"".mm D A.fQHD 1 FfllR IK M COLE.FTAVtOa D I AIF&HD>

K«ythi8 Cole Duel With Monica

O IMAWHjEFFENjiWITttlSCOPt

THROW IT IN THE BAG

C SIEtVAflTTNASH I.I D JftCKSON CA STEWART TNASH|

Fabolous Featuring Th»-Oraam

0» DESERT SrORM'Der JAM/IOJMG

EWLLIAMS.HLILLVB KtlOWltS (E WILLIAMS H.LILLY. JR..B.KNOWUSI

Beyonce

0 MUSIC WORLD,'C0LUUBIA

LAST CHANCE

B M COM <B U COX A SHflCPSIHBt W WELLS)

Glnuwrine

Q NQTiFli ASVlUFA WABNEft BROS

OBSESSED

UCAnEVTNASH C STEWART (M CAREV.T HASH C A STEWARti

Mariah Carey
900

Trey Songz Featuring Gucci Mane & Souiia Boy ic^ii i
iistvCRic-. iTsvionrscALESDWArflOAviSi o ^a\.: n . • ...i ■.

NUMBER ONE

R. Kelly Featuring Keri Hllson
'.tLLV.H HAMILTON RHAUILTON K.L HILSONi 0 .l'>L :-L

BEST I EVER HAD

BAD HABITS

6REAIEST
GAINER /tIRPLAT

ON THE OCEAN

Drnkp

: nwAMCWNCaaWtDCAHTBIl OfflJWWhfy.CASMklJHEViriltfR&W r.v

Maxv.<l

■ MlJSZEl ® ci-;. "

REGRET LeToya Featurtng Ludacris

[a»uHw^l^lnlwu^sT^Ft<?eo^Jv^mT»t,Ll^p(^IH«wa QwtOL

KJon

ICE CREAM PAINT JOB

H . . II ■■■■11. .•• i; - I'tiOC'i:
FOREVER

Drake Featuring Kanye West. Ul Wayne & En-

5 STAR CHICK

l£Uii\i||| < l-OOK TO YOU

MASQfJ JH (li KCLLV

Whitney Housi jn

CAN T LIVE WITHOUT YOU

** " !■ ' ■ ■ '. m jn ,0 E 1H0MAS J f AUWriEaOV ll,S L HUS&ELLi

I 21 21

SOBEAUTIFUL

(IJOHNSaN.L HUTSOHJHI

2
3

I NEED A GIRL

Stini.JM I Ail: Ir. r,' i.

monw

Itonml's "ftellY
Wlii«s(ltc.Z2)mi
WNIiKTltoiBln't

"llMlitoltou"
(Ho. m Ian
btinctKd at higher
rants this Yw.

liieloiusiana-
iij&ei rappet lands
hts Ihlrd top 10 on
TopItU/Htp-Hop
Albums (No. 4) ami
hU firs] top 10 on
tite Blllbo.vcl 200
(No. 7. 49.000
copKs).

IIP

7f?

■

fa"

■

83
80

B
B

TITLE

I ■illDilCER iBOtGWRIIERi

WHAT I VE BEEN WAITING FOR

COIN THRU CHANGES

■ 1. ■ I -(HJNG B RIPEOUT)
TIPSY IN DIS CLUB

Artist m^m

MPRMT / raoHOTioN um •Mf'M
Brian McKnIght j_^H

HAROWOfiK^IBI

Ladlal mi

O VERVE FORECAST -VElWt - ~"

:. MATHI5 t DFAIidA ; SMHIli

BUY YOU A ROUND (UP AND DOWN)

TRY IT OUT

Pretty Hicky "^Bl

Verse Simmonds

Black Featuring Kandi j

MONEY TO BLOW

Birdman Featuring Ut Wayne & Drake

■ iMOCAHTER C WOLStONt Q CASH MOWEy'UHIVERSftl MOIOWN

CANT GET OVER YOU

NOVEMBER 18TH

VOU<tG UONEV.-CASH MONEY.UNIVERS*.

WHAT YOU DO

C HARMOtJVNE-VO(CHAftMOH.SSUnHl

Ciirisetle Michele Featuring Ne-Yo

® m JAM li'ii/i;

'r:lll iGG CURTIS SR. K EDMONDS JNETlLESOrvi

Kevon Edmonds

I DIDNT KNOW MY OWN STRENGTH

■ I 1 ' r t WARREM

Whitney Houston '

VINCENTE LUMPKIN B FRELMANl

Ginuwine Featuring Bun B

THINKIN' ABOUT YOU

■T A HAfiR.iJACKS0H,A DAVOS0N S OAVIDSON K

I GET CRAZY
IT KILLS ME
SLOW dance"

Nickl Minaj Featuring Lil Wayne

H R LIITlEJOHM JK L CARR E SHVlMA^l

Melanie Fiona - 1

0 SftCiUN'VtHbAL MQlUWri hjQll

I Htm; T*BgWUBEJWLlH«WOrLK.SUXWUDSPireiY|

Keri Hllson ;

sweet dreams

. . ► . : ' 0 UM 16 KWOWESJ G SCHEffmw WUIHS.BICO LOWj
BABY BY ME

Beyonce

:AC«.SON, jH J JONES S SMITH)

50 Cent Featuring Ne-Yo

SHADV.'AFTtRUAIKlNlERSLDPt

FRESH
BODY ~

3 HURHES K Q PATTOS D DAVIS.R WAlTEBSI

6TreG

©MOOHSI ONE.' JIVE. fAI If «V

WE BE STEADY MOBBIN'

M t{ MCflMaHSfM E UNO A BJOftRLUSDi

THE POINT OF IT ALL

t»Vr..-. ... I ,111 I* HAMILIOH I J AVILA.B R AVIL* J Q WRI^M^^

I INVENTED SEX

TSCALfS rNEVEflSON A GRAHAM)

Trey Song? Featurrnf) Drake

24 23

30 27

26 16

37 35

IMMA STAR (EVERYWHERE WE ARE)

KNOCK YOU DOWN

•. i:[)Si>OM S SMUH M AHWCA K

EVERY GIRL

i 1- " -r ." 'irwTwaGPA/KWjWiS-iwefl/iCiiiV.itOHBSTinvwtici'E.

I M GOOD

-.1 -I iN iMlLiUS G iHDRMtOH 1 IHrjRMIUNi

DOESN'T II4EAN ANYTHINO

THE ONE Mary J. Blige Featuring Drake

i-KtN^ iM J Hliat » JEflKlNS E DEAN. A GRAHAM) ® M'1HI(.*H.. ^ t'* irrtHHCCE

■15

BLAME IT ON ME Chriseite Michele

.. l('..TUON C KEILY) © 0(F ID 11,1'^

BECKY Plies

I- . -1.' ■- .■.i-.-i'L .hH.j ROItMi © (liG iAIESSLif-N-SLKit Al,

JUST A KISS Mishon
(!■ I'/ PALACHK E ClAHK PLAWRENCE B WABSi © DYllASr*;rC«H1TREAMllME.'l>.'" "

WETTER (CALLING YOU DADDY) Twista Featuring Erika Shpvni
'HI 1 .• II -■ ■■■ M.rCHiia S LiM>LEy,e.LDCKHAnr.O.SAFF0LO( © GET MONEY GANG 1 .

□

IN LOVE WITH ANOTHER MAN Jaimine Suthwri

A Hil 1. ■; M UAN A Ht.Ll ©

EPIPHANY (I'M LEAVING) Chriselte Mich-l<7
c harmonv (s 5WIIM i: hahmom © otf javi

BLAME IT Jamie Foxx Featuring T P.im
CMrM t^i-.fi irx' . i(\;M-iTitavWJtBJliftlM>iflaMUA*>«UCtfn Ji.lW ©OiH'A,

SWEAT IT OUT The-Dream

Tr<r.:.-| . .1 ' .<..'.i:- ':i'<:.h C A STEWARI) O HAOHI KILLA.'DEF JAM'IDJMG

TRICKN Multaqe
M IIUICHIHSON e MCMULLEN T nUN D BALFOUft) OFR0HTW6ft0UN0UP .l v :

lay

CLOSE TO YOU B«Ba & C«C« WInans

•. Tm.'UA:-- |;I iVlHANSi © eit.M'. : '

.«

THERE GOES MY BABY Chahie Wilson

GMGAMMGPAr,AHieAf[YTA:EC:!li:HAH0SO«DSJMMONE.CW.LEH,KCOPELAW)MSMnWl ©PMLl-ii: H.i Jl ■-■

■s

MILLION DOLLAR BILL Whitney Houston

1 > -I, N HARHIS A W.FELOEft.fl IVSONI & i '

Al V.'AYf; STRAPPED Blrdmai) Featufing Lil W.Tyn.^
.. I.-.'. -. ■■ -uJBeil) © CASH MONEY a^..vii-;:,.'.. Ml.

■

1 WANT TO KNOW WHAT LOVE IS Mariah Carey

!■ . HI .,. ,, © 1,, ^•„, , ,|...,

1 LOOK GOOD ChahR Gov

1 t 1 .7,; \/.i: ., © Olfliv jRO J)'.r I'.'.

I M GOING IN Drake Featurtng Ul Wayne & Young Jr . v

',!. J . 1 ji^ ,,1 , i-^-JU OCAHTEH.JW JENKINS' © YOUNG MONEYCASH MONEV.UMVtRbAL I.V

YOU RE A JERK Now Boyz

■. ii'. '.IV ,- .<. IH.iVAS E HBtliJAMI?( VB ADAMS) © SH^T'Y.'ASYLUV ViAf!^- 1- -l^ jl.

EMPIRE STATE OF MIND Jay Z * Alicia Keys

;/^juxAtUAfix:AttrjriisccAaimA5iiic»aBjHJSasiu<^fH:A>«;irAKn^B^^^ © r-rr'^irrii

DIGITAL GIRL Jamie Foxx Featuring Drake. Kanye West + The-Dream

C SI{rt'SBt,INA5H iC 1. STEVMHTTNAShK WESn.J'iiM a EAUDLIfil © ; W:,

BETTER BELIEVE IT Ul Boosie Featuring Young Jeezy & WcbbiL-

(.' ■ ^1' 11. - >-MC>tWC.RAON£YJ;ENKmSWV»lLLIAVS| © TRILL' ASYLIWIYIARN: !■

EVERYTHING, EVERYDAY. EVERYWHERE Fabolous Featuring Keri Mil .o,

K _L:-aI: ,j .a:*.,iJ-, II LtiLH.MMILSONi Q DESERT STOR^OtF JAW i. I'.V,

■

□

DROP IT LOW Ester Dean Featuring Chris Brown

POLOW OAOOK IJJONES EOEAN C BROWNi © HARVfV MASON ;ONf 4 SIRE AMLiNt lNTERSCOPC

■

YOU-RE NOT MY GIRL

r< LtELIE LESLlEi

Marques Houston

Lil Wayne Featuring Gucci Mane

9 NEXT5ELECTlOMCA5*BLA«iCAir

K'Jon Featuring Lee EnglarKl Jr. & Augustine Alvarez

I WALK WIT A DIP

Louislan.i (-,
© iSG'Jr.L I

Treat Lee & Prince Rick Featuring Widetrame

REAL AS IT GETS

Jay-Z + Young Jeezy

MAKE HER SAY
HEARD EM ALL~

Md Cudi Featuring Kanyo Weiit & Corr

Amerie Featuring Lii V.\i

Keri Hilson Featuring Kanye West & Ne-Vo

TIE ME DOWN

JAV NAl ;E H BEflJAMIN VO A THOMAS;

New Boyz Featurtng Ray J

Clipse Featunng Pharrell Williams

THOMAS <C DEBARGEJ THOMAS A BEST)

Alicia Keys ^
© MB^XHMG

SAY BOW

,' I •• .■.> 1 WRCOLLIPAHK (VOWUSU JMIUERCDESAHDt

Chtco OeBarge

■uring J. Futuristic

Mbm to earn six
d^ts on botti

Iwo famitiat name^
leturn. From Its
new aibutn "No
ltei)fets,"Afl-4-0ne
109s Its first etitrv in
n years, wtiile Tor
Braxton who tasl
appcarfd In ^5
previews tier nei i
set. due in
FetiruarY.

MY CHILD

ti: t-).A;vWEHlHtS <0 KfNNEPYJ JQNES.J PEHNOCK. J KUOELL. I M MCCARtHYK MARTIHi

MILLION BUCKS

» CHAMBUSS.J ALEXANDERI

Maino Featuring Swizz Bealz

CANT REMEMBER

-lAKteWILSONjOAIESi

Playaz Circle Featuring Bobby V.

GOTTA GET IT

MY PARTNA DEM

HOT ii&IED |M)I LiSrEOi

Rich Kidz Fealuring Young Dro

FLEX

DJ Mr. Rogers Fealuring The Party Boyz

Young Problemz & Mike Jones Featuring Gucci Mane
:ajAffciajwD!gD Ji j? -zjmMfjimsjffmiBfiiR © tewwLi-AJ<*<,w ■■ - ■

Jenniler Hudson

GIVING MYSELF

. ■ I ■ ::■ I iR 1HIC*E|

YESTERDAY

Triple Cs Fealuring Rick Ross & Otr
I i'^WRkESKBElftA!<BJLEWS.OZWWWR0BBnSIBWJJ<^ © Ui v,'. n -

f- i^CBBDWHflnHJOUCWLUSMjajQEl

S»MMYMA.srri,i;rK--i

WHY T>HEY JOCK THck Dsttdyf^ >M "Mon" BefflOIThe Dur* Ryders & Murl( C«np

I . JH ,K MTtMAH.T.ROBlNSOM.Q WmiAMS.E HOLWES.O HOHNi © y. 'ih . iM;'.

BETTER WITH TIME Prir

NOT LISTED INOT LlSIEOl I

d
1

"J
1
i
■

1
1
•i
i

DOUBLE DIVA ACTION ON ADULT R&B

Wliitney Houston aticl Mariah Cart^ debut on the Adult R&B chart, increasing
their totals for chart appcararuL's. With Houston's "Million D{)llar Bill" lx>w at
No. 22 and "I Didn't Know My Own Strength" at No. 5S. she moves into seventh
place for most career entries witli 23 and becomes the first lead artist to earn dou-
ble iion-suasonal debuts. "Million" is also Mouston's highest debut since "Same
Script. Different Cast" with Deborah Cox (No. 17) in 20(K). Carey sliifls into a tie
for f<Jiirth place on the most debuts list as "I Want to Know What Ime Is" enters
at No. 27. "Love" is Carey's best launch since "Honey" bowed at No. 22 in 1997. — Raphael Ceorge

Data for week of OCTOBER 3, 2009 i For chart reprints call 646.654.4633

Go to www.blllboard.biz for complete chart data l Tl^jgrlal

BillbMlll.

SONGS

§1 Is

TITLE

AHTISI lMi'H'>j| CHClWflllfiU lAfltl

KB REVELATION SONG

BB*fl PMUIPS. CmUB A OUN INO

h
O

MORE BEAUTIFUL YOU
M!j-Ti»4TI CITY ON OUR KNEES

LEAD ME TO THE CROSS

CHRIS «M0 CONflAB . '

BORN AGAIN

THIRD OKI FEM LMIET MOSLCT (SSENIIAUPLG

THE MOTIONS

MATTHEW WESI MiW,'[M< CUG

1 WILL RISE

CHRIS TOMIIH .!■ II--".. SPAHfiOW/EMICMG

LAY EM DOWN

NlfOIOaREATHE .' i r.'j ' ILWDRD CURB

BY YOUR SIDE

n>OH AVENUE NORTH !>• i ifiK.iV f'lC

UNTIL THE WHOLE WORLD HEARS

CASIING CROWNS f M M ^IflltT ftEUMON I'H,

THE LOST GET FOUND

•mil HlCfllt .1' ' tMI CMG

l»

WAIT AND SEE

■RANOOht tiEAIH '.'i , uiJtlE . HI UMONiPl G

HOLD MY HEART

ItHIM AVENUE NORTH '!! lltiJOK I'lO

PERFECT PEOPLE
NATALIE r>HANI . • I'

THERE WILL BE A DAY

JEREMY CAMF i ' , ''i- i "laH

SPEAKING LOUDER THAN BEFORE

JEHEMT CAMH .1 . I'i" A SUll

THE WORDS 1 WOULD SAY

SIOfWALKPmiPiaTSfEnvtNI WnHO-CUREl

If"

HE IS

HARK SCHUITI "li < 1IH«

YOU RE NOT SHAKEN

PHIl SIACfT ■■Ml', '.N '-.L.

ALIVE AGAIN

MAII UAllfn \ . ',tl<'.L PLS

IT'S YOUR LIFE

fllANCESCA BATTISIELII itHVEHI WORD-CURe

GLORIOUS
«W»OVS iriPOC

HOW HE LOVES

OAViO CnUWOER lANO SIXSTEfS SPARROWiW CUG

SING. SING. SING

CHRIS TOMtlH .1'' II ''^ :>PARROVif/EMI CMG

TO GOD ALONE

AARON IIHIST flllASM

FOLLOW YOU

lEElAHO WITH BRAMDOM HEMM ESSENHAL'PIG

I D NEED A SAVIOR

AMONQ IHE THIKSTT

WHAT DO 1 KNOW OF HOLY

ADDISON flOASiriO

HERO

Siiuti ,Uiii-fH w:i

TAKE ME AS 1 AM

FM STATIC r-'um 4 rifil

HEAVEN IS THE FACE

IIEVEN CURTIS CHAPMAM SPARROW EMl CUG

1®

JESUS CALLING

31MIIIS 1'.

HE IS WITH YOU

BEAUTIFUL ENDING

FROM THE INSIDE OUT

StVtNtH DAT SLUMBER .1 ."'M A NAIL

HOSANNA

HIAH IIIHK

GOD-SHAPED HOLE (2010)

nUMB 1 I.i .

NO NOT ONE

C)IIIIST> NOCKElS l-rS.'SCARROW.EHI CMG

OCEAN WIDE

THE AFTERS >SD

ALWAYS

BUIIUING (rtisr-

GOD OF THIS CITY

CHRIS TOMIIN ■■ 1; ■ : ■ ■■' "

ID'

MY SWEET ESCAPE

MY LAST AMEN

DOWHitfRE !!■

GLORY TO GOD FOREVER

FEE I'l

JOY UNSPEAKABLE

TODD AGNEW Mi

THE REASON

JULUH Olim INPOP

SING

JOSH WIISOM ^PAHROrtl.EMI CMC

IS)

FORGIVEN

BANClUS RlAl ' lAi.MuA EMI CUG

WHAT FAITH CAN DO

tUIllSS ' i ■ ' '. '."U

FORWARD MOTION

IHOUEAMO FOOT KRUTCH TOOTH & HAIL

ToIiyWm xom Greattsl Gafewi aaobdes on
Oiistuii Soogs, as "CitY on Our Knm" rtsa
S-i. addin; 886,000 mpressioiE (up tSK).
The song marks his fourth trip to tlw tov tne
In lis last tivi trl« and las first sti o( ludi-
to-iwli too fivts ("Lost Hv Soul" rtadwd
No. 2 last liowmber) sixe 2006-07.

Atop christian

W ALBUMS

3S Si

ARTIST

TITLE \>.:Pmi A FiUMBER 1 OISTRUUTINC LABEL

PI SKILLET

THOUSAND FOOT KRUTCH

■WELCOME TO Ty« WASOLERADC " ■ '..-i

NEEDTOBREATHE

THE OUTSIDERS ■U.AKIiC ilS/OJiWORO-CUfie

BARLOWGIRL

lOVl A WAft 1 ■ ■■,1 ■, - WOflO-CURB

MARY MARY

SELAH

YOU DELIVER M[ , v Jd-«>RD-CUII8

VARIOUS ARTISTS

EES
1221

DESPERATION BAND

Ljon LP TW MHj imtRTv 4enmoi«aff4nK)nn

•

GAITHER VOCAL BAND

liEUHTTED ■■ l":F< MUSIC GROUP MI44

THIRD DAY

nmiATlDH ■ rMU-l Cl'i'.l'-'I'lMaNT WTtGRflV

PHILLIPS. CRAIG & DEAN

rUHLESS '. II i i . ,-i..-iiIv

FRANCESCA BATTISTELLI

MT PAnn HiAHI 1 1 - .1 ■. ■.M, M ifl,waRD CURB

BRITT NICOLE

THE lOSI DEI FOUND -ir.LHUW JSSMMl CMC

CHRIS TOMLIN

HELLO 1.0« -EPS. SPARROW 23M.EMI CMC

MAT KEARNEY

cin cf euoL t «Mn wft caijhBA wr 1 «6(M cue

TENTH AVENUE NORTH

OVBt AMD tMBMAH RBMCn lOt AmMBd-NTECTcr'

HILLSONG

lATH ■ >m - iL^f Lw iticKiinarf «tonvweit«iEt»rt

MARK SCHULTZ

COME AllUE ,V'M[|.CURB 887304

LEELAND

UWl B ON THE MM f SSmiM. IDSGbWCVCtMI-nnClvn'

KARI JOSE

KARI JOBE r,'( JKIY PHOVIOiNI-INtEGRilV

MICHAEL W. SMITH

A NEW HAi.ai.aMI h>iTg»t 'nrUPROWnNT-MTHHtV

ll=J*iVtU ISRAEL HOUQHTON
LOHIIH i>f ransHinaHiveswiKBMBRR

MERCYME

ID iriii T'E'i' .SIE<iRiry ■*

BRANDON HEATH

Wm f*K'.l'l i-K ( i l-il t* fi MtTJ-TWCMBflBfltGnffy

THE ISAACS

THEtlAACS W0lWmi:Ajrt«nMll'.X:':iRUlPa!14UICMi

AUGUST BURNS RED

CONSIEllAIIONS ' : ;i ; ■ : i-'i- -M' i

THE DEVIL WEARS PRADA
WmiDOriUCVtMtJMUCHUttLlNI' : *

AVALON

REBORN' -1

HILLSONG

naa |i nss tw uiw*'-^'fMStn eiMooiMnsirr

JARS OF CLAY

iM ux Mu va V wnu ' >^ ~ ■Mi^Biiii ■tsan'oaiuam

MATTHEW WEST

SDMnHING TO SAT SPARttOW 4520,'EMI CMG

NEWSBOYS

IN IHE HAKOE Of 000 INPOP UJAIMI CMG

BETHANY DILLON

STOP a LISTEM SPAFtROW 634», EMI CMG

RED

iNNOCsaiiMsncT;- t-'. • •

VARIOUS ARTISTS

GlL«W««AlIDII-! -

JEREMY CAMP

SPLANiHCLmiiiERriUNBIFOREaECfirBafMCMG *

ANBERLIN

WWSUfHNOEfl A fHIHCDIlTlCrniflfJ*.

WOMEN OF FArm WORSHIP TEAM

A GRAND HEW DAY M'RHm -H.'BJi tl A'lKC' I llhh

MANDISA

fUtEDOM i ■ 1 r.iift 6779 EMI CMG

SOUNDTRACK

IIHEPHOOI 1.: MilN 'O'" PflOVIDENI-IMTEGRIIV

MATT REDMAN

WE SHAIL NOT SE ShAnN 1' 'H^^fWHOWZnaWICMG

TERCER CIELO

;iiTl [Mln iJtrta , _ yKWH'Mi

SIDEWALK PROPHETS

THESE SIMPl t TrtTTMS ■ ■ -i , 1', 1 n i ■ ■. A(lilIl.CUflB

DECYFER DOWN

CRASH ;■, ; - ; ■ , hi M ifJIEGRIIY

JASON CRABB

JASUM CFUBB '-..^rHERMUSir liRCAJP IT4X1M CMG

M-flmiT

LECRAE

HEiti -■■JL" ;i.^Di'u iwmny

YOLANDA ADAMS

nttusi IK xmKSTvwMMMinrniMTZwarriuc

STRYPER

MURDER BY PRIDC EUQ 3686aFKMDDIT'«TtGIVTY

FAMILY FORCE 5

KEEP IHE PAflTT AUVC

';'!

PHIL STACEY

WTO 1« IIGMI HI ;«lCn lOMOPfltWHtVI INTEGfifTV

Vising Z2-I6. Whitney Houston's first etttry
on Hot Gospel Songs regtstHS a fourth-
mdi surge ol 142 ptays (up S4%), good lor j
Grulest ISainer roses. HMsen BDS r^rts
airpby at ]1 of the 46 stations monitored
tor tlw ttiart, a twt gain ol seven stations
since last vfeelt.

HOT CHRISTIAN
AC SONGS

Ko ARTIST ir/l-Kmi fROAIOTIDM LABEL

S REVELATION SONG
PWILIPS CTiUB » POM m

MORE BEAUTIFUL YOU

JONNY DIAZ

LEAD ME~TO THE CROSS
CHRIS AND CONRAD VLK

LAY EM DOWN

WEEOIOBHEATHE ■ ■ , Tir

BORN AGAIN

THIRD OA' FIAT lACEl Mil

■-.sential.plg

HOLD MY HEART

iCITY ON OUR KNEES
TOBtMAC lOfttfftWl/EMI CMS
THE MOTIONS

MATTHEW WEST n-iROW.'EUI CMG

M;U:Wiil r

UNTIL THE WHOLE WORLD HEARS

CASTING CH0WN5 - t M :>lfltH' "jlirjifiU P. f.

SPEAKING LOUDER THAN BEFORE

JjnEMTCAMP:: I rn ,<, '(.-'.i .

THE WORDS I WOULD SAY

SIOtWIUK PROPHtTS i ■ .1 . '. :l

THE LOST GET FOUND

BHITt NICOtt i -i:Hi..'. tUI Ll.tt.

PERFECT PEOPLE

MiTWIt CHAKT ' .

YOU RE NOT SHAKEN

PHIlSWCtT REl'MgS PLC

HE IS

MARK KHmi WORa CIIHB

IT'S YOUR LIFE

ftlAWCtSC* e*T]ISlELLl ftflVLXT WOBD CURB

SING. SING. SING

CHHIS lOWLIH >!■:. HP^ SPARROW {Ml CV'G

GLORIOUS

NEWSBOTS IIIPOP

WHAT DO I KNOW OF HOLY

AODISOM RB»D I

ALIVE AGAIN

KAII MAHER t ■ f.lUL'PLS

JESUS CALLING

13MIUS lin

GLORY TO GOD FOREVER

EEt ;•.

FOLLOW YOU

LEELANO WITH BHAWPOII HEATH tS^EWIIAL PEG

HOW HE LOVES

DAVID CROWDER lAHO SIXSTEPS SPARROW.EUI CMC

CHRISTIAN CHR

•■■RINI PSOMOIION LABEL

^ 1 16

I HERO

CITY ON OUR KNEES

T06YMAC "

HOLD MY HEART

TENTH AVENUE NDHTH HI. ', TLG

THE LOST GET FOUND

BRITI NICOIf ■ ■■ . ' M ■ ','1.

SPEAKING LOUDER THAN BEFORE

JEREMY CAMP 1 ! lOUTH A NAIl.

TAKE ME AS I AM

fMSIAIIC ■. N'.i.

BEAUTIFUL ENDING

BABlOWOmt ■-H'.i'A I .'. i-.D-CUItB
MY SWEET ESCAPE

RUN mo RUN ■ ■ ■ ,

FROM THE INSIDE OUT

SEVENTH DAf SLUMOEfl H I !■ ['IH & U

MEANING OF LIFE

MAWKNtlSOH i ilM

MORE BEAUTIFUL YOU

JONNT DIAZ Ml

IT S YOUR LIFE

FlUNCSSCA BATTISTELLI

';T WORD CLfRB

FORWARD MOTION

THOUSAND FOOT «RUTCH TUOIH A HAIl
BORN AGAIN

THIRD DAT EEAI lACtY MOSUT E;.5EMIIAL,'PLG
HEARTBEAT

HEMEOY OHIMt .•■ " ■ I UR&

HOW HE LOVES

DAVID CHDWWH UHB SIXSIEPS SPABROW. EMl CMG

FADING

DiCTFIR DQWIII IHO

LEAD ME TO THE CROSS

CHRIS ANO CDKMO .'^H
I'LL GO

VOIA -r

WHAT FAITH CAN DO

HUTLESS ■ I 'M -. NAIL

YOU RE NOT SHAKEN

PHIl STAGE* -. • -'[LG

FORGIVEN

SANCTUSHEAl ■ i.nr.rt.EMI CMG

IT JUST TAKES ONE

ADDISON ROAD '.'

UNTIL THE WHOLE WORLD HEARS

CASTING CROWNS ( I 't M-':! ' -[UTHLitJ I'LL.

3s Si ;

Whm- ). MJMRER I DISTNBUTMG lABCL !

SMARY MARY

VICKIE WINANS

WnVIGOI OVER DiST>rjY J

J MOSS

JUST JAMfS I^UAM GOSPQ OHIRIC WOTY 47BTa JIS

ID
IB
O

EARNEST PUGH

LWt HAINOM l« " I ■ ' ■
VARIOUS ARTISTS

I ISRAEL HOUGHTON

YOUTWUL PRAISE FEATURING J.J. HAIRSTWJ
RISmCOKHBPHOMia-.l-...- Ill ' . m.-

VARtOUS ARTISTS

GOTlAHlwatSm-' r. I'i-i"- ., ; r LM-J.-Vit^r. '^iV.ii,

HEZEKIAH WALKER & LFC i

SflULED DJT.'-'l' 'SliriLG J

,•10

L£E WILLIAMS AND THE SnRnUAL OCS

FALL OK ME M t ' '.

116

MARVIN SAPP

SMOKIE NORFUL

irvE I- ^'.''1 •.!'■■ '1 1 !

VARIOUS ARTISTS

aifliiAi 1 ■ ■ j

BRIAN COURTNEY WILSON

JUST LOVE i ■:! IJ. i ■ ■ .1 .Vi.'HLII

19
16

33
51

DONALD LAWRENCE 8i CO.

nClAW Of OMESSlOti PAini J tl WiIF.\¥iinT7J<LijU:

LECRAE

REBEL ■ ■ ■ ■ ■ '.CMIY

YOLANDA ADAMS

fUrJTT W iLiLrll !T If ^UiCI lUIB fflTTEKKV ^CElSIO tUC

VARIOUS ARTISTS

wwtBsmEsuKTws '.i ' in mL\^Kiiv^niiaB4Cl(l6

DONNIE MCCLURKIN

WE ALL ARE OHl ILIVL IN OETDOITi .1 l;<W XIOaJLS

JAMES FORTUNE 8i FIYA

THE THAR^UHMAIiaN I'l ' ^-.All>.{ XIA!iMIOiUnM(C

DOC MCKENZIE 8. THE HI-LITES

REHEWEO I ' l '

SHEKINAH GLORY MINISTRY

m BEST UE SHCKINAH GAORT MKSTm MMSIXIAI 3K3 $

DA' TR U TH.

TH( BiGnOlAlf 1 -III- ^» '.VMINT UUSK

fig)

BISHOP PNjL s. uoflTON pflcsans DC Rscnc

CRY YOUR LAST TEAR MHilLAH 7^09 LKiHI

VARIOUS ARTISTS B

O]nAH««G08EEi*h'7L«^i.^A«ACai«»tl5:^X»IAIX ♦'

f HOT GOSPEL
A SONGS

■

TITLE

ARTIST il/l Hint PHOA10II0H LABEL

Kl CLOSE TO YOU

B^9 BEiE A CECE WHUU B4CMALAC0

GOD IN ME

MARY MAflY FEAT WfltM WW BSMO l»Y eUFCKtaLWHW

PRAISE HIM IN ADVANCE
MARVm SAPP VFHII' JLO

JUSTIFIED

SMOKIE NORFUL Tll'ILM 1 . FMI l.n .PFl

WAIT ON THE LORD

1 WOULDNT KNOW YOU

Mlivnt!|ini».ll lEni VKflOTLMHl WanMlSUmiM

THEY THAT WAIT

ERED MAMMONO FEAT JOHH P- Ot VERIIV.'JLG

SOULED OUT

HEiEKIAH WALIUR & LFC YERITV.JLG

BACK II EDEN

OONAIO LAWRENCE A CO UUiET WAIER'VERITV JLG

RESTORED

JMflSS 1''. I'M 1,' '.I'll 1 LSIRIC JIG

IT AINT OVER (UNTIL 000 SAYS ITS OVB<)

MAURETIE BROWN ClARK .MR GGSPEl UAl ACQ

LEAD ME JESUS

GREG 0 OOIN A IPRAl^L I'l FiDlll UU

ALL 1 NEED

BRIAN COEJRTNEY WHSON SPIRIT RISINGHUStC MIORLO

GOD FAVORED ME

Ft JEIUB WILAEn A Ift FUI MimMUn>« QJROaflSVtnTYJU

ID.

EVERYBODY DANCE

JAMES ROeFRSON

ll'l.'i'Jtll ' '-0°'^ YOU 1

[HilEllIH WHITNEY HOUSTON ARISTA;nM6 j

AWESOME GOD

THE BROWN SISFERS Fri'.i'UM

RAIN ON US

EARNEST PUGH i '■ n ■■■■ fSAAUAEWOBLOWIOE

BROKEN VESSEL

JEFF MAJORS FEAT lASHELL GRIFFIN MUSIC ONE

RIGHTEOUS FORSAKEN

BISHOP EOOIE LONG FEAT GW lUIIMATE Et

HOW 1 GOT OVER

VKNIE WINANS FEAT TIAA BOHfMAM JA OESTlNY JOY

i©

ALREADY HERE

BRIAN COIFRTKEY WILSON SPIRIT RlSFNaiAUSIC WORLD

1 LOVE THE LORD

PHILLIP CARTER A SDV 1 LUIFinS OF VICTORY

FAITHFUL TO BELIEVE

BYRON CJlGt GOSPn CEMRir VFRIT> .ILG

THIS JOY

BSWOAVOGEIMBFBESEHISNJTBHnCPANH iJUCWVTmEST

72 I Go to www.billboard.l

.biz for complete chart data

Data for week of OCTOBER 3, 2009 I CHARTS LEGEND on Page 67

BDs' " si)undScan

Billboard

DANCE CLUB SONGS

THIS

UST

TITLE

URIISI ■,<-Hlfr FtioMOTIMUUKL

■8

TITLE

ARIttT IMMlNI PROMOflOM LiVBH

1. KM OBSESSED

BB9 MAHIAH CAHET IS; ANO/lOJMQ

WE ALL WANNA BE PRINCE

EEIIX DA ND4ISECAI M IHVi'l-

■A

SHE WOLF

SMAKKU '. f <C SOffVMUSK

LOVE SONGS

AKJUtlE -( 1 M'j

EVERYBODY SHAKE IT

HMPHt RCISARIO FEATimM SHAVM CMnSttmeieilimAIE

MILLION DOLLAR BILL I

WHITNITHOIISTOH AniL'A I'l'^ 1

CELEBRATION

MMJONNA ,'.;.h\- 1 (i-lis

GIVE ME TONIGHT

TR EEAtURINt FflENCHIE DAVIS ' i '- 'MAN

DONT UPSET THE RHYTHM (GO BABY GO)

HOlStTTESr,'-.' in^ ;n IM :

DO WHAT U LIKE

Ua eOT eilE ri' 1 l>S:(!>

WOULD VE BEEN THE ONE

soiANGE "11' r i-r: 0 TFiN rn[n;,ca.-£

Sir

LOSING MY MIND

All KING .11 .Vttf a-.

KEEP IT GOIN- LOUDER

uunn la:i R >mjflMl mma ht A nCAY MB aki ikcehi waeoa^

S.O.S. (LET THE MUSIC PLAY)

JORDIM SPARKS 19 HVE IL'^

SEXY BITCH

DAVID <~jD-;nA FEATURING MUM GIM ASIRAiWRKSCAPlTGI

BE ALRIGHT

AKISTINt W ' ALAI'I

RELEASE ME

ACINES ■ . :i ■ i .IJH MM

INSECURITIES

JIJNHIR VASaia FEAIUHMO IMU J tiLlER LAOL TOAAT' DETE

SWEET DREAMS

BE'ONCE .' 1 I'.'i' A

■Mi

SUPERSTAR

OAUID MAV FEATUfllHG MOSES MODESTRO AbACQ

BULLETPROOF

LAPOUE . 1 itEitnYTREttNIERSCOPE

1 GOTTA FEELING

THE BEACA ETEO PEAS '-. . u ' ■

THE HEAL THING

VANESSA WIlLiAMS . nncO«0'CAAG

STRAIGHT THROUGH MY HEART

BACKSTREET BOTS I'VE i.

WHY YOU WANNA HURT ME SO BAD?

NlCm KIC^AROS 'II' ■■^iCHARIh. C OIA

BRAND NEW DAY
GEOflflC MMIC MUSK PLAN'

RIGHT HERE

CARMEN IIEECE ■ I '' Ml

.90

I'M A FUCKING CELEBRITY

OJ TIMBO 1 UNA TRIP

GOODBYE

KHISIINIA UEHARGE .il()Af>OP'ISLANn''lOJiEG

DEJA VU

AMERICA OLIVO EIAUEAAS

FINE PRINT

lUOIA All Ml 1 III liED

SAD SONG

fiLAKC LEWIS 10UMY HCV

THIS TIME BABY

EDDIE t Pi^ESENTS NIKI EtAfflS ^MP

FREEWAY OF LOVE

PEPPEfl MUHAY C APP

ROSE OF JERICHO

Bt ';■ i ''

PAPARAZZI

LAST GAfiA SIRUMLIKE ».mLtVbCI€nRrrF«,WIERSCOPE

PARANOID

jnnAS on jTMEns ■ 1 1 rwao:)

BODY LANGUAGE

JISSl MC(:*fiINEY mi T'PAIN tlCiCLVWOOO

SHE AIN'T GOT

i tTOTA : I'll' ,

LIVING FOR THE WEEKEND

JILL JOHtS <IM.I bl;-jljK

i:?

SHOES

IluA - '.ANG'TUflOO

TURN IT OUT

AITAR FEAruniNO JtANIE TRACT MJ^MAhOUSE

1 DIDNT KNOW MY OWN STRENGTH

WHITNET HOUSTDK in. l. ' i '■ M'..

WAKE UP

SLHMT PtRt'ClOU& WAKriER 3FICS

Wyim DID YOU SEE ME COMING?

liDTM PfT SHOT govs A5IRAl.WEftKS. CAPilE>L

□

SMOKE

JUS JAa WriM Pm GAMir I«T1JNM HKTMA fMSI hlQOA

FAME 2009

NATURI tUtlGHTON LAKESHGRE

FOUNTAINS OF YOUTH

LOVERUSH UK FERTURINC IMUT BANCROFT StA ]0 SUN

WANTED

JESSIE WKS UERCURV/IOJMO

FIRE BURNING

SEAH KIMGSTOM BELUGA HEIGHTStPlC

^^TOP DANCE/
^ELECTRONIC ALBUMS

■

tg 1" ARTIST

3S SS TITLE I.'-'." Ill A N'JAASER / USTRIBUIING LASEL

1 .17 KIll-ADY GAOA

lEi'VU ERE FAAAE niBIWIIWBBIIHHIII BWW

■

OWL CITY

30HI3

WAKI '"H'^'U MNIiH 511181

, IMOGEN HEAP

ELLIPSE M: ,'ii-":jNi.;, HC* SOeOS.'HMG

LMFAO

nuirr mio «Ji"> H^ti.wiiAUHHHwmwiE'aiH ■:■ '

. DAVID GUETTA

0N[ LOVE GUM aG«4r'F'ASIRALWERKS

BEYONCE
' ■uaamuBiiBmiisauouiM'xt'j'.i.vv *

4 DJSKRIBBLE

TOTU. CUn HnSan«IMDAWLTHMMB90et(TI(i<r,':

P CRAZY FROG

c BREATHE CAROLINA

HtLLQ fUSC'WATION ■■iRLESr Ml??

SOUNDTRACK

SLUMOOG UlLDOHAIflE IKIIRSCOPE 01251); itA

, CASCADA

(VACUAIE IMf DUMCEFIOW ROfleiHS 7il}84

MOBY

" WAIT FOB Mt IIUlL IDIOT 9^t6*'MUT[

PM| FAMILY FORCE 5

AEEP THE PAATY AUVEiEPI H.l. . - ■ '. 's LA 1DDTH S RAIL

, INFECTED MUSHROOM

^ LEGENDOF IHf SLACK SHAWAItKA PIHFECTO lOIHO

2, DEPECHE MODE

SOUNDS W T« UWVEBSI Ml/rtVHWSSTtt-WmjiaB

„ SANTOGOLD

SAKIOGOtO LL.'iHD iLiNG rO034'/l>OWI(T(W«

,n OWL CITY

oFAiMiEPi»>>M«oniufie^imeucoiMaiH6

|14

,0 TONY OKUNGBOWA

" TOTAL DANCt tm '"RIVEDAWIE 9M07aHniVE

|5>lfl'MllKE SNOW

IHyglll MIIKE SNOW . ''.\NT'.:/>K 70085*

DJ SKRIBBLE

TOTAL CLUB HITS 2 IH-llVEDANCE 9E)fq5, THRIVE

DISCOVERY

PET SHOP BOYS

I SIMIAN MOBILE DISCO
lEMPOHART PLEASURE mCHITA ?I6

TITLE

ARTIST LIFRINt 1 PflOMOTlOR LMEt

•n

tn EVACUATE THE OANCEFLOOR
BSa CASCADA RO«eiNS

3
2
21

20
12

OBSESSED

MARIAN CAREY IIILANU ILIJWL

LET THE FEELINGS GO

ANNAGRJECE ROfl^IRS

1 REMEMBER

EFEAOMAUS + KASUK FAAEIsTRAP AND PRESS ULTRA

SEXY CHICK

HVIO GAIETTA FERTURING AKON '.^lEA ^I^TRALA^RKSCAPITa

THE SOUND OF MISSING YOU

AMEERAN Fitr^lilNr^

PAPARAZZI

LADY GAGi .:REAMllNL«ONUVtCHtn«yTREEINTIRSC0PE

CELEBRATION
MAaDNNA .'.iH',-!. ll-i".

1 WILL SE HERE

TIESTD A SMEAAY SOUND SYSTEM ULTP.fl

WHEN LOVE TAKES OVER

PAE'DnuFTTA FtATlflliG FjlimOWJEKOv. MAS^lWWEPiESLAfra

INFINITY 2008
CUKEI HSH PRIXJECE 111'.

RIGHT HERE

CARMEN REECE FIE^l MF

HOTEL ROOM SERVICE

PETIIULE M^' ji; ' F'i. : liHOUIIOS'J RMG

SHAME ON ME

AE£> SAY7 FEATURBC EJEYWENCE ALEXAKKR mAIHfCEE FUHAU

NOW I M THAT BITCH

LIVVl FRANC FEATURING PITBULL Ji'.-l'JLG

15
4

9
13

SHE WOLF

SHAKmA I r'"

1 GOTTA FEELING

THE BLACK ETEO PEAS miERSCOPE

DOWN

MY SEAR FEAIURDK LA WRnC CA9i AOCYLRMRSAL REPLRUC

BULLETPROOF

LA nmX '"..VDriR rHEPRYTReE.'WTtRSCOPC

ANOTHER DAY

SOPHIA MAT 'It H'.'Ell!'-.

1 BELIEVE

CYIEISl™ FfJTLPlhi; JULK TIOBWII HD SlTlVSTICny REfFMA

RELEASE ME

AGNES':'.' .1 '. 'E'STAR.'NFM

ARMAGEDDON

JESSICA JAHREIL '.1' ■■ 'RV.IOJFAC

BREAK UP

MAM] FIAIUIBNG GUCCI lAIW A SOAI GMECTT 7» STRETT. J IWG

THROW IT IN THE BAG

FMEHIMS F«niRMG TREWCAM DE^ STORM W JAAACJEAG

TOP TRADITIONAL
JAZZ ALBUMS'

1 1 L'li

ARTIST W

TITLE IFAE'RIEIT A NIIFA1IER ' DISTRIBUTWG LASEL S

KB DIANA KRALL

DOS GAIIET NIGHTS VERVE OUASl'VO

:•

-4

MICHAEL BUBLE
it]t>auiiiEEiivKE<i»i^iAfa'i.RmiiniMneiBioi +

■3

FRANK SINATRA

urtAiEtf iKAawLNi:! . .i. . .-jt^iaiiaoimiicEioORi

MELODY GARDOT

MY ONE AND ONLY IHHILL . ' HVE OIJISSWG

FRANK SINATRA

acunuaAitjsM:. - ^ i*»mEVhVweKt

FRANK SINATRA

EUSSi: SHEATW 1 ■ ' . "iV.tEli£aiEn***lEi>fTO

ROY HARGROVE BIG BAND

EMERGENCE .■ "'" v III C'rllftLLA

■1

ROBERT GLASPER

DOUBLE BOGHED . '. I ' .1

ALLEN TOUSSAINT

Oft BHKiHT AYISSKS^Y 'J l'.' .'Ill 111 IHElVVAJflEjE mi>

MADELEINE PEYROUX

HARE BONES ' ' -' ' '',

VARIOUS ARTISTS

BESTOf BGBAHC' .1 . 1 :'. -~TtDUCTSSI1Q14AUMCY

■1

ROBERTA GAMBARINI

SO IN LOVE ':' '..'. f.'ARCY OniM'DECCA

.'0

MIKE STERN

BIG MFICHBORHOflO .EFA; i MR .' '

RENEE OLSTEAD

SKYLARK : '■;'!- '..'."',' 'i f."

CHRISTIAN MCBRIOE & INSIDE STRAIGHT
KINO OF SnOEVIE '.' ' • .'. . ■ ■."' '1 ' . ' ' '•

TOP CONTEMPORARY
JAZZ ALBUMS ■

ARTIST

TITEE tMPRi\T t. tluMBER ,■ DISTRIBUTWG LABEL

GEORGE BENSON

50TO*WSTOHKSAW;l»lffi6M»CO«lif

S BOTTI

MARCUS JOHNSON

m H

^N B

VARIOUS ARTISTS

SMOOTH JAZI HIT!; Hc '1.' j

PAUL TAYLOR

OOTH JAZZ
NGS"

ii
O

riTLE

RTIST Ml-RIKI i-HOMOtlON lADEL

WItALK OF THE TOWN

Wrfl QUmiH RAHN SLiliROOVC

, TROPICAL RAIN

JESSY J ' ; ' i;

, BRIGHT

PETER WHITE LMr.

kik.-

,3 GO FOR IT

BERNIE BEILLEAMS n";'.'l '. ■ ,■

,, LIVING IN HIGH DEFINITION

GEORGE BENSON '. .. ' ' '.'

., BURNIN

„ STEADY AS SHE GOES

WALTER BUSLET HEADS up

,, WHO WILL COMFORT ME

MELODY GAREMII '.1 <E'.'L

„ MOVE ON UP

PICHARD ELLtOT JnllsTfiY

TIJUANA DANCE

PECK BRAUN ' l .' E A'.'CNUE'ARIISIHV

,. THE CIRCLE

* PAUL HAHOCASTLE 1 PIPPIN Tr RHVIEW

. , I M WAITING FOR YOU

JACAIEM JOYNER ^-ITISIHY

1.'.

SONGBIRD

CRAIG CHAQUICD .'IANAChIE

., JUST FRIENDS

VANESSA WILLIAMS LONCORD^CMS

BECAUSE OF YOU

ERIC OARIUS ^ .'f NOTE CAPITOL

TOP TRADITIONAL
CLASSICAL ALBUMS '

ifii

ARTIST

TIHE I'.'IT.1NT L N'I'.'M',

A
V

Kl RENEE FLEMING
BQSl^lKSAO'E "

: =i:L! -.!URi Ifil^ i >;:("•;'': wh;l> ;;:iit,:r:j fmo^

THE MELODY OF RHYTHM H .' 1

THE PRIESTS

IHE PRIESTS 11' - '.' ' 1 ''''''■ '".' 'J'l '

»ilEi Di AEjJ !RC- 1>- IH: »i C( E»J*TlllBr iWOSBS

n^MQJABTAlWN ^ ' ' '. .J. i_E'l.l,P

PLACIDO DOMINGO

AMORE BIFINETU .'. '' "''.'.-'; . .. 1 .. " .1

-■\

MURRAY PERAHIA

(urn REJinil ! ^ * ! .' -' . F.^ 'AL' IT-VA:(ftS

LUCIANO PAVAROTTI

EltOUETS 1. ' ';.'!. '. iriASSJCSGREJUP

XI5HIU BEU. ACJICEMV OF ST MARTW M DIE nOS
tmLJIDf nXASEASKCi . .'. V/F":

JULIA RSCHER ACADEMY Cf ST UAfTTIIL IN THE RBDS
BACH CEWCERTOS ' ■.'EE.' I ijilj:'

THE CISTERCIAN MONKS Of STIFT HEUGENKHEUZ

IHAAT HUiC ICR n€ iaJE ' '. ' . . i.'OF

feiii

K USHUSIU<>B CUEtnOtlllMISUIWlESTEMeSK

BEEtNEli: ' " r.' 'J "l^. 'JAtFciEi, tiAiaES ErtXP

SOUNDTRACK

TE« SOLOIST 1 . ' ' ' (..I '■lEtWyil CLASSICS QROU'

ANGELA HEWITT

AflGBA FIEWn FSAYS EMROG. A HAYOGH .M^TE 577%

12 8

.on UUSSAIIIT tows SYlPHtm OdCH HOSEBISOK)
oocronAraNICSYMI*OWY'...'i .■..'.I'f '" ■

ANNA NETREBKO

SOUVEIOflSlll. ' ' ','.

TOP CLASSICAL
CROSSOVER ALBUMS

§ .Ii sill

■

i-«

fSk

ARTIST

tlTlE IM^FiiHl i NUUUR / OlSTRIfiUIING LABEL
WSW DAVID GARRETT

IL DIVO

THt PHOMiSt SVLOCaUMftA mBKOft MUSC
PAUL POTTS

PASSIOHE SVCO COI UMBIA 4743WS0W MIBIC
ANDREA BOCELU

INCANTG ;,'■ I r . ilECC* f;

SARAH BRIGHTMAN

STWHOWT LIVt INVKNUA M-VlUA' V.H :

ESCALA

ESCALA ■ ' ' '.'I- '■:■

NEAL E, BOYD

MT AMEHICAM OfttAM H'CCA 017897

'j"0SH GROBAN

AWAKE IIVI 1 ■. 1 1|[ 1(11- F I'l^S-TFaWAmFn BUOS

ill

EI3TOE rjasaiiaE CHKira II laiiE saiwt fiuB«'

[EAB VEJEftBTgEiTA'EEmAF;" .'■' '7; ''.'. 'liVilKtr

itMoiTiffiiMciECKnciaATiwusaijwinsi;

IIIHG CHfltSlMAS KA5 t.EJLVEJE IAflLffL<AU QEIH vmm

GREGORIAN [

MASTERS OF CHANE "Rp;90ES EX i

LAURENT KORCIA

CINEMA '. '• ' .

SOUNDTRACK

ANGES A OMUe ' t.v k'HM SJGSbSCfft UASTEEWnES

THll
WEEK

!•

12'

u-onrr

SHARON ISBIN

i»irTaT«MwiM>:ift '.ajx^ii«^wia|ta^ ^
IICnniUBMUCMniKHtTTaiUSQUIIffill^^ j

TOP

WORLD albums:

CKIM I, WimtH l)t$IRIBUllHli LAHEl

RODRIGO Y GABRIELA

11 n RUBfWORKS WBOyAlD ijf

VARIOUS ARTISTS

CELTIC THUNDER

TAKt MI HOME i[ "H. Ttl'lSriEH 01M67^DiCC*

CELTIC THUNDER

ACT im -iLUti muNDtH DM606,'»ECCA

BLK JKS

AFTER ROBOTS SFCftETlY CANADtAM 197*

AMY HANAIALI'I

fHIEHOS 4 fAMIlY IIJ HT>14

CARLA BRUNI

COMME SIKIUmwETWTTlCmiAlWWTaMMIOWniWIt

OS MUTANTES

I4A>H flfl AMafllECEDOn.. ANTI ^7041 FPITAPM

THE BABY GNSTQN MUSIC BOX ORCHESTRA
HABT tlWSttlH WOULD MUSIC .'. ' i i - ; n ■

RODRIGO Y GABRIELA

UVEWJIIWHAIO gl63a *

VARIOUS ARTISTS

BELA FLECK

THRDW DOWN TOUH HEART npUHOER 610M4

VIEUX FARKA TOURE

fONDO -.K K'Hil" 1 r-'.F.

Data for week of OCTOBER 3. 2009 I For chart reprints call 646.e54.463S3

Go to wvEfw.biilboard. biz for complete chart data i 73

Bilib«ar«l.

MONITORED BY COMrilED BY

niclscii nlS'l^V!!

OT LATIN SONGS -1

TITLE

*filiSl M -■■^■.■.'1 ■ UN [ABED

artist

"CS as SB TITLE <MI>RINY PflOUOII0ttLAAEL)

1 11 BImANOS AL AIRE 1

B^SmEUYRJHINDO fJi.:[AKUWftRSM.UUSICUIT«K))|

NELLY FURTADO

MPUMKLSTWIUMVERSU MUSC L«IM00.331I11MIE

LOB A

SHAKlU ifPIC 50NV MuSiL :ATirii

LOS TIGRES DEL NORTE

m GRANM iuNUV.S* )5it9: Uf.'U *

TE IRA MEJOR SIN Ml

JOAH SfBASTIAH r/l'SARI BAlDOA)

AVENTURA

m UST .■.■.['.■ 1 [ •. ■,, .,1 II .

LO INTENTAMOS

[SPINOZA PAZ . r .■■

uJBjH WISIN & YANDEL
tmHllJ uinn«uatMr,i u^i u', h.. nv, : *

L^jLlliH los ima oa wdte (fonovisa)

TITO "EL BAMBINO"

tt PAinON 1 , . 1 -.11 liULE

EL AMOR

niD fl BAMUiMl ilMh

ESPINOZA PAZ

IDMD Lma PfnO li) NTINTitMOS i -^ ?Ifii'i . .Ciil .VL£

Ml CAMA HUELE A Tl

mo £1 BAWeiMD FEATUnwC HON ft tfMMOl iSltNTE)

LARRY HERNANDEZ

16HUCOCOHI«IOSMl'. h ,ii VI.!

SU VENENO

AVIHlllR* .1 : ! '.' hi; .-.I ■,

VICENTE FERNANDEZ

NtCESITODETI ' ■ " ' ■• '•]2S2

RECUERDAME

lA aU'KTA ESIACION . .■ l>i.hH)

■.;»

VARIOUS ARTISTS

IDS SUPER UHO S . ' ' f

YA ES MUY TARDE

I A AHItOLUIOOnA BANOA IL LIMOH iDISA CDIMONSA)

EL TRONO DE MEXICO
AIMAS GEMELAS ■

SUFRE

\.0i OAHtTES OE lA SKMA ilXSAi

CONJUNTO ATARDECER

CONIIGOPAR* SiEMPM n>SA JJljor uMLt

NO ME DEJES DE AMAR

lA APVESr* Ml'..

9«

LUIS FONSI

PUMHUUIIHIMS 'is' ii IM^lA.mOI.StOUAl +

□

1 GOTTA FEELING

IHf BLACK [t(U PUS iiNTERSCOPE)

EL TRONO DE MEXICO

DESOE LA F«TniA EM VIVO EOliOVISA 3S40B&UMU 4

ABUSADORA

WISIM S rAMDEL .'.1 MACMtlfl

JESSE & JOY

ElECIHICIDAU AJKr.... ,AI.NA i?13?0

COMPRENDEME

GERMAN MDHIERO ri-;'iOvlSA.'Mi;StV)SA|

VARIOUS ARTISTS

OUHANGUENSE «.'S 2009 DISA 721301 'UFAlE

CAUSA Y EFECTO

PAULIMA flUBIO M'.tl^SAL MUSIC LATINO)

VARIOUS ARTISTS
BANOA »1 S ^lllll II - r .^D? UMLE

AOIOS

JtSSE A JOY /,.V|.,ll[li LAIINA)

JOAN SEBASTIAN

PEGAO.EO 11 CORAZOH UUSAPI 420B BALBOA

*•

COMO UN TATUAJE

K pa; hi la siemu iDI'^a. iniuriNsAi

TERCER CIELO

ffiOIMJIUfiOl rt«IAM:imf^M.1CUIMU1^. '.'

GRACIAS A Tl

WISINi tANDlL ■! !■

« MARISeUA

?0 tXiIOS IKMORIALES ' . ■ t

ESCLAVO DE SUS BESOS

OAVIOmSftAl .-. f . M.I MUSIC lAIINOl

TIERRA CALI

u™iE W3 .!iLi| 1. .11

DEJAME ENTRAR

MAKANO ).l!.i.MiTt|

LOS TEMERARIOS/BnONCO/LOS BUKIS

TOCANDO FONDO

ftlCAKOO ARJONA /.iR'ifR LATINA)

US CNKiE DB luiTO ouwicn! D! mm mm

AVAHIANDO EN LA VEDA ; l.iri In

TE VES FATAL

EL THONO Dt MEXICO .fOVIItflSAi

i«

DADDY YANKEE

miM'oa ii«<c lUAWttiucii ... iiv

TU DEFECTO

UisnraAIiDHt/^itl HLSno DURMeUINSE iD^i^'EDMOHSA]

4, RICARDO ARJONA

no P.SO ,'. . t.i ■ i.6669

□

EL BOHRACHO MONTEZ DE OURANGO

QHJPO MOHIU DE OMUNGO iDiSAf

PATHULLA 81

COLECEXW PfnAOA LAS 10 EACEJANU E>SA 7.-^9!. L.*.'! !

CELOS

MNNHU 'iStvfHSAL MuSIt LAIiNO)

MAKANO

EE ANIO PA11AWA klACHElE 47.003. UMLE

Nl ROSAS Nl JUGUETES

PAUllNAHUBIO rN..^iRSAl MLISIC LATIKO^

MANA

AF10E EL CIELO AAHNEH LAIINA 481 TSS f

III

CAMINARE

INI0CA8LE "ILJvl&ai

LUIS ENRiaUE

CICIOS III. LIMP 99. C ♦

CUMBAYA

PtfWEE t'.ll I-ll-USAl

CONJUNTO PRIMAVERA

flMPEHnHAA LAWTOnAEALWISTOS. r'~V5A.1S4.-iliUl!

□

Y AHORA QUE?

LOSfllELEHOSOElHORIE ■■ .■Jn.l-A.

GRUPO EXTERMINADOR

PA COflillOOS . '. .'.1' .-. ■ ' 1 M.t

AL DIABLO CON TU AMISTAD

ft CH«PO DE SIHAIOA HI ..'

VARIOUS ARTISTS

COHHIOD Afl S 7009 li. " . Ml E

MARIPOSA MIA

LA ARROLLAOORA BANOA EL LIMON

WLEEtOl MO.AOA US 70 EXCLU3WAS 1 1' .V H^'M^Uil

Ml COMPLEMENTO

ICIS HUHACANl^ DLL HUKIl .'i

VARIOUS ARTISTS

NORIENO 1*1 S2IH3ISA 77.304 UMlE

SE NOS MURIO EL AMOR
EL GUERO T SU BUIOA CENTENARIO i-- . i

PANCHO BARRAZA

LAS WMUtrcAl et WWMWlAaiBL 1 UUSWT nSBILSW

UUIEN ES USTED?

SERGIO VEGA .:>

^86

DOM OMAR

.Mti i.'i. ...1; 0.2867 UIALE

ME GUSTA ME GUSTA

FLEX

lAEVOlOC.OH ROMAWnC STVEE t'.'i ■[Lt.'.SA k .l '

ERES TODO TODO

JiaiON ALVAREZ

LOS INQUIETOS DEL NORTE

■E-miiT

FELIZ

KANT GARCU r-'.iJ¥ V. : 1 ii ij.

JENNI RIVERA

JfH» i!KI)k:[itr/: [flUU .tT^mi^Mlf'

HOT IHST

mix

COMO VOLVER A SER FELIZ 1

iuiS((iHtOOEir':''sioC( [

PAULINA RUBIO

C«AH COT pop . 1 .■ . ... ilt:ill.M.>3lf ♦

ENCONTRE

CONJUNTO ALMA NOHTtN* (CliriA A5Lj

EL COMPA CHUY

EL N.HO OE OfiO . . . ' .h . 1 -H'.

FIRE BURNING

<iEAN KINCSTUH i 1 : . :>A HE IGHT&CPlCt

5j LOS INQUIETOS DEL NORTE

OVARIOS

JENNI nHIEHA .IJLiVliAl

EL GUERO r SU BANDA CENTENARIO

SE NOS MOR.O EL AMOP - i-

SENTIMIENTOS DE CARTON

DUtlO ■ Mr, ■

ALACRANES MUSICAL

70 SUPER lEMAS . ' i .'. j5li53i;P^,[

MAR AOENTRO

TOMMY lORflES I'/MRMn LATmAl

LOS PIKADIENTES DE CABORCA

EA TEEM MAS QRAHOE SONY MoSiC LAIIEE 4G3C9 *

LLUEVE PGR DENTRO

lUtSFONSI ikNIVERSAL music lAtlN(li

ENRIQUE IGLESIAS

9S«I I..NIVERSAL EillSIC lAFIEiO 010974 \.MLE *

HAGAMOSLO AUNQUE DUELA

MABIOH ■

LA ARROLLAOORA BANDA EL LIMON

WAS AOHANU .IMI UMLE

YA TE OLVIDE

ARTHUR HANLON FEAT RICAROO HONTANEFI jlDNOViSA)

VARIOUS ARTISTS

SUPER 1 S «EGA HIIS i. ■■•I.HLIt II ' .. ' 4».0MEt

ALMA EN PENA

IDS INQUIETOSOEL NOflTI -[(HGit UIIMLj

BANOA EL RECODO

lEPRESUMOIiit. .1...'. ii:iI39 .lUL£

INFINITY 2008

GURU JOSH PROJECT lULtliAr

HECTOR ACOSTA

!Ar.iMiTl i;^Hi; .. . J j^.JMElMHgKUmeNAlWE

DAME TU CORAZON

lOSfiUflANES M'.V

LA OUINTA ESTACION

S.M ERENOS . IJ' '.'1 ' C lAUM 44947

WliiitfnMiiolitilMWIilogllKsnBSli ,
win -todB A IT En Mil Mrtlni Aiito)
(mov^ 20-S with 2.2 mlkm ii audience, Lv
»»%). g tiKnds Me le«l loi iKst too AvB
on UK duit to l)«. (Dadily Vintw Is bdM
wWi K) "endas" il» ^ HI Hot
Uk Sow (6 11*111,1825%).

Dcsptlt having the most No. h on llcgkmal
Nexkan Albuns (21), Los Ttgres Del Norte
are In second place fof most No. Is on
Regional N«xkan Alrptay. With "La Granja"
moving S-1, 00.2 million in audience, up
45%), it becomes lti« act's 14Ui Ho. 1, just
two shy of Con)uffto Prlmavera's K.

PLAY

3« >o '

mM PROMOTION LABEL)

gyiUmUB] LA GRANJA
HQs [iriinulH EOS iieRES oa Mwn eqmovisa

Qloba

^ SHAKIRA I PIC SONY MUSIC LATIN

LO INTENTAMOS

ESPINOZA PAZ 1 11.'. 7;;L

MANOS AL AIRE

NEllV EUHUOO i-i HB UWIVEHSAL MOSK LATIM

TE IRA MEJOR SIN Ml

JOAN SEBASEIAN I- . I 1 1 n;.

RECUERDAME

LA QUINTA ESIACHMf SONV MUSIC LATIN

YA ES MUY TARDE

EA ARROLLAOORA BANOA EL LIMON EDIIAONbA

AOIOS

JCSSE A JOY WARtJFfl LAIiNA

SUFRE

LOS 0ARE7ES OE LA SIEREIA OlSA

CAUSA Y EFECTO

PAULINA FlbBIO VUUC

NO ME DEJES DE AMAR

LAAPUESTA i".!.

11-J.VJtU ESCLAVO OE SUS BESOS i
lOIOn OAVIO MM VMX'UIMftSM MUSIC LAIMO]

COMPRENDEME

GERMAN MONTEHO . .1-.. . -. ..'.^lU^A

1 GOTTA FEELING

IKE eutK E>tD ff*S iNr!R:iCnaf

COMO UN TATUAJE

A PA7 OE LA SIERRA I I i Ill\1QNSA

EL AMOR

TITO El BAMBINO- if'JIE

TE VES FATAL

EE 1H0U0 OE MEXICO I L iVIbA

TOCANDO FONDO

RICAtlOO AflJONA i' I- N [ K lAEINA

TE PHESUMO

BANOA EE RECOOO 'ONOVI^A

J SU VENENO

AVENTURA 1 . ML' MM LOIIS

TU DEFECTO

iDlCAINXMJMl.'AlfrOEUWHiURIESIMMDOIIMOLKAEOAIUNiA

AQUI ESTOY YO

FUE SU AMOR

ALACRANES MUSICAL '.UlILA EUKOV.SA

Nl ROSAS Nl JUGUETES

PdULIMA HllBia :jI. ! Mil' (1 1 ili-i ,

EL BORRACHO MONTEZ DE DURANGO

GRUPO H0NIE7 OE DURANGO OlSA

MARIPOSA MIA

VIVSNAIIVA ■ M 'MriG MUSIK

CAMINARE

.NTOCABLE it.' -ilE^lSA

GRACIAS A Tl

WISIN A fANfJtl Mil "fl£

Y AHORA QUE?

LOS RIEIEROS 0€L NORTE f ONOVISA

CELOS

FAttiiViU ■ ijr.;-'..^. yusiC LATINO

AL DIABLO CON TU AMISTAD

EL CHAPO OE S.NALOA In -

FELIZ

KAKY GARCIA f^OIJy MlJri.r . AIiN

Ml COMPLEMENTO

LOS HURACANES DEL NORTE In .!■

1 KNOW YOU WANT ME (CALLE OCHO)

PUBUIL JMi

SE NOS MURIO EL AMOR
EL GUERO T SU BANOA CENIENARIO ARC

MAR ADENTRO

TOMMY TDHRES I'.ER lATIKA

QUIEN ES USTED?

SERGIO VEGA 1 1 ..

POR UN SEGUNDO

AVINHIflA ■■>:■ !.i 1.1 1 Allr*

QUIEREME MAS

PATRULLA 81 In .A

INFINITY 200B

GURU JOSH PROjECI '.ILIKA

IN RHYTHM

PLAY

THIS
WECN

gs ii

3s »o

TITLE

ARTIST .IMPRINT PROMOTHIN LASEli

3i is

TITLE

AflTIBI i.MfKINI , I'ROMOTION LABtll

Wist Itil.'i'JHI HAGAMDSU) AIWOUE DUEU

[I MANOS ALAIRE 1

HELLT ftJRIUM StLSTAaUNIVEnSAi MUSIC LAnwu

MANOS AL AIRE

NELLY EIWTMW NLlSIARUIfVERSAL MUSIC LATINO

Ml CAMA HUELE A Tl

IirO EL BAMBINO EEATUAMG ZION 4 l£NNOA SlENlE

LOBA

SHAKIRA EPIC ^ONV MUSIC LATIN

DEJAME ENTRAR

ABUSADORA

WISIN t YANDEL iM MACHETE

ABUSADORA

WISIN A TAHOEl ' '.' H 11 1

Ml CAMA HUELE A Tl

TIEO EL BAMBINO FEATURINQ IIM 4 LENNOX &IENIE

ll'l.ffltll GRACIAS A Tl I

[■MniiHvnSNI I VAAMl MACHETE |

ADICTO A TU PIEL/HOLDING ON TO LOVE

FRAHAIfNEGROHAIDLD

LOBA

SHAAIRA ■hi: h. NV WUliif .ANN

SU VENENO

AVENTURA i - Ml.lM LATIN

QUE TENGO QUE HACER

OADOY YANAEE I i ..UTEl

MIL KILOMETROS

OMAR HENNIOOEZ r>l

EL AMOR

HID EL BAMBINO ' ILNTF

DEJAME ENTRAR

MAKANO ...I,''.!.. MaCMLIE

EL RITMO NO PERDONA (PRENDE)

OADOY YANAEE ■! I -■.lini

EL ULTIMO BESO

BARTENDER

SALSA CON TIMBA

SENTIMIENTO

AYMEE MOVIOLA I i.l

vico c . I.' 1 1 L .

QUE TENGO QUE HACER

DADOY TAMAEE L. .'.AflTEL

SU VENENO

AVEN1URA . .Ill' .1.1 1 AIIN

TU PRIMERA VEZ

HECTOR ACOSTA II i V VEIIEUIISIC

CIAO BELLA
DON OMAR '/A^nLIE

SI TE VAS QUE TENGO QUE HACER

OMEGA 'I "'.I '

FLAQUEASTE

JOAN A O'NEIL HiT MACHINE SOLD OUT

ASI ES LA VIDA

MAMBO NUEVAYORK 05

RASTRILLEA 2

J KING A MAXIMAN LARA

YO NO SE MANANA

LUIS ENRIOUE HP ^TOP

RELAJATE

EL JOEY lAH

NO ME DEJES

LOISAIOAS 11.11

DOWN

AAY SEAM FEAT. LIE WAYW CASH MONEY UNMRSAL REPLEILC

AGUA PASADA

ANDY ANDY t - .>Ni ! SONY MUSIC LATIN

SOLOS

PLAN B rUTURING (ONV OtZE PISA

CHINITA

MABomuMiriAiMDrul auumMNn«A7W.M*>YWKt L>.n

SE LE VE

LA SISTA . ... III. 1

ASI ES LA VIDA

EL ALAN OE PDREI kCRIA ^EliE MUSIC

1 GOTTA FEELING

IML HIAim iVEH PiAS ."(lERSCOPE

■ BETWEEN THE BULLETS ^^^^^^^^^^■■■i^^^^^^^^^^H

'PLAN' TO BE AMAZED

WiUi hcrtirst Spanish- language relea.so. "Mi Plan, selling nearly 13,000
copies. Nelly Furtado is enjoying the biggest sales week for a Latin set by
a female this year. The last woman to post a bigger week was lenni Rivera,
with "jenni" selling nearly 16,000 copies (Billboard. Sept. 27. 2008). Fur-
tado lands atop Top Latin Albums and Top Latin Pop Albunis, a feat that
a crossover artist hasn't achieved since Jennifer Lopez's "Como Ama Una
Miijer" did so in the April 14. 2007, issue. — Rauly Ramirez

74 I Go to www.blllboard.blz for complete chart iJata

Data for week of OCTOBER 3, 2009 l CHARTS LEGEND on Page 67

O JAPAN

ALBUMS

; UNITED KINGDOM

ALBUMS

GERMANY

ALBUMS

THIS
WEEK

§1

lHIKMISaiKSCMiWW*LMnED( 01MBIII.M

(IKE OFFICIAL

UK CHARTS CO | SEPTIHHR il. 2«0«

IHEDIA CONTROL) SEPTEUaER IZ. 2tn

NEW

TSURU NO OTO (CD/DVD)
TSUYOSHI TSURUNO POKY CAKYDN

NEW

THE RESISTANCE
MUSE Ail Ht.lUM ■ ,•■ -.in^H

NEW

THE RESISTANCE

MUSE ■■.! . IIJM J 'WARNER

NfW

BEST A.I. (LTD ED)

Al vNI'.XflSAL

WEU. MEET AGAW - THE VERY BEST OF
VtfU LYNN DECCA

NEW

GET LUCKY

MARS KNOPaCR VERTKiO

ALL THE BEST! 1&S9-2009
ARUHl J STORU

NEW

REVELATION
PCTEH AMMf CONEHEAO

NEW

CARLO COKXXX NUTTEN II 2009

BUStHDO PnOO S. 81ACX A F WHRE E R^JTIRXlAiE

NEW

BEST A.I, (CD/DVD LTD ED)

kl '.r.i ■

NEW

THE BLUEPRINT 3

JAV Z .I' ■!'.TI.;',

f WUENSCHC

BOX EMOTIONS

SUPEMflY .■..■■-■-IH

HEW

DRAW THE LINE

DAVIO UHAY -1 .VLIJt-".

WLLY KIKIAOO 'IP.STM'lMiERM. MUSiC LATW

TSUHU NO OTO

ISUTOSHI rSURUriO C^t^VON

ten

TURN IT UP

PIXIE LOn l.ttRCUHY

KING OF POP

MICHAEL JACKSON t^'ir: itGAf

ALL MY BEST (CD DVD LTD ED.)

Mtl KUHAKI N' T- HfRiN

ONLY BY THE NIOHT

KINGS or LEON HAND ME aom nZA

1 LOOK TO YOU
WHITNEY HOUSTON AniSTA

THE COLLECTK>N

WE YO Al

ONE LOVE

DAVID bUETTA L.IJM.'VIH<jl)j

WrR KINDER VOM 8ANH0F SOUL

DII AY

ALL MY BEST

>UI KURAKr NOaiMEHM

HEW

GET LUCKY

MARKKNOFTUH VERTIGO

DIE LIEBE BLEIBT

SIMINO nOSSI '.iiCht

HEW

M-fLO TRIBUTE - MAISON DE M-FLO

VMUOUS ARTISTS AVEX TRAX

LUNGS

FLORENCE • THE MACHWt ISLAND

THE BEATLES IN STEREO BOX

TH£ HtAtUS ■if'J,i tM

I FRANCE

si ISHEP.ffOP.TtTE -LIVES SCnEMBt ZZ. ZDD9

1 KEW

2 MEW

THE BOY VITHO KNEW TOO MUCH
MISTER MYSTERE

ONE LOVE

OAVm CiUtllA . M . Ki| ■.

KEW

BAIONARENA

MANUCHHJ :'.'.ri.uSt

VOLUME 10

MAHC lAVOINE MEIKURV

NEW

RNISTERIENS
MIOSSCC PiAS

MUSIC FOR MEN

THEBOSSIPMLL HOC*: " I'l.'-''

■t

NOUGAflO OU LtSPtRAWCE EN LHOMME

MAIJtUlNE '<

NEW

GET LUCKY

MAttK KNOPTLEM VEHT1C0

1 ITALY

Al Dl IMC

(FIMI HIELSENi SEPTEMBER 11. ZO09

NEW

MUSE

THE RESISTANCE A&E.'HELIUM intfAilNER

NCW

MARK KNOPFLER

GET LUCKY VERTIGO

WHITNEY HOUSTON

1 LOOK TO YOU ARISTA

EROS RAMA2ZOTT1
ALIERAOICIHCA

TIZIANO FERRO
ALLA MU HA' CAPIT04.

MICHAEL JACKSON

KING Of POP fPIC/lESACV

NEW

THE BEATLES
ABSEY FIOAD APPIE/EMI

DAVID GUETTA

ONE LOVE .'ItGIN

NEW

THE BEATLES

SGT PEPPBTS LONEIT HBVnS OU HMD Afmu-fl

MICHAEL JACKSON
IHMLLEH EPIC LfGAC*

—

NETHERLANDS

cium PC

(MEGA CHARTS BV) SEPTEMBER 11 ZOBS

Ml ROWSU (TUINTJE IN MLIN HART)

DftMARu III ■ Mii::.-

THRf E DAYS IN A ROW

AHOUH M'

ENGEL SCHWEIOEN

HDKItr UNllMilEO r|U[,v

DAT WEET JE

JtRDIH VA« Dm UOtlU H:V BULLtl

1 GOTTA FEELING

THE BLACK EYED PEAS INTERSCOPC

MUSE

TKIWirAIICi Aitt ItUiiJM 3.-WAWMER

NEW

MOKE

THE L0N6 A DANGEROUS SEA PIAS

NE«

HARK KNOPFLER

GET LUCKT VL' ■'L.lj

ILSE DE LANQE
LIVE IN AHOY UNIVERSAL

PORCUPINE TREE
""^ TMt INCIDENT ROAOHUNNER

O CANADA 1

♦

AUSTRALIA 1

Al nilMC 1

LAST 1
WEEK 1

(MBXENKAnUNnCAM) OCTOB0l3.Zm

lAMA) SEPTEMBER 2D. tHB

HEW

MUSE

TIC RESKIANCE tItUJVl V/mtH aaiE.WJWI*"

NEW

MUSE

THE RESISTANCE "i^ h-.U'.' -. .'..HMR

JAV-Z

TNI BlUtPRINI i m,Z riAIIO^'WARNER

THE BLACK EYED PEAS

IM( L N 0 I.:- i.'

WHITNEY HOUSTON

HOOK TO YOU ■■■"ILU l.Oriv MUSIC

JIMMY BARNES

IHf RHYTHW AHU THE BLUES Lia'.RAIIOH

HEW

MEGADETH

iMiKiAME ■ 1 '.!.! ■ /immti

KATE MILLER-HEIDKE

CUHIOUStll 1 i ■■ ■ .;

THE BLACK EYEP PEAS
THtEHO i'iiLH:i..i.;-^ U'; /rh';-.^i

DAVID GUETTA

ONE LOVE ;.■ W VltlGiIl

.«

JEAN-PIERRE FERLAND

BUOUK DE nmiE IDUOS fBUm 'UCfW-tjn

KEW

GRINSPOON

SIX TD MIDNIGHT UNIVERSAL

. KINGS OF LEON

" ONLY BY THE NIGHT HCA SONY MUSIC

BEYONCE

lAM SASHA FIERCE UUSIC WORLD COlUMBrA

^fu, CHAMPION

ntSISIANCt ' ■.'

PINK

fUKHDUSEarSCEJlG

JOHNNY REID

DANCE WITH ME > ' - i lAH IJIllVF^SAl.

NEW

JAY-Z

THE BLUEPfOHT 1 HOC \ATI(^II

DAVID GUETTA

OMf LDVE 1. IV ,'IHI,1N IMi

TAYLOR SWIFT
FEARUSS BiCi MaCMIHt

f» SPAIN

ALBUMS

IPROMUSICAE MEDIA) SEPTEMBER ti. 2«DB

NEW

FITO a FITIPALDIS
ANTES OE QUE CUENTE HEZ D R 0

NEW

MUSE

THE USISTANCE A«^/HELtUU 3/WARNER

HEW

WHITNEY HOUSTON
1 LOOK TO YOU AHISTA

. 4

NEW

MARK KNOPFLER
GET UJCKV VERTIGO

PEREZA

AVMWU SOHV MUSIC

DAVID DE MARIA
RELOJES DE AAEMA ORO

KEW

BERRI TXARRAK
PAYOLA RaADRUHNER

NEW

NELLY FURTADO

MIPLAN >.i . : \ \r, w:m music LATINO

POCOYO
F«8TA bONV WU&IC

JONAS BROTHERS

LMIES. VINES AND TRYINS THUS 'i^LLYWOOO

AUSTRIA

(AUSTRIAN IFPl

AUSTRIA TOP tC\ SEPTEMBER 21 21)09

IF A SONG COULD GET ME YOU
MARIT LARSEN ViRISm

SE.XY CHICK

DAYID OUETTA FT AKON jUM Vll^ljlS

1 GOTTA FEELING

THE BLACK EYED PEAS iNT- r\i(: OP-

BULLETPROOF

LA Mat ■ ■

PAPARAZZI

l/m GAU .-■ -:-_>v.i_*i^.'if.t.':fWTBe,WEBSCO«

NEW

MUSE

THE RESISTANCE '■>.' inM ].'WARH(n

MICHAEL JACKSON
KIHC DF PDP 1 ^ ^ 1 L Y

SEMINO ROSSI
DIEirtBEBlflBI ■■, .-.-.■..:.(

DAVID GUETTA
ONE LOVE 1^ .s-A,.:

NEW

BUSHIOO PROO. S. BLACK & F. WHITE
CARLO COKJt« NUTTEN It tm tH-<-jmf\MHW.

PORTUGAL

Al ni IMC

(RIM) SCFTEMBER 12, im

HOJE

AMALIA HOJE Lfi FOL^f RECOHDL-

MUSE

THE RESISTANCE AAE HELIUM I'WARNER

KIZOMBA SERTANEJO
K1:DM8» SfRIANfJO

THE BEATLES

SGT ItPMRS LONELY ICARTS CUB BIMO JmEEU

DAVID GUETTA

ONE LOVE . '.1 V

MICHAEL JACKSON

THE ULTIMATE COLLECTION Mj.'.'-IPlC

SOUNDTRACK

HANNAH MONTANA - IHE HOWE WALT QtSNEY

THE BEATLES
ABBEY RDAQ M^li TM:

HEW

MARK KNOPFLER

GET LUCKY Vf FiTIGC

PAULO GONZO

PEHFIL l-LiLUWillA

§i

(VEHea GANG HORIMY) SEPTEMBER 22. »HI9

SOMETIMES
DDNKETBOY Wp^RNER

AMBITIONS
DONKEYBOY 'ftMf.flf

1 GOTTA FEELING

THE BLACK EYED PEAS .HURSLUI'E

EVACUATE THE DANCEFLOOR

CASCADA .'■■Hi ;[f.R.VLAlli]'t AAIW

SEXY CHICK

DAVID CUETIA FT AKON SUW.'VIH'i^lN

MUSE

THE flESISIANCC '-M HE'.ILIM I'WARNER

NEW

MARK KNOPrLEIR

GCI lUCKl . . 1

"''3

JOHN OLAV NILSEN ft OJENOEN
FOR SANI TIL A VAERf GODT VOCESOf WOtBER

JOHN FOGERTY.THE eUJE flDQE RWQERB
RIDES AGAIN FaiiT jruTE SOK'VEfTVE FORECAST

WHITNEY HOUSTON

1 LOOK TO YOU fiR'BTA

EUROPEAN
HOT 100

^ THIS

mm.

SEPTEMBER Z). 20n

SEXY CHICK

OAVIO GUETTA n AKON OUNl'VIRGIN

CELEBRATION
MAOONHA WARMER BROS

1 GOTTA FEELING

THE BLACK EYED PEAS INTERSCOPE

SHE WOLF

SHAKIRA >ijrr' MUSIC LATinrEPIC

PAPARAZZI

LAirtGAGA fJ • a.UOtBRYtmWlJSCCFt

NEW

BREAK YOUR HEART
TAIO CUa UHiVEf SA. REPUUIC

IF A SONG COULD GET ME YOU
MAflIT umSEN VIRGIN

LADY MELODV

TOM FRAGER.<GWAYAV GAAYAV 'A7

"run this town

illV-Z. fUHANNA h KAYNE WCST RDC NATION

WHEN LOVE TAKES OVER

DAWItt GUETTA FT »!lLY (laLaNQ

EVACUATE THE DANCEFLOOH
CASCADA ■■■ I--. 1 ■.

1 KNOW YOU WANT ME (CALLE OCHO)

PITBULL . Ll^'.

WE ARE GOLDEN

HEAVY CROSS

THE GOSSIP I ROCK STARS'COLUMBIA

RELEASE ME

AGNES COPENHAGEN,' 3 BEAt BLUE.'AA1A'

HUSH HUSH: HUSH HUSH
nc PUSSYCAT DOLLS INTERSCOPE

UPRISrNG

MUSE AAL'HELIUM 3.'WARNEH

SWEET DREAMS

BEYONCE MUSIC WOflLD'COLUMeiA

BOOM BOOM POW

THE BLACK EYED PEAS WILL I.AMWTERSCOPE

BULLETPROOF
U ROW POLYOOH

EURO DIGITAL
SONGS SPOTLIGHT

(NIELSEN SOUNOSCAN

mrERNAnoHAi) October 3. im

THATS MY NAME

ACCENT ■ !■" ■. "1 '.!..'l|.-.

OTAN SE EICHA PROTODEI

PHOFESSIDHAI SIHNERZ .ANtKSAL

STEREO LOVE

[DWAIID MAYA A VIKA JIGUUHA UNIVERSAL

HEAVY CROSS

IMF MW-.w KILL HOCK -.fAHS^COLUMaiA

1 GOTTA FEEUNO

THE BLACK EYED PEAS rrEfi^CO''t

THE WHOLE OF THE MOON

IME WAltHHtlYS ; '.'

IPARHt ZOI (E-SINOLE VERSION)
DESP1NA VANOI HEAVEN

CELEBRATION

MADONNA 'AllfNM HHQS

NEW

SHE S LIKE THE WIND

PAIRICp. SWAY21 1 ■. 1 ■ .M V

1 KNOW YOU WANT ME (CALUE OCHO)
PITBULL ULTRA

As Hu» notches its second top 10
album on tlie Blllboird 200 with
"The Resistance/' tt also gets Its
sKonl Ko. I iMiul on the
llvMittaM chart.

-(-DENMARK 1

(IFPl'MIELSEN

3^ MARKETING RESURGHI SEPTEMBER 22. 2009

MY WAY

AG PULA.AHOREMEESISiENDi.'UMVtRSAL

, VELKOMMEN TIL MEDINA
MEDINA LABElMAOE-'A LARU

9 SEXY CHICK

* DAVtD GUEHA FT, AKON GUUVIRGIN

B ENGEL

FIASMUS SEEBACH -'■■■■I'iOPLt

c 1 GOTTA FEEUNG

' TMC BLACK EYED PEAS INTEflSCaPE

IBM MUSE

THE HESISTWKE ASE. HELIUM liWAHNEH

MARK KNOPFLER
GET LUCKY VtRUGD

f, JOHN FOGEFTY.THE BLUE RDGE RANGERS
^ RIOES AGAW rORT jUATE SO#lVEBVt FORECAST

ynu DIRCH PASSER

DEN STORE OIRCK PASSER mUHrVERSAL

• AQUA

GflCATEST HITS UHWERSAl

EURO ii'i-'i^-'p
DIGrrAL SONGS

I NIELSEN SOUNOSCAN

iNnRNATIQNAll OCTOtER ), tm

SEXY BITCH

OAWIO GUETTA FT AKON GUM.'VIRGtN

HEW

BREAK YOUR HEART

T«0 CRUZ UNiilERSAL REPUBLtC

1 GOTTA FEELING

THE BLACK EYED PEAS IMEKSCUPE

SHE WOLF

SHAKIM SOKV MUSIC L Alih EPIC

CELEB RATI ON
MADONNA WARNER tlRO!^

RUN THIS TOWN

SKI 2 RIHANNA A KAMYE WEST ROC NATION

■I

BOYS AND GIRLS
PIXIE LOTI 1

NEW

EMPIRE STATE OF MINO
JAY-I + ILUCU KEYS ROC NATION

WE ARE GOLDEN

PAPARAZZI

HOLIDAY

DIUEE RASCAL H. CMMWI DIRTEE STANK

UPRISING

MUSf HI', lUM .1WAHNEH

WHEN LOVE TAKES OVER

DAVID GUEHA n KELLY ROWUND GUU''V1RGIN

LEFT MY HEART IN TOKYO
MINrVIVA POLVDOR

1 KNOW YOU WANT HE (CALL£ OCHO)
PfTBUU ULTRA

EUROPEAN
ALBUMS

SCPTIMtCR 23. 2tOI

HEW

MUSE

IHt HtSlSTAHCE ■■.?-.l "•KUWa.'WARNtfl

NEW

MARK KNOPFLER

GET LUCKY . ' '• : ■

WHITNEY HOUSTON

1 LDDK TD YOU '■ !' 1 ■■

DAVID GUETTA
ONE LOVE ;JJF/ ■.'iH'.,IJi

■EW

JAY-Z

THEBUIEPniNTlHOC ^AliON

NELLY FURTADO

MIPtAH 1.;. ■■ i..- r,' ■■■-IC LATINO

THE BLACK EYED PEAS

THE END "|-'i ' '. ■

THE BEATLES
ABBEY ROAD 1 1 VI

MICHAEL JACKSON

RING 0^ PW t I'll.

THE BEATLES

SdT PEPPEfrSlO»:riCARrt CLUB HMD JV*UCU

VERA LYNN

WE LL MEET AGAIN THE VERY BEST OF ll-CC.i,

__ia^

BUSHIEX) PTKW. S. BLAC^K A F VIMTE
CAHLO COKSOC HUTTBI H 2009 ER3GUI£RJU?iGE

PETER ANDRE
RfVELAnON CONtMEAn

ARCTIC MONKEYS

HUMBUG li'lMiriC

LADY GAGA

TW HHE :>i -t 'M>t>l-Hh1^OtniYr%*miCC0Ft

lygOPEAN

BCPTCMOtR U. 2tH

SEXY CHICK

DAVIO GUEHA FT AXDM GUM.'VIRQIN

CELEBRATION
MADONNA WARNER BROS

1 GOTTA FEELING

THE BLACK EYB) PUS INTERSCOPE

V/HEN LOVE TAKES OVER

□AVrn i;UEtlA FT KELLY ROUIND GUMVIRGIN

BODIES

ROBBIE WILLIAMS CHRYSALIS

RELEASE ME

AGHEt MiAi,!-, 3 BEAT BLIK/AATW

SHE WOLF

SHAXHA SOKY MUSIC LATMif PtC

WE ARE GOLDEN

IHKA CASABLAMCA.'1SLAN0

AYO TECHNOLOGY

MILOW HQAIERUK''UUN>CH

1 KNOW YOU WANT ME (CAU£ OCHOI
PITBULL ULTRA

PLEASE DON'T LEAVE ME
PINK I AFACE/JLG

F"K YOU

LILLY ALLEN REGALTARLOPHONE

PAPARAZZI

iKJiMA ■■■■ ".1 -.■ 'i'4ff.CH«W^«I0'SCfft

MANOS AL AIRE

NHiY FUHTADO '.i .^-^-h'JINaGK HUSK UOBD

21 QUNS
GNCCN OAT REPRISE

Data for week of OCTOBER 3, 2009 I For chart reprlnU call 646.6S4.4633

Go to www.blllb03rd.biz for complete chart data i 75

19 iUA CMZY f(«tlra Grew Mu»c. BMltlsiiiifi3a>
l^lilishng. mffip^ Uiistc. BMl^ Ot T^e Dog
Mstc ASCAPfljm BMSa Muse, ASCAP) CS 55

2\ GUMS (Wn Mirjc Cwp ASCAP.Green [We Use
ASCWlwreial MiEic Ccipffawr, ASCtf ) Kj'»\BM
H1£D22

5 Snn cm IGne M Ue. ASCWCwIoN CoiMI

ran 21

•tUSmmiWVIUilsM.BMUinsil-Ulaci
UicaAlilislma.BMvEMBtjclanodMujic.rc,
BMItttf Kfi« Afiic (UitGlwia. GMUkos UlGS
WEiitv SMriLTI4

Amos nA Oni . ASCaP/WesMU lUllisHllI

U DUeU) CON TU MMnW (fM iGledl LT 31
m lASK fW AKTMOIC ISWAIV Miinise

Ucx RMW«» Ismtn i^Klino Cwp.. MIT-

BMd s Ujsc. BUDMyVfflU CS 21
•UnOIKIHdUUsMlUtf

EM)mnil Musia . Inc . «SC>n II 15
eWEdirAndSWsUK.

UK Pl«et«g<miia. n. tSC«P/VM 2 LM.

imoJi

Hjmnn

Monty hjMDNng Inc. B
tf^ Corp . BMDflti Keys PlU!tKl» BU). HBU REH

It (SoVATV toe MWwn ContaiiT.

MnrrMliOCinUisJcFUMino ASUPAlm
HBlG Copoftcn ASCAr.<My Diet StHls lomomw
BIASmsOnMnisal. t% BMUnenai Mu^^
Tuies tic . A5CAP/nn Ir^ Trie doiti FUlttrirQ
ASCM^.Hl;WM.nSH73

HO Man ISotWAIV tiK tU. ASCiFMiamli
ASCAT^teiMn Mujic . ASCAP/EM AnfH Moiclnc

i.tscmiminufo

, telcli..«SC<ftSIv.

ASt^P/Soflv/AlVIijisaC.ASCAfAlawTleSlxiilt-
«s,ASCAI^.HL.H1fl021

nnr iFini N cc« njiu»«. ewvttni-inoftn

fUlWing Cop., EUtJontfan Hottni Use.
UMSmfm Sonffi liC. BM). ttUVfflU. tW 35

noNlHiiaiiEusnsiiitUjsnBH^ia

»<»B«ra»8iilfellc.StS'C«on|
^KiFaclllc Willi UK. SESAC/K M

JtttSongsQlCantuiAyiMusic.ASCAPMEic

a wiiiisiiM aS»f/so« VIM U£i^
smmreMisic. BIMtg lad BwK.

BMlS(m/ATVTliBRl*r

Must BUI. HA»eM C„_
■iailinj|E-CtissFUitMog.«SCAI>/Mall)nSnl«
Mn!ic.ASW/SlMAIVbKUC.«SCAAUmisl
Uisc • Z Sonv. BMM^ hi TlK tkuv) fljUitfini
ASCAP/EM toll UsctlKL, ASCAn. HL H1G0 ^
■En I EVBI IW IlM «M lUX BMIBII BtlttBxill
MI19C. Inc . BMhing Use nc. BWSolliK Use.
BfcKomC"" — -

FSbSmoC(<ii..BWftm niMAirn lie

BMVSciVATVIirea liC. ASCtf). HUVffiWlHIO
B8HI5

■naiiajnE irdmi mtiams. tsciem

UjBC Coip . ASCAP/vtMrn .letgy lAsK Inc . BMVFM
HadMaxTuiBC. *k . Bmnj k j^bltslung. BMII
HIMIM.BBH53

HISagrTradoWjac.BWflio

toud Bucta. BMMne-N^ Mac. BMU rir Enw .
Wineffl. lie. BWM DespenUS. KOf/m IW
lislwn Orvorw. Inc. . ASCJVVCaol Vfawtnl An] Aiso-
ota.iLC ASUn.«««ll.CS3.HlllD2S
BUM If ISIr As A <<n UK IniL ewftig Hslc.

mci

:ii(ccnle(1.6MK^S(uaU0iC-< .
nl Miolc kic . ASCAP/D^ N8 PuUIIIWift

'/EU

AnnI Mfllv-m., rw< .« < .w ' i»w>.»

ASW/Jnas I ton. BWtanw R
MoinMASCArnmcineJi.ASCM'/itaiinib

UlSC. BMIIUnMnI Wk ' I Scfin BHUari^
lUiUing Btt«IB2 Uoic lUMn ASCAfVM
Muse C»p . ASCAP/toja U|9C ASW/ltrior
Music Bi4hMBM,W«

SESAGEU Apnl Usic bic . ASCAP/aauis Co.. UC .
ASCAPMina H«ic Un nttsiiat kSCAPAJuli
Hmony's HouSB PuUiihna ASCtf^ludo Besl
Muse eumnn ImM PUNisMng Coip . BU|.
tuyiW. B8II 34
M0rittlUiM)PSH;5

MM) lAto: .krei^ ^*Bif-. BMl7 fVwJ f\Miti

ni SMIVirw ImwIiVie FWiinra Ccip.. BtM s
~ >> ttoul Misc. ASACPAtic IXiA Use Gnu.
•"■AUtBWflWM

EII«)M«nUae.BU«*inUElc

BUHttlMlM Slin BHAW Muiic. BMMve
UisQra Uix. BWIVcAa 9icn UfiC BhMitain^
Biinattjsic ASCAPI CS18
BOOM MOM ROW [wi I jm Usic. Inc .. BMmMuro
r^-lMXks. BU/MxeyMusc. Ik. BMbn

JuTMe RjMshrg. ASCAP«i(ny Hw Mu

BMf Ai Afri Mux kic . ASCW. OMM. moo 26
iOm ON iSiaias 01 Wntaegl neilc. BWHk Bool

■IMIB DE DUUmO INol HsMI LI

^. 9XAfiEMI BladMOOd Ujsc Inc BM). HI. H1G0

BIIEtll ur Ita S [M MMna BMHMgE Pol)'
li^J^iiqConpony. kc . ASCAROI Afrt MuSK kc,

ASC^.SInm Ccittod PltlisWno. BMB. Ht HI TO 20.

BUY rOU A ROUND lUP AND DOVMI PAine & Stum

CAII7 uvE wnwuT nu II Am Me Mosic njtiisiv

ng. ASCAPAAiMisll UjsIc - MG6 SonffS
ASC^.llonieHciSonis ASCAP/EM Jail Ujsc Inc.
ASCAP/EulianMusic. ASW/uijadogWls
Songs ASCAPWtraUixCoip.ASCAraiioce
MOM Ujsk. ASCAP). IVMAf BSH 23
Cim IBKMEII (OoU Bn PuHsnna ASCAJVV
[miUAC.ASCAPmUNifcMuiic.BMIUs<eQ>

UUU r BCCn ISoo|0«IV lues LLC. ASCAP/Wesl-

MWO F^lislinn SA Dec VIU 16
CaOS (EMI IV^ Music Inc . ASCAP/Edcoies Musi

latos MrJxwB. SGAEl LT 26
CHECK MY HUM IBolliU33el PuHlslwia SESAC)

M10099

cuna n urn lEMi BucMM Muse n.

BMIf xads AsidD Usic BM/JLC& MiBie IHtUlina.

BM59 Caillae Music. BMmas Mto». BMIEMI

CMG UileNig. Bug. HL HlO0 100
CUai TO YOU II«e6Kii CoeyiOiK BM) BBH 43
COME MX TO ME {2x tXisK

ASCAP.1^vAr.'I.ii^LiC ASCAPx^WLrScrgslld

aiAEMI BtKkiwKXI Wcc inc . EMU rt, H1009?

ASCAP/Ei«rtieeo Connm Btvwnie^^

hAlisliniCini., BM). WGM. CS 23

coanirmn oiw lojoi lai

Uisc Inc . BMCecttey SWos Meba

Uisc Inc .BMCunnSWosMelson PuUlstwig.

lC.flMI.H.CS«

._I>ie<*ieMu5ic.BI*EM

Mi Mojic h: . ASCAPyWnari fve WiS« FUlliftno
JCAP/SBge Dae Sam ASCAPMI Jim Cor

flauMSTASCAntiriiHioaBB

CliMMn lEM BlaMod Music, n. BMteu Kdl
Music FUribivg. BWHnm Use FUiishna
BMIANiinei-Iinirtvie Pltl»irq Cop 6M^ Kids
PliOltsriing.BM1ILI29

DUNT YOU mow WW MUCH I UNB) ml lUn.
wsul UcHC - MGB Sonus. ASCAfMnc Fifirwa
Music. ASCAPAJnimaJ uisie - Cnen. BW^Imbss
Music IWksliina BUbSongs 01 UnNonal. Inc.
SMiSeogs Fa>ii Ino Engra noeni. BM). HlAVBM. CS

OKmL anL (Mmt 9m puuttftiu ASCAp,iSonQs Of

Peti 111 . ASCAP/at2 H« Pl<«<ixi AkAP%B
Music Cin.ASCAnPliBseGlnnieM>nili9«v
BMBI BbiaoodUiliL Inc.. SMWiiie^
Z Songs. BMbtamfU) Use. BMIUraisil Hjek
Cewdoie ASOnil/WM. HOI 52

OOEWTliilllWniMIUtoPlUU^
ASCAPi«< Itoll Use Inc . Xsciraooli a Oral
UiSicASCIIPklCWHS

00 1 (Pbnet teM. BMiUinli Use Coqioahn
BWBogUisie.kiconioaKLBWllbnrIi«iBlire

mowSmndM^wS'vnli^^

00117 SWinaoBTi Uisic UrnlM. IMRO) BSH 64
DOwa (Buds Ujsic Gnu Ltd. ASCAP/M Phz
Ujsic Buvtmx FAdoiY UjgIc: ASCAPiCccoi Fin
MisNit. ASCmtuigUann PuUlsMg Inc
eumrviimtin hUisNng Cup.. BMt). UfflM.

mn03

DfUP IT mw M DM SMS Ibiniim. nWSmoi O
Unimsai. Inc . BWXM Damn DatfL BMCukfB
Bcyonl 1> bpwwnce puUisliing. EMI), nmti. HlOQ
63.B8H55

EaOIEMIOeUse. BMCMBtaMolMuix. M
BMHMe BoHv Use BMIEM Apot Uisic In: .
ASCAP*E)» IMIBIling. ASACP) It. Him 77. H8H

Aiiii^lMI.HmiBM.CS28
BIPIMIinf OF mo (EM Aoil Use Inc..
ASCAP/CarlsainFltMinaASCAP/AI3ultu«L
FUSCKIM 1*nf PliUisftngrniSTonn Hjsic. kc.
SESACMsari EHiitiu iCslc. SESA&SoiMI l\4>^

EBES TOOO TOOO i i^iflj IT 37
ESCUVO BE BUS BESOS )«:( I Hied) U 20
EVItCUnE DC DANCEHOOII (ItKls. ASCAPfSOnd-

itdei Music t^eiltstuiq. BUMA^Ienn.BUMA)HlflO

EimM(1luioMone)Alilistnglc..BMlWin»i
linertra PIMeMn Cora.. BMUeWIM lie.
BMVEM BtllMoinAuSiC. Inc.. BMIAM CCBSI Li«ii
PiAlistiing. ASCAP/Hmkraorts Ubk RMifing.
BMVScra 01 UMna. ke. SMWnsal Use Coi-
pggMaMCAPfftjTOM HIM 7J ROH 30

EVBRTiiw, EVBirain EnemncK iem akii

Music he . ASCAP/J Bnsca Hisie. ASCAP/NedSolK
tion PubiROinu. ASCAPA<oilottyU)SC ASCAP) H.
RfiH54

EVBnWHEK I SO tPMltsar Use. IOC . ASCAP/Jel
key Stale Uisc eiMPJ AOnnnUv BUI CS 50

Use kicASCAPyn-ftaled Music. ASCAP) h
35

FMUNB OOwm (Sitty Fi9i Music. ASCAP./Aim} Ujsic

FaiZ(WUeicCap..ASCIflJ3»
mrai (SomlAIV Im FUMikn C

SvM hhisic, BM). tL. CS 16. Hl«
nKainMSom'AWSongsllC.BUFIaCvFb

dxttons lie. 6MkS« lOngstan niilistiing Desioiee.

BM).H.H10042;U41

nmjB tOcnnCltir FM ASCAAUMnal Music

Cenowt ASCAP). n/HBM HlOO 46
nc nn (kiiDcst Bistinlff ASCAP/HecNv 01 CoAy.

ASCAP/«Me iUnUsc ASCAP/Junvin'CK

Use. ASCAP) H100 76
im(MDIlJSMd}RB1B3

Ra»BI (MlBoi Pigduclais. ASCAP/SoyAItf Tunes
UC. ASCAP/IM WIM aC. BMQ< EWnnoil UK
kic.BWIaiBeGenileH ~

MeneilUtlsNngkc.eU.

kig Cop . BUiSnoom Saih AABic BHlSongs 01
Unmtsa. kic . BU). li^mi. mOi B: m a

HtkYn* 177447 UiiAPilnsinaASCAWtoiH'

- ■ gUeicBAARMAHckAAttic

ubiilftrkl BkVEnlHIahng M

Cap.au)n»<74

oEmrnu HOMi nw wo om soM)

(lUiwi' Belknd Fljt«kna ASCAPiM iM Misc
kic ASCAP^1WXilTDHailtuSoogsGM).tCCS6:

Hia)52

QNUG MVIBE (i Uta Em Ttiidu Music. ASCAP) HBH
95

GO (CopiTtfl ConnoVKnteen Use PUUtshng
EWHbl N GOU FUilinng. EMVSM
EMVUny Mack Musk. BUVGK F\£»i>na ikS>P)

000 M ME (EH Apnl Itec toe . ASCAP/tW Hi IM
Use. ASCAP/Thal s Plum Song. ASCAPTB s Tea Tyine.
ASCAnH10074.RaH7

OOir IMU CHMIGES (BU Toes Music FUikslni
Desvn. ASCAP/Uncle Sudda s Uisc ASCAP) m
57

GOOD OMU n no pel Baa Music. ASCAP/EM
tat Uittc kc. ASCAPAir Ak PlMSini
BM/W»na-^ln FlibtiHiing Coip . BM^irctiiiis
loiaoe Music. BMfBLg Music, hcnnraled. BMfJ
Kasm FU](i!^ini ASfAPi HLM^ H 1 (to 1 6

fiOnXllETrTIBekalAisic BMtU BbiMuod Mjoic
ktJU).lt.B8H91

— '-•«nii«ui»i)iji9

k*«.EM)a
Hum (Me 2 M ASCWtnw Usic nuiislaTii

Amenca. kc . ASCAP/Hew^ looMi' Al Itai Ndd Ujsie

BWBehua HeuNs AAusic. BAttSen^ATV Scum li£.

BIIAlm l*w UiHwig. BMT II. HIOO SI
««» EM lU Ml UsMm 83

m DUMOWS HI Ue Use. ASICPilM Aeril Music

>».. ASCAP) K.H1I10 57
l«1<imM1WMIian|CadBgl1llillsl<ng.
ASIMVNm Sea GiM UkjScAPiCMI ApH Music
kie-. ASCAP/WC Use. ASCAP/SM »«>lino Foi Tlie
" n.ASCAPACGAItance Music. ASCAPI CS 30

SliWamer Ctsippetl Use Span S A. S(;A£/Aini»
Coast Usic. nranalis Sckvs. EU) IVIIBU LI 2

VF1alBeGeni1el^l\ttdwnkle.6M^11un(| ASCAP/Bid
WlsNrakc.BWUiraMiitiinneFUilsti ASCAP/EH
i.BUiSnDomSaihkAisicBHlSangsOt HMusicFan

HONKYTOHX ITOMP (Scn»'ATV PUCHing Conv

PBMbStKMlIiltr MjSic BAAHni Mo On Muse.
Wuscii Use aC. BWLtwiGiecn CwiiiyNs
BM-Wusm; 01 Stiflt Ittiio. SIA^OCty s Sora Am Si
woe,BWIICS20
HOm. ROM KIMCE IFMI S Lnln PKllistung.
Bwnmusc ' ICO ScinJISCAP/iniaiC
eUEU BKMM Itnc kc .HKoiWAIV Soils
LLC. BMmmiibnifkRPltishngCap
StlMenacl's Oni Itoc. BMMsc 01 bil H(i4ton.
9M.U VMn Use LU.. ASCAPTdHYSals Use ltd .
P1ISJ.It>WMH10012

MMIY HOME 01 Iho Dog Use ASCAP.Wnils S
Music. ASCAPI IWM.CS 29

EE OHM JOi IDomun Music niMra

> ASCAPAJta tuntsJISCAPflllnlef Use

')H10044.II8H19
• MY own tnEWIH (Damngs.
ASCAP1IW166

I CET OMZYMU MttL SCSACfllliklg Moner Pul)^
tinnq kic . Mninrlammne PouakcKi C^

I nm HM Mlam Music, kc. BM(Jiwner
Ujsic. kc. BMUKi Haa«ic l\tMina BMOcnv
Rrn Use Co.. BMttllBilftn JlfWPlAlteliing,
ASCAPfiUI AnnI Use kic . ASCAPf!^ RMTFUi-
listing. ASCAP/SquiB Kni Music mP/Ssnp.
Bordiui S Co kx . ASCAP/Hsta EdtUE. SK»«.
CtUH H1001.1T13

I MVEHIED SEX ICaMvsnD Uisic. 6A«Sony/AT^
EfrmtlC BtilkO«IHu<t^ePutitist1ingkc.
BMl^il's &» UinlL BNlYtemtfTanwIn FWislv
ns Cop. BMsUe Witt UC BM). HL/MM. FI£H 27

IJlRTCMlYDUHMEIIkriBiriiUsc. he.
ASCAPfLiti Mtei Use. ISCAPitUir Ci

iBtiingAnieraa. kc . ASCAP). ML CS 24

I OM iw wmn K KHiE ooni iDoi mtiams

use (^ BhNiEtlo Ek Use. BMMoenlietd
Use PIiuSto AStAPAm lunes. ASCAP.tt> tl
Ibuiwl Music Soup S M . SlAtyunheRal UiGic
CMtn- BUinitkitrs LeiBtv FUttisliIng, BMilAuim

. .. Tcip/lJnmn'"

^ _ . 4. HtOOZS

OOHmBUislcCap.AECAPMSis-

sa s Mowy AAuSK. Aa>P/Gel A lead 01 Ths AAse .
ASCAP/Eocoe Erteiaavmif U.C. BAftM Ifeise
Use. BUHtUtlY mtr. BMUto Wno EDodan^
nvflBMI.WBMCSftHlOOTB
I lOOII GOW ItsMeil lllusic. BM) pen 46
I lOOK TO TOU (BIMv UHSMIO. kIC . BMUlMnal

Use - 2 Soigs. eup. HMM. moo Q. Hex 22

I'M NJHE ISon^AIV Mm lAi^ ASCAPAsfemdsoul
UUX UC. ASCAFYSoyATV Ooss Km Music FUi
lsl»ig. ASCAP/SoVaIV Acitl BlIZ USIL
BMHtimnl Ulsic, BMIlFace Ml Use
ASCAP/ag Uud BuOS. eW. HL CS 1 2: HI OC 64

m goMM (iM imi lie. iHnuio Mone* Pull

Inc . BUklMtntef-bnedane Pldllsliing Cop
BM^^ Jee» Use kc . GMVEM BbtxwcKl
Mosic. he . BHh. Xymu HlOO 40. RGH 49
ill OOOO (Moei Mm koiTi Mumti Pulitlsa
ASCAPtUA(iilMo»ekic.ASCAP/tM18l_
Music . kt. . BWItkraon ^ (Uittfinn BMLtleigti-
■ " "1II1.H.H6H31

B- ASCAP) Htgg

HSU S1W1 (EVERYWHEHE WE MB IJBnnr Foaon
Pliiii^ng DosiuiNK ASCAP.fUh JsTBS F\£lstiiia
Designee. BWiUa SeHutu PiAilistiing. BAftSansTH
LkkwiSil. he BM). njmi HICO SB; RBH 2B

r« YDlrtlGoa El«l ASCAP) HlOO 40

I Hra < ML MM UnH % Ctcns.
ASCAmnalls Music PubwihgASCAP/EoiWAIV
Ti/ieslLC.AS(>P/SlellarSongstM BMlEMIJliNii
MuslcK. ASCAPI K.BeHK

tWanr 20M (Ml Vkon. PI!S). ML. LI 49

M tOK WnH MOliin MM (Nniy Fijddy Mso
ASCAPAAmsN Ulsie Z Itres UC . ASClQ'/aUid-
ats music nAHsliina BMII. HLiWBH. RBH 3a

I tiu iMEnunU |EU lui Use kic

ASCAP/IMnggls UsiCL ASCiV). H. CS 32
IT on (WmSneitn lUfeftng Cons.
BWSicanm Camon use. BMlHqpe^t tiksc.
BMSaw Toicks kASc. EMI). WBM.^ 56

nnuiwibirsciyio'F\6eMe.AscAPiSoi»'Aiv

lures UC. AfiCAPiUtaU Plinishna SESACMsc

Sales Copoitov ASCW. ML RBH 70
IWNMUfN0ILiSM)H1DD95
I HMMH MHHE YOU CUK YOW EYEI (Hon Wih

Tte AnTBdtlto Music, EMIfiaiy7A)V Cmss Keys Music

l^iUlStllng. ASCAP/Ciiaie SourOs PltM»«

ASCAPiJlCS22

I WAIfT TO KNOW UMIV UM B tSemmel Sa9
PutHtsnuigllc, ASCAP)H1«t66. FiH 47

I «U HOT •mil ISlin IV* Uisle. ASCAP/tatino
Bin|amlnHtK.ASCAP)l<100t>

JOEY uinoMi Wilis nMiiin. itscAPTBii eta-

irailliiaiLkic.8IMlli!lliU;BMI«on^
1iieP0lillsl*oCoinpiv.MMi.EuniHis)c.8M)

jun • on (viii iton ASCAPuotao lAistc

ASCAPi^AIV lues LLC ASCAP/^VAAts.
ASCAP/BiD Muse, ASCAPyUsic 01 IMhKtsMepl.
ASCAP/EH Ackil Uisc he. ASCAmtcCckACiAng
& Use FanemunHO UC. ASCAPMis Rne Ujsic

ASCAPAt^oss ASCAP). KymM. RBH 3j

.JItHousaOISesGaytekfcsie.

ASCAP/Nw Son 01 A Um Songs. ASUP/Hippy Cat-

KUscAscAPiCainoi»Enn><ses,SESAqcs49

UnaTOUDOIIMIpirviMUflcSESH^
Use Cop. SESACTtMrAntUnicASCAP/UnMrsal
t«sc CopooUl ASCAIVW HU9C FUtlislliig.
BWH^Taneriae IWisleig Ccn., eMHliMrsat
Use - Z Eras UC. ASCAP/nn ki Tie Gnuid Hit-
iOftna ASCAPAkStkB Uisic FUMV
ASC#iOwd M eiKcll Est) . H:.. AS
Gknme Mr lUiltsling hcTBUini Btaci
toe BM).HU»«M.HI0015.RBH29

U GMHM (IN EHetres Musc«s. BM) U 5

UUUMI1ISM1H100 6I

Un CMta (we Use Cop . ASCAP^ov h lie
Ke, O B F«. ht SfSA&tWintkne Soulti. SESAC<M
ConUnt UiX. SESAU^ Use he .
SESAC/.^ Adois Music Piiotistiing. SESAM>nst-
urCootoPKilali-"""" '^ '
ttl^S^.HIOOQE. _

A UTTIf MOHE COUHTHV THAM THAT (IkiMksai
UiSK - MG8 Stiim. ASCM>it)m FUttnss Senm.
ASCAPjTSM». MQ7A Slhg And A tSoMk Use
ASCAPJSUeOnt Music AmmcaBWI&nir-lamcr
bie ftibtankig Cent . BMlfPtKioui Fk» Use BM)
HUWM.CSlo

LHM KM THE HMHT iGeoge Sliaigm Fuxam
Designebfiutilia Sjial Plitl!^ OesigrettSerWAlV
Aoillltee Usic. BMiUaordUisic. BM). iL CS

UIMTBniMn(WltsMllI4
— - •»tlili.BI*»IIItt»T»ni»tlrel_

tilUneydeootUisiclUiklra

MikdinhcBMlSmSBoyB.

lirnUsc BUftemeitgi^HDaEM/Ult'QlBOl

|AihlsBiArMuili.BI

tistitngCtkp. BliliNciQlAlc, ,

BttOel likUi ntidiiag he. BHISllIi Boy 1^

BMVMjh-Sengs he . SESACliMlu Ufiic he
SESACtu Avit Use he . ASCAPiSaUmo Songs
ASCAPM Ceto Ulsic. ASCAP), HI. CS 34
awm (DMne Use. BMI) 11^2

LOHG AFTER TM G044E ' i'lo li7i« Music, BMHto Wine

)A.i.;!- 'I ■ ■'.Vii'v^SiyMusie.

A?! .'. .'J Ap.'ZanamMogee

M/..: .'.

LOHG LINE Of LOSERS . -.-i-vii F»lei MuSiC
fiWlI.) Elf y HI r.t .tOip.CaegoiY 5 Use ASCAP)
CS27

LOVEDmiMKUiisnJtmontiAei: ASCAPAtili llcri'
Use inc ASCAP.'l^joiy trijiae Use AEOP'-SiaK
One Songs Aneoci ASCIfTSl Songs ASCAPW
Btadwood Use klc BMnpUKan Muse BMI)
HLAI«1H10029

UIW UB Ollin IMH Cull UlSC. EHVSM RU
cH Usic Bwmm^^nerln FUttililng Corp..
BWI-BltrslABC BUIWBH. CSlt

UNEUI«0*ISan<r>Ti7CillslK>nktiKF1iM9v
ra.ASCAP«>eacdl9«UiilcASCAP/DoraSoitgK
Ui:. ASCAMnn* Bll Sow. BMMain IM
Fttttahha liisQEe. ASCAQ. HMM CS 48

lOIIE Ytkll ion THE MOT SnMI En PttHllv

SConiany, BkkSoWAWAaAtollAac EU).
CStHlilOOTZ

ninlniZ2IISMHGaoTgncllaoMll«G>OK —
BUiiSertimSciosUaeMHttaOf^P^^ E
kidhe.Bmtaji»Hlicln:..ei«Juali«iltey.

PWTYM%E

ASCAP/SkiOO
kstiingCerp.E
BMIIJV6M.H

j..ei«Juali«iltey.

L.H1007

HEIUAIKKMneiFUCno
ASCAP/SUde Beast MoNc EUlWUertiniue lUi-
iisnki||I^.EMI'JISSIe>lS»tiMF1iHitinoDa^
BMIIIAIBM.HlllOS

snuKoM Music nuisMtg iMca. kic. ASCAP).

HLH10036
THE POMt OE IT AU lEH Apnt use he

ASCAP/Sov 01 IkmnaL he. Bf«Tit|iy Wiytes

Uisc.Bl(l.lt/VISi(F»t26
POKBI lACEJSUan GammM IkVa lady GaoL

BMkSiVAIV Sotgs U£, BMMuse 01 GwMltsh.

ra kic .OAAOOLke Use kIC. BHIflRlOle talx-

locUC.8MI,tl.HtllO<3
PIETTY WHiS IBinAin Music. ASCAP7EM AcrtI

Music n.. ASCAP/SOMAIV lues UC.

ASCtV^tAESOMell. ASCAF^, HL HlOO 38. RBH 1

pimwroriMmiEss (m

■ " n. ASOAP.Twyi 14

BmPUitlSlHl.ASCAl
ASCAP) HI O0b9

«ri, nu niuv JO. nwi i
«(l«iHTiMK IEt!«'s8aIi)
iwilAtsl. BULMtaStmud.

BMtSorWA1VSan|EUC.BAfMOnePniductnRS
UC. BAftHousk Ol&ai nililtstilna he, BKIiTtey-
lU MliSic, BMtUMsal usic 8Z Sorgs, BwGm
Apnt Uflic he. ASCAP/Glled Sours Music
liSCAP/S« As A Fool Use. he.. SMTtn ttno ElMr.
Whin MM lUitMng, ASCAP/2 lie Moot FUi,
ksira OM/WB Use Cop. ASCIVV20B2 Hisic lUl-

KCmims t Bnn Blif— — "
MeUnamASCAneABUMOdM

eM<>ieiseEitniieMyniiiimiottceM).Hi;mM.

H1«)93.F«Hfl2
MAWaALAKOULMUl

MAA«ienmMl!*rSadSo«.ASCAPmMusic
Cop.ASCmiI44
MAlii>OSAMU(VI«limi la Ulsica.BMWe Music
Cop . ASCAP/Sutkisihra} kAjsic FUrUev BM) IT 32
MGET ME HAifWNY Cirlkam lAisic he. BAAVJeoi-
nw IMusk. he.. BMm Munetic lUUHng.
BU^:iiaiy Hw Music Co JOMAtadplloe Juite
Putlftsllina ASCAPiEM IWI Use ktc. ASCAP/ERAC
« — ^ •fiCAPifiaulwUsc

- j315UisIcASCAP).

CU*MLH100?r
ME Bum ME sum JM Litaal) LI 36
Ml CAMA WJOE A n (tiol used) LI 7
Ml COMnBKmOIUMIsalMiselKe Songs.
ASCAPfCaiiiiKBUmSS
MtUOH Hioa (Five 2 Fiteen Puntisning. BMll^
GkAal Scrgs BAA^ 8032 SESAOUmerall Toes
SESACSonfiOllJrMTSa! Inc . SESAC). HLWM.
PSHB9

MUOH OOlUn BlU lUto IMueliois.
ASDV>,EMi Apiii tA^i; he . ASCAP.'Swi GoaU.
StSACDwunal liAiES. SESAti^^cr^i Ot Lhwfsal
he. . SESADStde On Use Amene^ GHTSMGI
MRCMjjcty Itiee Use FUikt^ BM). ii;11^.
R8H45

MOTBt Ofncai (Fm Hits UiSic BMiUo WW
Use LLC ASCIP/IWOIIIeOoo Music ASCAP«g
i»kNiDog.llCBI«IMIiBuUaHBicASCAP)S

MONEY TO BUM IMonn MU Udlc BMMig
Uiney Pul«sling he . BMWMitcrlaniedvv FWIs^-
ing Cop. BWl4ng DnAmB ASCAfWB '
Cop.. ilSCAPAjie WrMUOBMai Btao
Use kic, M. ItAKSU RBH 61

IRM U NOD ICotan C4 Use FU
BAWIMIirUEier

Use BhlK^arnid Music

BhVjtluoa Hres BWJIm Fonkno Soigs. S
41

?Laeirtje,BMiS.'Se.e--.

MYCHUI(tllMmiUSe,GA^J4 1 WtslcBMVjnP
Use, BAAf AAHKiMod Uilie he , 8A4lDaiie
MusieASCAP/EMligllUisKhe ASCAP^lMlb
Donee FUtlistina ASCAP/Keilo hdia PliUtsting, BM)
H,R6B88

TOYOUffMlBiadiKodUisc He BUSig

GassedWiesBUVBayRalMoyMusK BMI) Ht,CS

H92

■CD YOU HOW fiKniEFliinialanB PuOttshng Cop ,
OMtWHaynod MjBie BAMAODeuLLElSPutikii-
InlMMlin Dam Sons, SESACtFoay llkiiic kic..
S&VVIto 01 11» Ooo lyUc ASCAI^ WkkM Ddo

UC. Biwur eudm use ASCAP). wiu. csi?

HI0O5t

leiBllAV HEVn pile Ble k*se ASCAPillnODkl A

Dike Utsic ASCAP^U Aenl ktsc he.

ASCAP/MIAOS use BMTAanin Edodl PUitisfeie

ASCAP) H100 34
NEW OmE lUnlvirat t*sc 2 Sow, BMltnstlit-

Itai Pitllsfm BUlAg Bad U HNyiUc

BkVHoiiWasMAgiKlieaHUKBMIMNI

KoWBiti Ulsc. ewniican CNes Ntsc M).

HIMM.H100S6
M miAS tt JUOUEIB (NO USU) LI 27
NO W OEXS OE Mm Uan EoninTtn. he . BU)

1112

Bl OK (RKoft nJllisltloa. he, BMmmii^
: - Z Sons. BtmnlaQMUK MbHi Ois^

a(1^Soigs.BtA/SoigsOllAii«nal.kc.

B«U082 iK FljEiau ASCAPAffi Use Cop,
ASCM^fCE Uaic FUMha ASCWAlrii«s4 Use
Cotnnkin. ASCAP). li/MH. HIOO ll.RBH 12
OH (OtUygie Muilc Pitttatlng. SESAiv^
iiosa. ke. SESAUUM IAi£ BHMusta Don
Akie.BM|.H/MM.nHEa
ON NO Utg«it:i IMn SESA^ Usic FUiesnna
ASCA^ItnM MM. AKI^tMrsal Use
MGB Sons (Son IViW RBI 86
THEOMEMiyJ BllgiUlfcASCAnUMtfMU
ASCAPAiranatlAlicCopoaoitASCiiKEMtBbcli
Mted Use. he. BMkltakey Jokko FlQduatons
BMVDit Dmn Dean auiltve Wile UC. BM)
HUWGM.H1(]073.Rft133
QIC Tiff jSo^ a tar LM. ASCAP/Mareti 901 Pub-
ilstiife,ASCAPiMMBSa«E.BI«(>SSCl>«ris.
ASCitf'/ltily Coiih kAiae. ASCAPiUiMisI UiSic
CopoatHn ASCAP/Unaois Use ASCAP/Htlts
Soft ASCAP) HlOO 27

LLC BWSoiyi'ATV Music lAL PR!^'Etl8
tAjsn he BUftn)sVfihEaRUjsicBM).l*.CS5.

H1I»45

ON THE OCEAN iucnn RH Music BAAII RBH 1 6
OUnUE MY WINDOW (We e Going 1o A^ Music.

jmKwIiktM

Gnw BtltNIAC Use BMII CS 36
l«LAIirBEn(EMMUacke.ASCAncm>

Boys lUtlistkng. ItSW^ BWsnol Use ktc.
BWibnv Joiiy Use he . BWSo kIndUis UC.
SESACAiDoesly lAisie BhA4<alBtt Use FUillstiing
Anoiia he . ASCAPAMIeigs Use; ASCAP). it.
R8HB1

HBUHHMAC (Enk Uscal SA de C.Vl LI 9
RBIUSHT(Cn>saAnUl>tMtUlsic.ASCAP/1<l4lak
Music lUUihg Ameita kie, ASCAPiOcoShwl
DoMAOMt Sons. BMtSov 01 Kooal UBic fUidv

aAinneaax!eMmBUisic.ASCAr)CS19
IEI(I>>tl7GUis<,ASCAP/6lieiroialnPltl>.
lisliing. ASCiP/EM Antt ttat: he. ASCAP/K
SItstKris Uisic ASCAP/JOhie Lw AAsc he .
BWSoyAIV Sam UC. BMHitn Music PUilcti-

._ Ur unMan fUem Music BAAiSorayAIV Songs

UC. Biraiii Fuiiisieio. aSvp/aii Fo Airs sw

Music.ASa^|esAtKM WW Music,
ASCAP/BHNgKlTkSic ASCAP/SSTWATV Tun UC,

ASCAiyjisaiOapiMicASCAPilMig Music he,

BAV1NT RAjNC nttateu ASCAFWrkMlit kAjsic

CopeaioaASCAPyj^nA 11100 68
BOIW nC iraaUT (BuKltn Use BH)CS 31
HUNHlnnilMa Aial FMn Utile, ASCAP/nickaiKii

UiicASCAPiHueOlSMeaoeMuslcASCAM^

h Tie Korar. ASCAP), MM, CS 1 4: HtOO 87
MM THinNM (M Aort UisIc he, ASCAP/Cnr

Boys FUltsliloa «SCAP;neise Gtnte 1^ FUilliltiog
he. BHIIEMBIlcMolHisichc, BWBIO

Um WU <UKdIHtM MuNC KC. flitlll. WBM. CS

aiAKekUbyBwPtiltllNAiriMnaUmelasl
imHt£lMIIRGH87

lAY KY nUNE ynt (FantcsokulKre. ASCAPM

vtisai Music CopoalKiv ASCAPiC-ld laNi SoNids
BMVHL^.H100 24
IE m MUnO a AMON ISIO^ Use he DM)

LI 34

SEimMENTOS OE CMimi nu Used) IT 43
SEXY CMCX (ShigkD. BaneWii & Co, he. ASCAP/Ed-
bois Sguaie thoTFUitlilMia ASCAA^ATV ttii-
nenyJ^AfWwtilt PmiiSons ktc ASOPiSonyATV
1 ^^'TtB/fljIka

SHEWOIf (DeCl.

UscCopenlooJlima^
Acre Uisic he. AfiCWEdctonei UNNales cuppas.
SL/ttniiCAlMMiacSpNnSA.SGAEMnMI
Coast Musk, MOiysMIs SoQ, BM), nyWBH,
moots

aoMiY omr isniogiui Usic ASCAPitsM

Use ASCAP/Bug MjSc A£CM CS 52

aiWDMBC(UUi«Ustc^AS6«f)UMrsalUstc
CopoMoiv ASCAP/lbnonaiEies. ASCtfiUilwR*
Mute - Z bes UC„ ASCAP/MNoktAan Kht kAjsic
njtHeia ASCAAftyBl Coal U« FUtlistkng.
ASCi^W Usic Cop, ASCWMtfng Dlia ains

hc-ASCAhHijymDBHn

IMAU TOW MA Mill Moane Usic ASCARWak
Music. ASCAP/UcMe use ConsvASCAMfi
Usic Cop . ASCAP/Uixna Hide 'Z Sotgs
BMm« by St . Uiac, EMII2E0 Htae UCT
BMKwamdoi Use BMi). nmu, CS 1 . HIOO 53

aai (VMrsTanata nUnnCeip. BM<^
UscB»>Wt5ieOIC»il»aion.BW^

BMI(taI)eBilOlilA.BU<inUsG.BM
oni9nl«tsieCon|S«,ASCAIVViBil!lwPi«^^
ASCAPiEM OkSIU Male Ooipi ASCAPI, ItAIM
Ht0048

BOBEAUmL (SoAdtlkt ASCimkwsil hhsc Co-
oMin ASCAMania S<4c ASCAnea Apit MuHe
tic, ASCAP) RBH 24

aoonimuiBiintisiiwaiiieBMUsc

EMV1Adncr4nKllBe FUAdilra cop.. BI^OWATV
tones LLC. ASCAP/tneRvgaHslcASCAPiniiiie
Usic ASCAP/EPJ Aitnlrkiltaltit AStW. HIAim,

nUHM US in TO ME lEM ladt Usic he.
ASCAP^ttsbiD lanta Songs. AS>P/VtarerTvn4r'
tiePUiliikii1kka,aUI4mniMeeUsc,
BUiw AUC Ml, IE/N6U, CS 13: Hia>9t
MwnmMMZ (Soo^ATVSoiosUi:, BAVieiTIlcu-
JttsltusicBUUiie Molly Mu£BM),I1,CS 35
imniUOIAMr Filcai Usic, Bun HI 110 95
tmONSSI (My OM Sans ftnunw, BwSoks 01
UnMstl, hc.BMtZAIZ Son UC. Btux Orai
Deal. BMti^iikic Beyond lit EsalmcePIUAha.
BMirillOErMMnoitASljFiScMAIVIinslU

ASCAPM-Bdy usie MU Carti sm Ha
SiniamiaylBllge Usic ASCAPAtMsa Usic
Cop,<isuP).ltMHICH98
nuat SUku Stas UstL BWfM Uyn Music
BlWUIe Cot Music, SMUlooseaMoara Usic
BM!]J«M,CS57

MKOWli (VVirkillneilin l^«lnlg Cop ,
BAAUa Wnk UC, BMQil BUSmod Usie he ,
BAVAffrsBl^UitlliBM/IAlultUnylUishng

«Aj>rs B» Udi BM/lbiAh Uny
^JMI,ttJ«IEM,H1ll017:iai3
IM (llitwsal NkSc - Caeas. SMlWk

ene PlMsrni^ BM IT 1 1

iisnnaASCAP/Sage11iiaeSii«A§>PjenillA
Gomel ks AAoic ASCAP/Sbos iraiB Usic ke . ,
BMOtssImn Uptown U^ASCAPilUek AIsc
FUs^rangAmalca, he. ASUn. H. HI 00 B2
SO tniw mintkan liH nifeMv ASClVI U 8
SWEBOOUI 12082 Use PUI1«!ni«ASCliP/WB

MusicCop.ASCAPfSoigsOlto.BUMBlliai

StNEEIMIailllB«l(IWkMilASACP,(MAoil

r.t.i!ieii ■ISCAP/WpiC.BML'MBtltaDOlUtsii
iiK 1it,i-iaiwTlwSois*en.ASCAP7SiN1tfAlVI*i!ii:
c pi-;nN'.-.;iwtiattAfla(nf SESA&TckJr
■'■.v;;i HL H10O18RBH72

TElHAMEJORSWMlili.i^init.
TEVESFA1AL ( ' !
THATS HOW COONTRY SOYS ROLL

Its I

ASCW'i flLWHk(,CS-I3
THAT TMNC i(AIG ^ ^k/filfc 9M/M/ Sbm

1 mu CS47

rHERE gdesmV baby '

nWKIN ABOUT VOU

.KKlMtSC. I

vi|.:s-.:. BMC^inoe '

■ . ; i 1 [iImitMlisc,
Music Dxpaidon.

THIS TMK iJL<> na KMC BMI| RBH n

THROW IT IN nC 8M tCM Aprt Musk he ASCAP/J
Basco bk£C ASCAP/Son^ 01 he Lid.,
ASCAP,1*»tfi » fti*stim ASWP/20K! Muse ft*-
lishntj ASCW.VffilAsrCWr HIjWBM.

TIE ME DOWN

npSYinms llhh

TOCAKDOFONDO .)

ui: . ''J . .
TODAY iFiyj, I.Vwi. k . it j-V.Ucill.V Ilivai'lkS
Music. ££Sk:Sras Fu Mo. Bft^Wwon UfiK. LUX

TOES MiniiTimrKriAsK. BUtri' DubUec
B)«^VBHa Male. BAWft^
Music, hcapaatod. BWftvMCUe. GH) CS 9; HlOO
32

TRCnKByWrrOI

ouei HuHniBon A
ASCAPAInwPuiiU^

Songs. BMKdW Musk, AS^ .

TnOUHf [runk! Jackson. ASCAP/tM 2 Dol Uac.
i^CV WATVfcresUCASCW/ftnilfVtant.
t;f;Ar r-wji- f^m»n ASC«V2 >iii EiWism.
LC Aa:A^'B^^ Music, ASCAP). 11. RBH
TmJST iSlK! Wnle It. ASCAPrllnimal hkBic • MGB
W ASCdPiiChinWiltenKkicknLlnc .BMroaf^
n lisGiti; ASCAPt, HJHBU. H100 69: RBH 8
T>C TTUTH iSbgc T>Me Songs. ASCV«m Jmes
• Vi.-,- A?j:AP,«ir»reonQF«*slifiQCaii-

UHOBI n.ir* 1 1 f6 Muw. ASCAPfVbck Fouttn PUb-
luTing. ASCAP/Ankno Obon's Muik. ASCAP.'fU Jl«nl
Msiclnc . ASCAPi'TMIira cue Songs K ,
ASCAPAmBhslicHtt /kjmmMane.
ASCAP«(WBted 301 Musk, ASC^/nndvH Muse
ASCAP.X Sleohfns Ujstf ASCAP/Mbm-lvnsbra
Mile I n j r n FMi v?ipwimimya fWHishim,
t.Mr ■ ■ '.V. ■' !!■ 1, i.BH6

UPfltSING > FU}ltshngC:oip.BM).

\vr

UPrOHiM ,1 - . Mij ic.EMSUBOneCapy-
.j'ii '.'i-i;j USAU'IlwBKMWTtlWArt,

USE SOMEBODY (MaKKi SM MusIC, ASCAP/Songs
: II Ci .Kiij'j>i>n Mac asCJPMrk 6i WnfeiMti
A^CAF'.'FQikMil) Music, ASCAPAkfesless Music,
EMI'&g Musk, hcnpanea BMICoIIh. MavUe
PuliltsrMng.eM|H1009

WAKING UP IN VEGAS .Vi.itl mAch'ftu llBell^
t! . . ASCAPyDewuido

■ I ■■ -r:,-ionPulil8hingAfl.SIl.l

M-.V ■ ■>;

WALKWITADIP . '.(.iiinMusic FUilelvg
EM ■■ ' • I ^UftrtmlHi flMyilB"

WCTTER ICAILIMG YOU OAUU t

WE WEREH T eonn TO FOLLOW

WHATCHA S«r reHMhbmsic ASCAPyEyes Abow

iVilf Wfit; A.<CJiP?Fr^S(>f^ll(l ASCAP'.lc- i

WHAT I VE BEEN WAITING FOK ' n

WHAT YOu'oO.i-M. ■■■1(1 1.5 n; .1 . 1 .

Cu , LiC . AStA^:■^*J■llu 'Un-, ^^JJ^. ^jIjIkiu y
ASC WA>i£k »amnii House PMOwq
ASCAl>AlnMfrs3l Mm - Z SoKK BUiTte )n The
CKkn\^.ti'^>n} fl-ST-APl HlSiaM.PBH64

WHTELIAR lH-f\aiatmCoiwaft
W.-r ■ ' : ■ : I .VlTtoflf 1 Music.
•■W:! ^MlBUwaKi Music BMl

WHY DONT WE JUST DAMCE iSuiid'ATV Inc PuUtM
I L:cri.Liry uMteiNTiinie lunes. BMlCvsaKMn
iitAiVMiUtMc ASM>^(aMMiKr\tMiraJ^'

WHY THEY JOCK (Y^ Dodttr PU]M«a ASCtfi^v
Ba* Prodirtion njUGhm BiyMta Berg PtAlDii^
BUinnll m FUMIshna isCAP/HeiitvWishing.
ASCAP,<Ba« BreAa PiSlishng. ASCAP) FCH 99

YA ES MUY TARDE ((CP fUilshni ASCAP) ino
YAHORA QUE? if.ttLi^)a30
YATt DIVIDE " - -n rirj:osMusicR*tefmgUC
a:.,. - ii. aSCAP/MMacCop

"'ningShed

YOUNG FOHEVEH I .' ' . AXAPjOW

EW,-j ■■..iiiMiry f-L^J-i'. Ct-tt L..-I ni! My PUAsNng
\K BIM)/llk)aKOdMfiic.n.BWteSc^

Im; BUi| HL HI004I

YOVHE A je« )T«K Boyi PuNisMng LLC, BMI'Pnmm
V(*f [n«ikni. iir£W.'1«rt^ ^^t^Jr, 6M)mO[ie9.
flEMSCI

rOUlK MOT MY ON. (NsiSetodlan FU«*io,

A^Ai'i mi ■i

76 Go to www.billboard.biz for complete chart data

Data for week of OCTOBER 3. 2009 I CHARTS LEGEND on Page 67

EXECUTIVE
TURNTABLE

^nd submissions to: exeC'aiblllboard.eom

RECORD COMPANIES: El Entertainment promotes Laura
Lombard! to director of retail marketing for El Music and
Charles Book to director of international sales and licensing.
Lombard! was manager at E1 Entertainment, and Book was
manager of export sales.

PUBLISHING: BMI's board of directors re-elects Jack Sander
chairman, Cecil Walker presiding director and Virginia Hub-
bard Morris, G. Neil Smith. N. John Douglas. Kenneth Elkins
and Mark Pedowitz members of the board. Sander is the for-
mer vice chairman of Belo Corp.. Walker is the former chair-
man/CEO of Gannett Broadcasting, Hubbard Morris is pres-
ident of Hubbard Radio and VP of Hubt>ard Broadcasting,
Smith is president of GNS Media, Douglas is president/CEO
of AIM Broadcasting, Eikins is president/CEO of Pulitzer
Broadcasting, and Pedowitz is senior adviser to the office of
the co-chairman at Disney-ABC Television Group.

ASCAP appoints Sue Drew VP of membership for
pop/rock. She previously worked as an independent AAR
consultant for various labels and artists.

DIGITAL: The music video and entertainment service Vevo
names David Kohl executive VP of sales and customer oper-
ations. He was head of sales and publishing at Nokia Interac-
tive Advertising.

RETAIL: The entertainment media wholesaler Super D names
Brian Woff ord VP of e-commerce and Mary Flynn sales man-
ager of DVDs. Wofford was VP of e-commerce at AEC, and
Flynn was director of sales for the Western region at Allumi-
nation FilmWorks.

RELATED FIELDS: Syndication One appoints Yolanda Starks
White executive director of multimedia marketing. She was
executive producer of "The Ride With Doug and DeDe" and
"The Michael Baisden Show" for ABC Radio.

—Edited by Mitchell Peters

GOODWORKS

AIMP MEMBERS TO EDUCATE LOS ANGELES
CLASSROOMS

The Assn. of Independent Music Publishers has recruited
some ofits members to speak with eighth grade classrooms
at Bret Harte Preparatory Middle School Sept. 29 in Los
Angeles about the importance of copyright preservation
and career opportunities in the music business.

The event will launch the Operation Hope's Five Million
Kids program, which is designed to encourage students to
stay in school. AIMP's team of vohmteer instriictors will
include Quincy Jones. Black Eyed Peas manager Ben Cross
and Troy Carter. Coalition Media Group founder/CEO and
Lady GaGa's manager. Additional speakers will include
representatives from Universal Music Group, Disney, the
Recording Academy and 20th Centur>' Fox.

The volunteers from those companies will visit approx-
imately 20 classrooms, reaching about 600 students, ac-
cording to AIMP executive director Kasaan Steigen. "It's
about role models." she says. "That's what we're doing
on this day: giving students real people in their class-
rooms who can show them ways that school can be rele-
vant." Operation Hope volunteers will also speak to
approximately 700 other students about fmancial literary
training. — Mitchell Peters

■l.idison Sciuare Giirdon
Entertainment president Jay Msrelano
presenled isy-Z with a commeTnorative
plaque tn celebration of his sold-Out concert Sept.
New York's Madison Square Garden benefiting the New
York Pol»c© and Fire Widows" and Children's Benefit Fund.

PHOTC COuniESV OF AVi GEC/EC tOO MAfMSOti SOUAOE GAftOEN

ACAX: hangs
backstage Aug 22 a
Canad inns Stadium m
Winnipeg. Qnnada. after
playing to a sold-out crowd c
44.000. From left; AC/OC s
Maicolin Vbung. Winnipeg Blue
Bombers/Canad Inns Stadium VP
of facility and event operat»om
Shirtoe Preteau. AC/DC's Angus
Young Winnipeg Blue Bombers/
Cancid Inns Stadmrn president/CEO
Lyl* Bauer ac DC t CNtr WiMann and 1
Brian Johnson i ii front), True North
£p. ■. ( ■ 'I -meni senior VP/MTS
Ct ■ _ Kevin OonneHy and AC/DC's

Phil Rudd ' - i. .,iOMIES*OrO*NM*ftPEl> I

INSIDE TRACK

JUST GETTING FIRED UP

"Our fans are definitely ready for new
music." says Honeytribe frontman
Devon Altman. whose first album,
"Torch." is now more than 3 years old.
And he intends to give them some
fresh material in 2010.

AUman plans to start recording his
next effort, "Space Age Blues," Jan. 2
at Ardent Studios in Memphis, where
he also made "Torch." "I'm really ex-
cited about it," says the St. Charles,
Mo. -based Allman, whose father is
Gregg Allman. "The band has done
over 1,000 shows since 'Torch" came
out. The band was definitely in its in-
fancy when we recorded 'Torch.' I
know we're capable of so much more
in the studio.

"And this time we have about twice
as much time; I think we did 'Torch'
in 12 days and mixed it in five. Thib
one we're gonna have 30 days."

AHman and Honeytribe have beer,
road-testing songs for the album, in
eluding such tracks as "Salvation,
"Take Me to the Bridge." "I'm Ready
and "Endless Diamond. " "They come
from the same place as [""Torch"], but
they're definitely a lot more artistic
and feel-based," Allman says.

"1 think the second record of any-
body's career is what establishes
them," he adds. "Anyone gets a debut
The second one, I think, determine-.:
whether you're gonna stay or go awas
This is the one you go for broke on."'

OCTOBER 3. 2009

www.blllboard biz | 77

CICBEAI

BILLBOARD I OCTOBER 3, 2009

milyjoel eltoniolin

f 8 c e Q f 8 c e

]uly SOoMWupt I

Wilmt coHCWt^ittM^iices ^^^^^^^^^^^^ hifhtst |rossin| conttits

congraMations

two record-setting, sold out performances at CitizanrBtRk R^rk

Dmboard

. mslORV l(J WIN mil -V*

' > N Aiti). + (2001) I IRS I I i:mai I. »"

; M URY AM) 1 IIIHD ARTIST IN
■ I : M liUM SIMUI.IANEOUSLY IN 1
. ^ KJVI & i)AN(;tROLISLY IN LOVE C
; -1 1 1 Al 1 1 R CXJVtR OF THF SPORl U
i . >MiN(, I hi; SI CONO Al RICAN 1
ini I I C) GET THE COVETED TIT"
lUl; I OR BKiGEST JUMP IN THE
! 100 AS "IIEAUTIEUL LIAR" SHOT
I ( ) I s (9 » ro J) IN A SINGLE WEEK.

IN nil 51-YI AR HISrORY OE TH
t II ARI I OR 10 WEEKS OR Mvl "'"^ '
si (INOEPENDI Nl WOMEN &
A I LAST" FOR PRESIDENT ^
M A S ITRST DANCE AND ^ I
\ \ 2009) + "11 I WERE •
I II RCL. HELD DP -i S,

f. I I XL CHART EC .AlGHT
ii lllsrORY OE TH Ar.(2008)T
i WITH THE MOS. 10 RECOR

.1 luil CHART THIS DECAI> ^9) + IF I V
\! I I IMI RECORD l OR AN HNAT'' ^
'MHINLD lOTAL OE 27 W. 'T
u WOMEN TO BOAST A DO.
C I / C L U H PLAY S O N C
s + 107 AWARDS + FIRST /»
.WOMAN IN HIS LORY " I
; VI AR AWARD. + (200» I

IS I CIMURY ANDTHIR
■ \ND Al HU.M SIMULTAN
IN lOVI & DANGEROUSL
111 Ai riR COVIROFTHt
i mMING I he SECOND \\
i iOII l() (;ET THE COVET
1) FOR BIGGEST JUMP I
AS "BE AUTIFUL LIAR* A
I .91 lO J) IN A SINGLE iCI

I . HE SI YEAR HISIORY LLI

■ ' ' lU 10 W EEKS OR M I A

■ NIJI M WOMEN ACi
I ' PRESIDENT VND 1

NDTI BORF
!',<) RSI SI

SCA N it SLC(iNUVVt),MAN IN i • '

•■"•^i . KI IER Ol EHE YEAR AWARD 4 : i

MKSI AREISE IN THE 21Sr (TNEIUO ^
O HAVe a #I SIN(.LE and ALBUNi SIX, j .
-S. AND U.K. CRA/Y IN LOVE & l)AN(,l >
WON T HE MUCH SOUGH I AFT ER COM K • )
IMSUIT EDITION BECOMING IHF SI ( .')
MAN & FIRST NON-MODEI lO GF I 1 1 II i
ET ALL-TIME RECORD FOR BIGGISl |l
BILLBOARD HOT 100 AS "BEAU I II Ul !
•RECEDENTED 91 SLOTS (94 TO 1) IN A SINi
NLY P-^HEORMER IN THE 51-YEAK IIISIOKi
lo' , joP THE CHART FOR 10 WEI kS uu \.

OI.O ARTIST (INDFPI NDFN I W(JMI N ,\
[ "FORMED "AT LAST" FOR PRF.SIDFNI di.

Ill I LE OBAMA'S FIRST DANCE AM) I III N.

' ' T »,L. QAN. 2009) + "IF I WERE A HOI." Ill

1 <;HA FIERCE, HELD DOWN I HI I '

RL DIGITAL CHARE FOR 16 SIRAK.I'

II RU. 'HE HISTORY OE THE CHAR I 12'

' ' lALE , WITH THE MOST TOP 10 Ki

.RD'S HC CHART THIS DECADE. (2009) + 11

VLO SET / ME RECORD FOR A N I N 1 1 K N \1
iZIL FOR .»1BINED TO I AL OF 27 W I I KS M

i OF EIGI lO women I O BOAS I A DOUBI E l
I :E TH' .NCE/CLUB PLAY SON {.S Ol

f,\/.r /VERS + 107 AWARDS + I IRS I \l RIt '
\ JONDWOMAN IN HISFORY I (J UP

II . OF THE YEAR AWARD. + (2001) I IRS I II

J FIN THE 2IST CENTURY AND IHIKI) \RII'
. A #1 SINGLE AND ALBUM SIMULTANI OUSIA
) U.K. CRAZY IN LOVE & DANGEKOUSI >
THE MUCH SOUGHT AI T ER COVER Ol 11
T EDI I ION BECO.MING I HE SECOND M
V FIRST NON-MODEL lO GET Fill COVI III. i
'.-TIME RECORD FOR BIGGEST JUMP I' :
OARD HOT 100 AS ■BEAUTII Ul I I - i'
".NTED 91 SLOTS (94 IO J) IN A S|N< ,: ,
1EORMER IN THE SI-YEAR HISH' . '
' 1 1 I lOP EHE CHAR I FOR 10 Will' ■ '
/ U.O ARTIST. (INDI PFM)I N

Fi. f2l t^ORMFD "AT I Wl " MM'

l()(/DLAv LIFOBAM' t

A
iCi
LLI

I A |l
AC, /
\ND F.. f2l
BORHOC/DLA.
RST SINGI ETNA
)l ON I IIEI RO.
WIT KS. T IM Bil l I

MANY WOKD.S DISCRIHl YOU ONLY ONI WORD DCMNL.S YOU

f^,0 511108 AH3fl

i'n'i"'r"H"rM"i'r"i'i'i""ii'ii""i'i'i"rii"i

08£ DQ« Hoi 11V.

IONS FROM MUSK VVORI 1) I N 1 1 K FAINMI NT

AN OF THE YEAR

She doesn't just define superstardom.

She redefines it.

SONY MUSIC ENTERTAINMENT
IS PROUD TO CONGRATULATE

T
1

1
J

BILLBOARD'S WOMAN OFTHEYEAR.

SONY MUSIC

Cni

Women:'

Music

Billk#Jrd

JENNI
IRIVERA

\AND THE REGIONAL
I^EXICAN SUMMIT
PREVIEW

fWALE BRINGS
D.C. GO-GO
TO HIP-HOP

! Singer. Actress.

I Businesswoman. Philanthropist

OUR WOMAN
OF THE YEAR

BEY

PLUS

Rising Star Lady Gaga And

Our List Of The 30 Most
Powerful Female Execs

PARAMORE
HITS THE
ROAD AS
HEADLINER

THE TOP
MOBILE
ARTISTS
OF 2009

Roots in racing. Not posing.

Racing tested it. Racing proved it. Racing inspired its reason for being. The beauty of tlie 911
is that in 46 years, it has never strayed from those roots. In tact, it's grown directly from them.
So admire it. Glorify it, even. Just don't put it on a pedestal. There's no room to drive up there.

Tlie Porsche 911. There is no substitute.

porscheusa.com/911

Crt

Cni

CONTIE

On The Road
6 Questions: Marcella
Araica

Global

Q&A: Mike Jbara

L PI RONT

JACKSON AND
BEATLES BRING
'HELP'-AND HOPE-TO
RETAIL Third-quarter
sales show 11% decline
from 2008. better than
year as a whole.

FEATURES

FIERCELY CREATIVE Beyonce honored as
Billboard's Wonnan of the Year.

ALL IN THE FAMILY Pedro. Jenni. Lupillo
and Juan Rivera reveal the secrets to their regional
Mexican music dynasty.

TOP 10 WIRELESS ARTISTS Billboard
identifies the acts setting standards in how to use

mobile for promotion and profit. Plus: A O&A with
Fall Out Boy's Pete Wentz.

WOMEN IN MUSIC Billboard recognizes 30
female executives who advance the business with
vision, dedication and hard work.

THE NEW ERA Diverse programming at
Billboard's Regional Mexican Music Summit looks
to the future of Latin's top-selling genre.

LN KVEHV

82
83

84
86

Ml SIC

ATTENTION
OVERLOAD Will Wale
take go-go mainstream?
Global Pulse
6 Questions: Chester
Bennington
Reviews

Happening Now

■ BdotogMtJh by- Mdry Eilen Matthew

8
88
89
89
90
105

ON TMF COVFR B<-y

issrE

Opinion
Marketplace
Over The Counter
Market Watch
Charts

Executive Turntable,
Backbeat. Inside Track

./Corbis Outlino

lEMJiinati^i^ii

Online

NEWBILLBOARD.COM

There's now, exclusive
content on Blllboard.com,
including video footage
from Billboard's Women
in Music event with
Beyonce and Lady Gaga,
coverage of the Austin
City Limits Festival and a
Chickenfoot Interview.

events

REGIONAL MEXICAN

The summit-Oct. 8-9 at
Los Angeles" Hyatt
Regency Century Plaza-
will feature a panel with
the Rivera family— Pedro.
Jenni, Juan and Lupillo—
and a Q&A with Alejandro
Fernandez. For more, go
to billboardevents.com.

TOURING

At the Billboard Touring
Conference— Nov. 4-5 in
New York— Ozzy
Osbourne will receive the
Legend of Live honor and
Kevin Lyman the
Humanitarian award. For
more information, go to
biliboardevents.com.

MEDIA AND MONEY

This conference— Nov. 12*
13 in New York— brings
together leaders in media,
entertainment and
finance for keynote
interviews and panel
discussions. To register,
go to mediaandmoney
conference.com.

BILLBOARD I OCTOBER 10, 2009

■Billbord

ON THE CHARTS

• albums

jniGE

WTBT / ITTU

THE BILLBOARD 200

KMLJAM/

TOP POP CATALOG

MICHUL JACKSON /

TOP DIGITAL

KARL JAM .

TOP INTERNET

PtAflL JAM

HEATSEEKERS ALBUMS

aiLLY TALENT

TOP COUNTRY

TAYUM SVflFT /

fT«iSS

TOP BLUEGRASS

Tut If AA^ft i

ir ANJUKUACWmiAOSUKnii

TOP R&B HIP-HOP

i. jEi*SM 1

TOP CHRISTIAN

100

TOP GOSPEL

100

VICKK wHun/

TOP OANCE/ELECTRONIC

101

lAOV AMA/

TMMW

TOP TRADITIONAL JAZZ

101

HARRV CONNICK. JR. /

TOP CONTEMPORARY JAZZ

101

GfOFIGE DEhSDN

TOP TRAOmCNAL CLASSICAL

101

f^gpf^l FILMING

TOP CLASSICAL CROSSOVER

101

TOP WORLD

101

RODRf GO V GAfifUCU^ /

TOP LATIN

102

U)S WHES DCL MWfE /

lAOiUlUA

S SONGS

PUBt

wmsT/Tni£

THE BILLBOARD HOT 100

THE BUCK EYED FCAS/

1 , 1-1,. :-RJ|G

HOT 100 AIRPLAY

,95

lAiTLOfi swin /

HOTDiaiTALSONaS

■LET cms/

nurv fine USA

HEATSEEKERS SONGS

IY«,

MAINSTREAM TOP 40

KmGSOFLHM/

■ ■.'.saw

ADULT CONTEMPORARY

MllEY CYRUS/

ADULT TOP 40

KINGS OF LBW/

ROCK SONGS

AUCE M CHAINS /

ALTERNATIVE

AllCtM CHAWS/

TRIPLE A

uommetf

HOT COUNTRY SONGS

TOBT KEITH

MAINSTREAM RaB.HIP-HOP

DUKE F(AT mty SONOZiULINmi/

RHYTHMIC

Mir SEAN FIAURIH6 UL WAYME /

ADULT R&B

MAXWtLL

HOT RAP SONGS

JAY 2 niHAHNA t KANYEWEny 1

HOT RtB HIP-HOP SONGS

MAXWiLL

CHRISTIAN SONGS

100

PiitLLIPS CFU<G & DEAD /

HOT CHRISTIAN AC SONGS

100

ntlLLIPS CflAIG & DEAN /

CHRISTIAN CHR

100

SWllET

HOT GOSPEL SONGS

100

BEBf A CECf WINANt /

HOT DANCE CLUB SONGS

101

SHAMHA '

•*« Arnf

HOT DANCE AIRPLAY

101

MMWHCAKY/

SMOOTH JAZZ SONGS

101

DMREN RAM /
torn

HOT LATIN SONGS

102

&MAXIRA/

THIS WEEK ON .biz

TOP INDEPENDENT ALBUMS

PHRLJAM/

HOT MASTER RINGTONES

JAV-Z. MHMMA 1 KANVE 1KST /

TOP MUSIC VIDEO SALES

MICHAEL JACKSON ,'

HOT VIDEOCLIPS

Un-L RIHAMNA A KANYE WEST/

TOP OVO SALES

X-MEN. WQLVeRIRE

Cni

NEXT BIG THING

i- -

Specialized Wealth Management for the Music Industry

After 20 years of serving the music industry, our financial advisors know exactly what it tal<es to get and stay on solid
ground. We can help you streamline your cash flow, manage your assets, and most importantly, create a plan designed to
provide financial stability on the road ahead. For more information, call Thomas Carroll, Senior Vice President, Sports and
Entertainment Specialty Group, SunTrust Investment Services, Inc., at 404.724.3477 or visit suntrust.com/talent.

SunTrust

Royalty and Catalog Lending Financial Planning Retirement Planning Investment Management Live Solid. Bank Solid."

}curfties and Insurance Products and Services: Are not FDIC or any other Government Agency Insured ■ Are not Bank Guaranteed ■ May Lose Value

tonias Cafroil is Senini ■. ■ . — ■ .-^ <'.c-r\ SimTru?;! Inv^^slmenl Sf?rvices Inc and Managing Director of SunTrust ^ Sporls rin<1 E:n!oit^iinn)eri; Specially Group

in Trust Sports and Entertainment Specialty Group is a marketing name used by SunTrust Banks. Inc., artd the fotkywing afTlttates: Banking and trust products and services are provided by SunTrust Bank. Secunltes, brokerage
rvices, insurance (including annuities and certain life insurance products) and other investnwnt products and services are offered by SunTrust Investment Sen/ices, Inc . an SEC-registered investment adviser and broker/dealer
d a member of FINRA andSIPC Other insurance products and services are offered by SunTrust Insurance Services, Inc , a licensed insurance agency.

>009 SunTrust Banks. Inc. SunTrust is a federally registered service mark of SunTrust Banks. Inc. Live Solid Bank Solid is a service mark of SunTrust Banks, Inc.

Billboard

L OPINION

EDITORIALS . COMMENTARY ; LETTERS

Streaming Vs. Downloading—
The Coming Cash-Flow Crisis

BY ROBB McDANIELS

First it was, "Fans want to feel it." Then
it was, "Fans want to own it." Now it's.
"Why own when I can save.^"

One of the unforeseen impacts of the
global economic downturn on the music
industry is the accelerated rate of con-
sumers' adoption of streaming music.
Want to save some money while you sit
at home looking for a job? Stream. Want
to listen to music on your phone while
you take care of the kids? Stream. Do you
happen to have your iPhone in your car?
Stream. Why download when you can
stream almost anything you want at any
time, in any place?

As streaming becomes more portable,
interactive and affordable to the con-
sumer, fans are rapidly shifting their lis-
tening habits to embrace this medium
that provides instant gratification. And
this means trouble for the already
wounded music industry.

Labels, particularly independent labels,
have lived ofT of cash flow for many years
now. That's why advances have always
been the name of the game — money is
paid upfront and there is a reasonable ex-
pectation it will be made back later. But
the rise of streaming threatens to cut off
the flow and destroy that model.

Here's the issue with streaming from
the perspective of a content owner 1 1 takes
150-200 plays of a song before the con-

MEA MAXIMA CULPA

Through the years Billboard has
chronicled the countless times
that a performance on the
Grammy Awards telecast has
boosted an artist's sales and
buzz. But due to an oversight. Bill-
board neglected to Include the
Grammys telecast in our annual
Maximum Exposure survey and
the subsequent issue (Sept. 26).
The telecast provides consider-
able exposure that leads to sig-
nificant sales boosts. For exam-
ple. U.S. sales of 2009 best new
artist winner Adele's album, "19,"
surged 218% to 57.000 copies,
according to Nielsen SoundScan,
while sales of M.I.A.'s album
"Kala"— which included record of
the year nominee "Paper Planes"
-jumped 43% to 6,000. Bill-
board regrets the oversight
and hopes our invite to next
year's festivities will not be lost
In the mail.

tent owner earns royalties on par with one
download. Content owners typically get
paid 70 cents per download and half a
penny per stream. How long does it take
the average fan to stream a song 150
times — six months? Twelve months?
Longer? There's the cash-flow issue.
Money that we were expecting today, we
now won't see for six to 1 2 months, maybe
longer in some cases. This means, as a
label or an artist. I won't have money today
to finance my new record. Many labels
also won't recoup their advances as
quickly and therefore won't have the cash
to fund or market new projects. Their cost
of capital will rise and bonus pools (yes.
these still exist) will evaporate. So where
do we go from here?

Maybe the answer lies within the "prob-
lem." as is often the case. Maybe the in-
dustry simply needs to unlock the value
of this new music experience by embrac-
ing the streaming app as its new shiny
disc. The value of music has never
changed, only the value of the experience.
CDs offered a more portable, interactive
and consumer-friendly way of delivering
music in much the same way that stream-
ing apps do now. I can stream all the
music I want from the jukebox in the sky
to my phone, computer or car. That's
value, and people will pay for portability,
interactivity and ease of use.

But you have to make it as easy for me
to enjoy this experience as you made lis-
tening to a CD. Consumers might pay for
a streaming app service if they believed

it would be around in a year and not driven
into bankruptcy. They might pay if all the
music they wanted was there without re-
strictions and without the risk of being
pulled over some inane licensing dispute.
I don't think most consumers believe that
a download is 150 times more valuable
than a stream, so maybe we need to look
at reducing the pricing spread between
these two consumption mediums.

It's too bad that the industry continues
to stumble over itself when setting up
these new models by making the entire
content licensing process overly time-
consuming and costly. Want to know why
the iTunes App Store is so popular and
has already reached 2 billion downloads?
It is available in 77 countries one year
after launch. By comparison, the music
store is only in 22 countries more than
six years after launch, resulting in plenty
of money being left on the table. The re-
strictive nature of content licensing might
make sense in the old paradigm but not
the current dynamic, global , on-demand
media marketplace. Unfortunately, the
music industry is likely going to have to
go through a lot more pain before enough
friction is removed — and by friction 1
mean people and systems — and common
sense proposals become reality.

Having been involved in the digital
music industry since 2001 , 1 am realistic
about what may likely transpire. As such,
I am having conversations with our clients
now about preparing for this cash-flow
issue. Artists and labels need to be pre-
pared to significantly reduce fixed oper-
ational and administrative costs. They
need to effectively manage marketing
budgets. They need to leverage the effi-
ciencies of the digital marketplace to gen-
erate new sources of income and expand
the opportunities for their music. The
global music industry will need to come
together like never before to work through
this latest transformation and emerge a
leaner and more vibrant industry. • ■ • •

Robb McDanicls is founder /president/
CEO oflNgrooves. a dig}tal media
infrastructure company that provides
distribution and marketing services
through its INgrooves and ONE Di^uU
divisions.

WRITE us. Share your feedback with Billboard readers
around the world Send correspondencG to letters a bHlboard.coni.

Include name, title, address and phone number for verification.

SUBSCRIBE. Go to blllboard.biz/subfcrlb* or call
800-658-8372 (U.S. toll free) or 847-559-7531 (International).

EDITORIAL DIRECTOR

BILL WEROE

EDITORIAL

EXECirriVE EDITOR: ROKRT LIVIMI 646-654-4707

DEPin^ EDITOR: Louto HMi

SENICa EDfTOR Aim DoMhM S2S-52S-2292

SPECIAL FEATURES EDITOR; Th<M»« D«lfy 646.6S4^716

INTERNATIONAL BUREAU CHIEF: Mark SuMMftand O1I-44-307-42O-61S5

MUSIC EorroR: Cortncy Hardlna t.-ii tr S-i

BILLBOARD.BIZ EDITOR: Chrb M. Wslth f,4(, (,'^-A90A

EXECUTIVE DIRECTOR OF C0^4TENT AND

PftOGRAHMING FOR LATIN MUSIC AND ENTERTAINMENT; Ltlta CObO <M>ami> 30S- 361-52'
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOURING AND LIVE ET^ERTAJNMENT: Ray ¥ftlMrt (Nathvill*) 6)S-45I
EXECUTIVE DIRECTOR OF CONTENT AND

P«OGHAMMING FOR DIGITAL/MOBILE; Antony Bnino (L)^nv«<) J05-7711M2
SENIOR CORRESPONDENTS: Ed Chrtttman • Rc-td i) &d6-6S4-1723.

(Ml Mneh*ll i^SB: :JJ '..J-L, j.H - Tom F«f9i»en {Depuly Global Editor) on-44.207-420-6C
SENIOR EDITORIAL ANALYST: Gimnn pMplM gDeopl«vnO>IIDoitrd com
CORRESPONDENTS: Ayala Bwi-V»hud* ( ^'-n) 331 S25-2293 HMdMll PMra 323 S25-2323
INTERNATIONAL: Lara Mwandf . ■•'n-j'^iu-,;: WoMQang tpahr (G«HTTvinyj Oeban ThompiM (Ce
GLOBAL NEWS EDITOR: Andra Pa4na -I-l 2U7 .120-6068
COPY CHIEF: Chrd Wcxxls
COPY EDITOR: Chrfsta TKua

ASSOCIATE EDITOR. SPECIAL FEATURES; EvM Naoy r5.1b-f>^4-47C^
CONTRIBUTORS: Jim BMtman, Larry BJumwifafd, Juliana KoranlanB, Mnl Maton.
D*borah Ev»n» Prka. Paul ftaiton, Stava Tralman, Anartatia TUohIcm, K«n TwdMr
SPECIAL PROJECTS MANAGER: Kflttlna Tunsl

BILLBOARD-COM
aiLLBOARD.COM EDITOR: JESSICA LETXEMANN Me 654 5536
BlLLBOARD.COM NEWS EDITOR: David J. Prtaca &46-e54 S582

BILLBOAROlCOM associate EDTTonS: HwW Conowdon 6^-65^-4780 PMca HwfM 64&«&a

DESIGN K PHOTOGRAPHY
CREATIVE DIRECTOR: CHmSTINB BOWER-WRIOHT

PHOTO EOrrOR: Amelia Halv*r*en SENIOR DESIGNER: Qfg Orabewy

CHARTS ft RESEARCH
DIRECTOR OF CHARTS: SILVIO PICTROLUONGO
ASSOCIATE DIRECTOR OF CHARTS. Racvhaal Ocofga

SENIOR CHART MANAGERS: Kalth C»um«ld : I - H iboctfd 200. Cast. Compilations. Digital

^■l:-- i If..-.--"'! A I. . vi- '-.fiMief •"'oo Catalog. Soondtracks. LA ).

Wada J»»t«n '!-:i'.---i- I-- . ir - r^cstj.?! caashvile)

CHART MANAGERS: Bob Allan . i^. . .. :'i- M.i-.dvillc) Raphaal Omtv* (BhMS. R&B/H<p-Hop
ivi'y.i."' P' I Gordon Murray I -i>:lv niinirn..''fi^ifonic. Jazr. Naw A^e. Ringtones. S

N.'!i--ii til -1 '.-. .riL:, $|lvk> Ptatroloongo ' 'hp fi 'lt>n,vd Hoi 100. DigiW Sor>gs). VtUkPvntf
f>P '.Vrjfiti , ordon:. Gary Truit - : Ait^'n^trvp, Ctiart Beat Heatseekers Songs. Mainst
Too -10 Woci.. "'iplp A I Alan VllowlU ' •i'r-.-zA- X'd Audio. VkIoo)
INTERIM CHART MANAGER Rauly Ramlraz adr<'>^
CHART PRODUCTION MANAGER: Mkhaal Cucton
ASSOCIATE CHART PRODUCTION MANAGER: AtM VttdUlb
BILLBOARD RESEARCH MANAGER: Oerdon Myrray (^6-654-4633

DIGITAL

VICE PRESIDENT. DIGITAL: JOSHUA ENGROPP
DIRECTOR, MARKET DEVELOPMENT: Eric Ward
MANAGER. MARKET DEVELOPMENT: Juttln Harrto

ADVERTISING SALES
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER: JEREMY LSVINE 646-654-4627
NATIONAL SALES DIRECTOR/DIGITAL A CONSUMER: Darak Santnar 646-6S4-46I6
DIRECTOR. BUSINESS DEVELOPMENT « EAST COAST SALES; Ondy MaU G46-6S4-4710
EASTERN SALES DIRECTORS: Antoolo Amato i -l-. ^.1^.4 4(^)14 Ryan Blalcfi 646-654-4635
DIRECTOR. SPEQAL FEATUfiES»WEST COAST SALES;AWKa«*ato 525 525-2299
MIDWEST SALES DIRECTOR: AJana SctlUfka il. :">;i.V?.f,i4
WEST COAST ACCOUNT DIRECTOR; Catay Oannahy i l^i,-) b2S-2237

NASHVILLE: La« Ann Plwloglo t. '_. Z.vt. /gji il^m--. CyntWi Wow 615-3S2-026S (Tourog;
ADVERTISING DIRECTOR DETROIT: Kattiy VMgo 2-t8 687 9166
ADVERTISING DIRECTOR EUROf>EAJ.K.: PradvIC piaiHKCi 0n-44-207-42O6075
INSIDE ACCOUNT REP; Ja« SwrMta ^-H, r,54-4697
MANAGING DIRECTORAATIN: Oana Smith 973-746-2S.20
LATIN AMERICA/MIAMI: Marcla OllvaH05>a6<1-757a Fax 30S'864-5227
ASIA-PACIFIC/AUSTRALIA: Linda MaWch 612-9440-7777 Fax 612-9440-7786
JAPAN: AM Kanako ilL-~2'--'.-n'*\

MANAGER OF SALES ANALYTICS: Mtma Gomn 646-654 -4695
ADVERTISING COORDtNATOR; Alaxandra Hartz &46-654.5S81

MARKETING

SENIOR MARKETING DIRECTOR: ULA QERtOH 646-654-4629
EVENT MARKETING MANAGER; Nicola Carbona ti-16 6^4-4634
SENIOR MARKETING MANAGER: Jamat Crau 646 &54-54B9
MARKETING MANAGER: Karri Bargman ^.46 C'.4 46)7
SALES/MARKETING ART DIRECTOR: MaM*aa SubMcti
SALES/MARKETING DESIGN MANAGER: Kim Oraalna

AUDIFNCf MARKETING
AUDIENCE MARKETING DIRECTOR: NEIL EISCNBERG
ASSOCIATE AUDIENCE DIRECTOR (GROUP): Lktda Lam
AUDIENCE MARKETING ASSISTANT MANAGER: NkSa Auguctbi
SUBSCRfPTIONS; b5B-ei?2 "011)- 'eel iW-'-SSa- ?5.5" (Ifilef naCOfWO Of

LICENSINO, EVtHIS ■ f«E»>f(INT5

VKE PRESIDENT. BUSINESS DEVELOPMENT 4 LtCENSMO: ANOMVir HIN drxJrewmMSniate
EXECUTIVE DIRECTOR. CONFERENCES S SPECIAL EVENTS: MKHELE JACAHGCLO
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabal* Mfqw« 646-654-4646
SPONSORSHIP SALES MANAGERS: Matthaw Carana 646 654-5115 Khn Orimtha 646 6S4
SPECIAL EVENTS DIRECTOR; Hargaral O'SAaa
SPECIAL EVENTS MANAGER: Lita DIAntonto
EVENT CUENT SERVICES MANAGER: Courtnay Haffcs
DIRECTOR. LICENSING « CUSTOM MEDIA: DiMta DriKoM 646-654-4677
MANAGSt. INTERNATIONAL LICBAING « SALES: AngalM MtriWMVl «^gelineUesheuvcli9r^
MAGAZINE REPRINTS: AngIa VanGordaf i UOO 2 'X) 5460 E«t 176 or BBiiiitheYGSgrQuo

PRODUCTION
PRODUCTION DIRECTOR: TERRINCE C. SANOBRS
ASSOCIATE PRODUCTION DIRECTOR: Anthony T.
ASSOCIATE PRODUCTION MANAGER: Roclgar LaoAard

OPERATIONS

GROUP FINANCIAL DIRECTOR: BARBARA ORIHIHW
HUMAN RESOURCES DIRECTOR: BILL F1KTON
LEGAL COUNSEL: MARK MILLER
OrSTRIBUTION DIRECTOR; Lou Bradflatd

PERMISSIONS COORDINATOR/ASSISTANT TO PUBUSHER;
VK:E PRESIDENT. MANUFACTURING AND DISTRtBUTION:
VICE PRESIDENT. AUDIENCE MARKETING: Jo

646-654-4675

a Parra 646-654-4696

NKW YORK: 770 Brondwiiv.
Naw Ycylf. NY lOOOJ
Phorie 646-654-4500
6(H Fa* G46 654 4&ai
Adv Fa« 646-654-4799
NAmVttU: 3200West
End Awa. SvteSOO
NaslwM. IN. 37203

BILLBOARD OFFICES

LOtAHGCLCS: 5055 Wilsh^e
Blv<t Lot Ang«<HS, CA 900J6
PtXJfie 323-525-2300
F«« S23 52S-2S94/2395

NMHI: lot 0>ar>dDn Blvd.
5u>t« 466, Kay Biscayna. FL
33149 Phone 30S-3«-S279
Fa. 305-361-5299

ErKJeavOU' Hex.
189 Shaftestxjry Awe.
LorvJon WC2H 8TJ;
Phone 011-44-207-420-60
Fax: OtI-44-207-420-60M

SENIOR VICE PRESIDENT. THE ENTERTAINMENT GROUP

niclscn

8 I BILLBOARD I OCTOBER 10, 2009

PRESIDENT: 0M« mm; SBBOR VKC PnCHODn; HUMAN laSOURC
Mkha*l ANcaa: SENtOS VICE PRtSIOeKT. BRAND MEDIA: An**w
BHbao: SENIOR VICE PRESIfWtT. MEDIA « ENTBRTAINM04T: Oam
Nielsen Business Media lyma: senior vk:e pResioCNT, PINANCS: Baani Oooplni SENK>R
VICE PRESIDENT. RfTAHj DwW Loidir SENIOR VICE PRESIDCK
CONTENT: Sa>« McKawl*; $ENK>R VICE PRESDCKT. BULDMC B OGSIOM: Jm BmM SENK
VICE PRESIDENT. CD<JTRAL SERVICES: Mary Kay SoMc CHIEF OPBtATMO OFFICER.
ENTERTAINMENT; Howard AppatMum; VICE PRCSIDCNT, MANUMCTURMO • DISTlMBUTIO^
JannHar Gragw VICE PRESIDENT. UCENSING: Andrnf MK VKX PRESIDENT, CLIENT MARKET
%m TNmUay; VKC PflESK>CNT. AUOCNCE MARKETING: Joa

Cr.i

THE

ATE8T

NEWS
FROM

11^

iT| I

NIELSEN:
WOMEN USE
MUSIC SITES
MORE THAN
MEN

Women are more
likely to visit music
news or music-
listening Web sites
than men, according
to Nielsen NetView.
In August, women
made up 56.1% of
the Web traffic to
online music sites.
Overall, music sites
pulled in 42.5 million
unique female
visitors in August.
Females aged 35-49
make up the largest
group. More than
14.5 million women
within that
demographic visited
online music sites in
August.

>> WMG
REDUCES
STAFF

Warner Music Group
has made staff
reductions at Warner
Bros. Records and its
distribution divisions
WEAand the
Alternative
Distribution Alliance,
according to online
reports. The cuts
follow a reduction at
Rhino Entertainment,
which trimmed
about 20% of its staff
because of declining
physical sales,
sources confirm. In
total, some 30-40
staffers were cut.
Among those let go
at Warner Bros, was
senior sales VP Dave
Stein, according to
sources.

>>>FURTHER
CUTS AT WW!

Westwood One,
already reeling from
financial difficulties,
instituted further
cost reductions to
lower operating
expenses. The plan
calls for a one-week
furlough (no work, no
pay for five days) and
salary cuts equal to
five days spread
throughout 10 weeks.
In total, employees
will be faced with 10
unpaid days. The cuts
are on top of recent
salary reductions
between S% and 15%,
as well as a number
of reorganization
moves.

■ONCE,' AGAIN?

Convasback inks a new
deal with Atlantic

PARA-TOUR

Alt-rock act ParamorQ
burns up the road

MIX IT UP

Marcella Aralca turns
the knobs

NO MAGIC?

Can Merlin secure
deals for Indies?

WITHER WARNER

cEo Hike Jboro on
WEA's future

Jackson And Beatles Bring
'Help'— And Hope— To Retail

Third-Quarter Sales Show 11%
Decline From 2008, Better
Than Year As A Whole

Renewed interest in the Beatles and Michael jack-
son slowed the decline of U.S. album sales in the
Ihird quarter, which was down 1 1 .1% compared with
the same period in 2008. according to Nielsen Sound-
Scan. In the three months ending Sept. 27, 82. 1 mil-
lion albums were sold, down from 93.2 million
during the third quarter of last year.

Music retailers arc hoping that the continued per-
formance of lackson and Beatles albums and a strong
fourtli-quartcr release schedule will continue to make
up lost ground. So far album sales are down 1 3.9%
this year. After the second quarter, sales were down
14.7% compared with the first half of 2008.

During the quarter. Jackson's june 25 death fu-
eled about 5 million in album sales, and the Sept. 9
rerelease of the Beatle*: catalog has sold another 1.3
million units so far.

Digital track sales grew 11.1% to 884.2 million
downloads from 795.8 million downloads in the first
nine months of 2008. When those downloads are
converted to track-equivalent albums (also known
as TEA) the overall album category declined 8.6% to
345 million in the first nine months of this year, ver-
sus the 377.4 million recorded in the nine-month
period of the prior year. That's larger than the 5.3%
decline 2008 recorded from the 2007 period when
albums with TEA totaled 398.6 million units.

So far this year 11 albums have topped the 1 mil-

lion-unit mark, the same number as in 2008. In 2008.
the top seller was Lil Wayne's "Tha Carter III," at 2.5
million units: this year's top seller is Jackson's "Num-
ber Ones," at 1.8 million units.

On the album side. 27 sets have sold more than
100,000 copies each as digital downloads, led by
Kings of Leon's "Only by the Night," which has
scanned about 350,000 units so far this year. Last
year at this point, only 18 albums had topped the
100,000 mark, but the No. 1 digital album seller was
Coldplay's "Viva La Vida or Death and All His
Friends," with 548.000 downloads.

So far this year 5 3 digital songs have topped the 1
million-unit mark, and 14 have sold more than 2 mil-
lion copies, led by the Black Eyed Peas' "Boom Boom
Pow," which has been downloaded 4.2 million times.
That compares with 39 digital songs that topped the
million-unit mark last year, of which 11 scanned
more than 2 million units each.

Universal Music Group still leads the industry in
market share with a 30.6% slice of the pie for U.S.
album sales, including TEA. That outpaces the 27.2%
share carved out by Sony Music Entertainment. But
UMG's slice is down from the 31.9% it garnered in
the first nine months of last year.

UMG also leads the industry in single-track down-
loads with a 33% market share this year, outpacing
the 24.4% share of Sony Music Entertainment. That
showing helps UMG keep its commanding industry
lead. But by the old industry barometer of pure U.S.
album sales, Sony Music Entertainment is closing
in on the leader, with a 27.8% slice of the pie, versus

UMG 's 29.9% share. Last year, at the end of the Ihird
quarter, there was nearly an eight percentage point
spread between the two competitors, with UMG lead-
ing with 32% market share to Sony's 24.1%.

The narrowing of the gap comes largely from the
burst in Jackson album sales, as well as a relatively
soft third quarter for UMG. During this period. UMG
sold 22.8 million units, compared with 31.4 million
units in the same part of 2008. That means UMG's
drop in album sales accounted for slightly more than
three-quarters of the industry's 11.1 million-unit de-
cline for the third quarter.

In terms of genre sales, the small categories of
electronica and new age were the only ones to post
gains — rising 2.6% to 6.6 million units and 0.5% to
1.3 million units, respectively. Of the larger genres,
country showed the smallest decline, a 1 .7% drop to
30.3 million units from 30.8 million units in the cor-
responding period last year. Likewise, Christian ex-
perienced a small decline of 6.4% to 17.6 million
units from 18.8 million units for the lirsl nine
months of last year.

Rock and R&B (which includes rap) also declined
slower than the industry as a whole. Rock sales
dropped 11.5% to 88.1 million units, down from 99.6
million units in the same time frame of 2008. R&B
fell 6.6% to 51 .4 million units from 55 million units.
Latin is suffering the worst this year, declining 35.1%
from 19.4 million units to 12.6 million. ••••

.biz

MOBILE: For 24/7 news and analysis on
your cell phone or mobile device, go to:
mobllc.billboard.blz.

OCTOBER 10, 2009 I www.billboard.biz I 9

>>>YOUTUBE,
WMG AGREE ON
NEW DEAL

YouTube and Warner
Music Group announced
a new content-licensing
deal that will bring the
label's content back to
the video streaming
service after a nine-
month absence. The main
difference of the new
deal is that WMG will now
sell advertising around its
videos rather than You-
Tube. This will allow the
label to set its own prices
as well as keep the
majority of the resultant
ad revenue.

»> WOLFGANG'S
VAULT OPENS
CATALOG

Wolfgang's Vault, which
has amassed the largest
collection of licensed live
recordings for streaming
on the Internet, is about
to make a treasure trove
of those concerts
available for download.
Beginning Nov. 3, the site
will add more than 1.000
titles from 919 artists to
the approximately 500
that are currently
available for purchase
from the site's Concert
Vault section. The
additions will include
more than 160 Grateful
Dead concerts as well as
titles from acts like
Santana, Janis Joplin.
Aretha Franklin and
many others.

>>>DIDDY
SIGNS WITH
INTERSCOPE

Sean "Diddy" Combs has
signed with Interscope
Geffen A&M in a deal that
Includes his future
albums and creates a new
joint venture with Combs'
Bad Boy label. The
venture's first release will
be Combs' own
upcoming album, "Last
Train to Paris." Financial
terms and the time span
of the deal weren't
disclosed. Previously,
Combs and Warner Music
Group's Atlantic label
had a deal that lasted
almost five years.

Compiled by Chris M.
Walsh, Reporting by Katy
Bachmarj, Antony Bruno,
Ed Christman, Gary Graff,
Kenneth Hein and
Reuters.

.biz

For 24/7 news and
annlysis on your
mobilf dpvice, go to;
moblle.blllbMrd.blz.

IIPFROMT

DRAWING THE QUARTER

A Look At The Last Nine Months' Worth Of Music Business Sales Numbers

1SOM

SALES

UOM
SON

63. 6M

17.9M

CD ALBUM SALES VS. DIGITAL ALBUM SALES

Michael jackson and the Beatles have sold about 6 million CDs in the third
quarter between them, but the format's weekly sales continue to drop from
an average of 5.2 million units per week in the first half of 2009 to a third-
quarter average of 4.9 million units per week.

MARKET SHARE BY DISTRIBUTOR BASED ON ALBUM
AND TEA (TRACK-EQUIVALENT ALBUM) SALES

Among the major labels, Sony Music Entertainment was the only distributor
to gain market share over the prior year. While the indie sector lost market
share, the above numbers don't reflect sales by major-owned indie distribu*
tors, which are counted within their respective parents.

OMJM MSSMKMNTS

ALBUM SALES BY STORE TYPE

For the first time, the non traditional retail sector — which consists of digital stores
like iTunes. online CD stores like Amazon, concert sales, mail-order houses and
non-music stores like Starbucks — has surpassed the chain category in overall
album sales and is now the second-largest category behind mass merchants.

29.9M

L. Ml

UK sour WIN

ALBUMS PLUS TEA SOLD BY DISTRIBUTOR

Sony's market-share gain translated into an album sates gain — a rarity these
days. Universal's sales declined by nearly 15 million units, although EMI suf-
fered the largest decline on a percentage basis, at 1 3.7%.

12008
12009

■MA

CD ALBUM SALES BY GENRE

The electronica/dance genre was the only category to post an increase, up
2.2% in unit sales compared with the corresponding period last year. Latin
had the largest decline, with a 36.2% drop.

DIGITAL ALBUM SALES BY GENRE

Of the larger genres, country and Christian had the biggest percentage
gain in unit sales, with the former up 50% and the latter up 39%. Digi-
tal accounts for 18.8% of country album sales. 14.1% of Christian's unit
sales. 13.7% of R&B. 25,8% of rock and 4% of Latin.

30,9P1

■1^

txt ut/MHW counn

im (MusiiM/aisKi

TOTAL ALBUM SALES BY GENRE

Latin album sales continue to plummet, displacing rap as the genre hardest
hit by declines, latin is suffering shrinking space for CDs at traditional music
chains, as well as the 2008 demise of Handleman, a respected rack-jobber that
supplied albums to Best Buy and one-third of Wal-Mart stores.

DIGITAL TRACK SALES

As expected, the percentage of increase in digital sales has slowed as unit sales
continue to grow. But this year the growth in unit sales was more modest than
it was the previous year Digital sales only grew 88.4 million units compared with
the prior year-to-year growth of 183.6 miUion.

10 I BILLBOARD I OCTOBER 10, 2009

Cr.i

BY MITCHELL PETERS

Colorful 'Canvas'

Canvasback Music Strikes A New Deal With Atlantic

Former Columbia Records imprint Canvasback
Music — best-known for releasing in 2007 the
soundtrack to the Academy Award-winning film
"Once." which featured music from the Swell
Season — has signed a multiyear. worldwide
label services and distribution deal with Atlantic
Records. Under the partnership, artists signed
to Canvasback/Atlantic will have access to label
resources under the Warner Music Group
(WMG) banner and receive distribution through
WEA and Warner Music International.

The first release on Canvasback/Atlantic will
be the debut from the London-based rock band

Fanfarlo, whose new album, "Reser-
voir." will be released Oct. 13 in the i
United States.

As part of the joint venture, Atlantic will
house Canvasback founder/ A&R veteran Steve
Ralbovsky's management company Beekeeper
Artists, whose roster includes singer/songwriter
Rachael Yamagata and producer Scott Litl. The
partnership went into effect at the beginning
of September; financial terms weren't disclosed.
Canvasback and Beekeeper Artists are head-
quartered at Atlantic's New York offices.

"Steve Ralbovsky is without question one of
the absolute best in the business." Atlantic chair-
man/CEO Craig Kallman says. "Tlie opportu-
nity to bring Steve into the Atlantic fold was a
dream come true. He's the consummate record
man in every way, shape and form. His track
record speaks for itself."

With more than 25 years of exp)erience work-
ing for labels UUe A&M, Flektra. Ari-jta, Inter-
scope, Columbia and RCA, Ralbovsky is
responsible for signing acts including
Soundgarden. Kings of Leon, My Morning
Jacket and the Strokes. He began his career in
tour and artist management, then later landed
his first A&R role in 1983 at EMI Records. A
year later Ralbovsky moved to Columbia, where
he signed T Bone Burnett, Matthew Sweet and
the Outfield. Other noteworthy signings dur-
ing his various label stints include Nanci Grif-
fith, Ween, Anthrax, the Breeders, David Gray
and Ray LaMontagne.

In 2006. Ralbovsky left an executive A&R
role at RCA to again join Columbia, where he
oversaw Canvasback while also providing A&R
direction for select artists and projects on the
label's roster. "It was a label imprint and a de-
veloping management partnership," Ral-
bovsky says. "We created a model whereby
we'd use independent operations as well as
in-house label services."

The most successful release on Canvasback
under its deal with Columbia was "Once." which
has sold 719.000 copies in the United States,
according to Nielsen SoundScan. Other releases
on the imprint included albums by
Manchester Orchestra. Annuals and
Wild Sweet Orange.

Canvasback's partnership with Co-
lumbia ended in May, according to
Ralbovsky, who adds that senior man-
agement at WMG expressed interest
in the label earlier this year. "It was a
difficult and challenging decision to
make, but for a variety of reasons 1
felt this would be the best for my col-
leagues and myself," he says. "It felt
like a good move to make."

Ralbovsky expects that most label
services {publicity, marketing, pro-
motion, new media, touring) for fu-
ture Canvasback album releases
V}]] be handled by Atlantic.
"Initially the intention is
to keep it more in-house,
because from our point
of view, they've got this
place populated very
well with a lot of great
folks." he says. "So we're
looking forward to tapping
into all the traditional record
company departments — maybe a lit-
tle more than we did in our last relationship
[with Columbia]."

Atlantic will also provide services to artists
signed to Beekeeper Artists, according to Kall-
man. "We'll give all our resources to help
support the management side of [Ralbovsky's]
business and Canvasback."

Ralbovsky says he hopes to expand the man-
agement company's roster in the coming
months. New signings will be chosen "selec-
tively and focused to our taste," he says. "Less
is more, generally, and it has to fit to what we
intuitively feel excited about."

The Canvasback/ Beekeeper staff includes
jack Hedges, who is the marketing director for
the label and oversees touring and finance at
the management company: Dan Chertoff.
who'll be responsible for A&R and Web man-
agement: and loanna Katz. who'll manage ad-
ministrative duties.

Meanwhile. Kallman says he doesn't expect
Atlantic to enter any similar deals in the near
future. "This was a unique opportunity because
of who Steve was," he says. "There are very few
executives of Steve's caliber, so I don't see many
opportunities to repeat this. But obviously wher-
ever there is someone at his level, we'd love to
be doing a deal like this." ••••

* Award-Winning HD Video Production

* Live webcast and mobile streaming

* Viral 3.0 social marketing

I www.RockPit.com

OCTOBER 10, 2009 I www.billboard.biz I 11

BOXSCORE

Concert Grosses

GROSS/

$16,128,950

$13,860,480

$12,859,778

ARTIST(S)

VCfXM), D.ltO

U2, SNOW PATROL

$9,571,672
$5,959,426 I

$4,638,645

$4,554,068

U2, SNOW PATROL

METALLICA

Forum, Cop«nhag«n.

July 20. 22-23. 27-28

ELTON JOHN S BILLY JOEL

$4,340,268

H'^, 70, t^^ l

$4,244,363

t'2l il

$3,814,089

50/S99
$S9SO,'S59 50

$3,679,733

tU8J8/ 19725
$3,489,588

$3,382,171 I
$3,235,729 {
$3,229,512 I

$S0<VM6 77

$3,051,937

(C2.I62.225)
JI05e6/$85,28

$2,433,943

0434iOOOkicrw)
t162 8e/SIOS86

$2,367,964

(16.77ia45 toona) "

$2,224,670

MYLfeNE FARMER

Pare D«t Princei. Paris. S»pt. 7 f9:}^^

BRITNEY SPEARS, JORDIN SPARKS :

S3,3S6

N»w York, Aug. 24-26
Acw Ar«na, Sydney, Swt. 18-tO ?^'^^'*

Live Nation Global Touring

Uv* Nation Global Touring

Live Nation Global Touring

Live Nation Internatlorval

Live Nation International

Concerts West/AEG Live

BEYONC^, FLO RIDA, JESSICA MAUBOY

Mtchael Coppel Pretentt

JONAS BROTHERS, JORDIN SPARKS, HONOR SOCIETY

JONAS BROTHERS. JORDIN SPARKS, HONOR SOCIETY

Rogers Centra. Toronto, Aug. 30 5S.156 Nation

METALLICA, LAMB OF GOD, GOJIRA

Belt Centre. Montreal Sept. 19-20

42,925

EAGLES, PAUL CARRACK

UVnV^WBIWt HfllBVIIf 30.S23

TtM Netheriandt. July 19 soi cHjr

Koengerv Bergen. Norway. Aug. TO ^f|^^,^

Live Nation Intematioruil

Glllett Entertainment Group, Live Nation

Concerts West/AEG Live

Live Nation international

Lhre Nation Irttemational

Ltv» Nation intematfonal

ATREVETE A SONAR

$2,143,596

$1,739,826

$98/$65

$1,712,858

METALLICA

Oslo Speklrum. O^lo, Jiint- 17, 20.260
July 30

United Center. Chicago, Sept. 20

OCESA/CIE-Maalco

Live Nation International

BRUCE SPRINGSTEEN & THE E STREET BAND

Jam Productions

BRITNEY SPEARS, JORDIN SPARKS ;

$1,311,021

$«2 36/$2715

$1,290,639 I

rt\S»090OrMdan)'
i9Z05

$1,165,725 I

$1,162,646

$39,50

JONAS BROTHERS. JORDIN SPARKS, HONOR SOCIETY

Bell Centre. Montreal. Aug. 29

AC/DC, THE ANSWER

ScotiatMnk Place. &ttawa. Aug. n

BRITNEY SPEARS

BRITNEY SPEARS, JORDIN SPARKS ;

Concerts West/AEG Live

Cencart* Wast/AEO Uv*

JONAS BROTHERS, JORDIN SPARKS, HONOR SOCIETY

ATST Center. San Antonio. Aug. 13

17,192

$1,098,940

SQV$9VS49»V '
$39150

$1,093,580

Slt,L:, i^,

$1,087,634

BRITNEY SPEARS, JORDIN SPARKS

REVENTON SUPER ESTRELLA

Live Nation

Conearti WHt/AEG Uve

Gotdenvoice/AEG Live

JONAS BROTHERS, JORDIN SPARKS, HONOR SOCIETY

$1,071,229

((1167.640 QradMn)*
$116 79/5.43 58

$1,036,457

5152.50/159.50/
$3950

$1,036,334

(€742.620)
SS2.34

ScotiJibanh Place. Ottawa, Aug 31 16-55^

BRITNEY SPEARS. GIRLICIOUS

BRITNEY SPEARS, JORDIN SPARKS

TO Garden, Boston, Aug. 29

ietherlarvds. July IVU 26.000 two d«ys

Live Nation

Concerts West/AEG Live

Concert* West/AEG Live

Uve Nation International

'Eyes' On The Prize

Paramore Steps Up After Its No Doubt Supporting Slot

This is how artist development is done: digi-
tal marketing, label promotion and strategic
touring — lots of touring.

Paramore began a headlining tour Sept.
29 at the Fox Theatre in Pomona, Calif. —
following an appearance on "The Tonight
Show With Conan O'Brien** — the first stop
of a mini-tour of "under-plays' that is the
latest carefully planned touring move in a
career that has made the most of its live
opportunities.

The fall North American run consists of
about 18 shows in small to midsize venues,
w -g Nov. 1 at Nashville's sold-out Ryman
Auditorium, not far from the band's home-
town of Franklin. Tenn. The fall tour is 80%-
90% sold out "and has been for weeks."
according to Ken Fermagllch. the band's
agent at the Agency Group.

TAG represents Paramore worldwide, with
Fermaglich and agent David
Galea out of the New York of-
fice and TAG U.K. director
Geoff Meall in London. Mark
Mercado manages the band.

This lour follows a big sum-
mer opening for No Doubt's
amphitheater lour. Paramore's
new album "Brand New Eyes"
came out Sept. 29. "This is a
short little go-round in the States
just to get a look-see with the new record and
the band touring as headliner on this record,**
Fermaglich says.

The supporting slot with No Doubt exposed
the band to new fans, allowed it to showcase
its music to the right demographic and was
priced to allow existing fans to come out en
masse. The No Doubt reunion tour averaged
1 5,000-20.000 per night, fueled by a $10 lawn
promotion put together by promoter Live Na-
tion and No Doubt manager Jim Guerinot.

Fermaglich says the promotion gave
Paramore fans who may not have wanted to
spend $75-$85 on a pavilion seat an opportu-
nity to support the band. "The Paramore con-
sumer is not used to spending $75 to see
Paramore — they're used to paying mid-$20,"
Fermaglich says. "The marketing and promo-
tion of the tour was amazing, the demo was
right, so the takeaway was a perfect setup for
the new album and the next tour."

Basically, the No Doubt slot did what a sup-
porting slot is supposed to do: "I don't know
that we want to do a lot more supporting —
nor do I think we need to at this point — but

in between albums, to get the remaining parts
of the machine going to set up this record, it
was the perfect concept," Fermaglich says.

Paramore will take most of November off.
then begin a U.K./ European run that starts at
the end of November in Helsinki and runs until
Dec. 19. Fermaglich says the Euro shows are
strong, but the United Kingdom is "massive."

"We sold out Wembley Arena in one day;
we'll sell about 14.000 tickets in Manchester.*
he says. "We started with a three-quarter
[arena] setup, now we're going to full capac-
ity in every one of the arenas we play."

The demand in the United Kingdom posi-
tions Paramore as an international headliner.
Paramore will play dates on Australia's Sound-
wave festival beginning the third week in Feb-
ruary, along with some other headlining shows
booked around that tour. It's starting to con-
firm other Pacific Rim territories as well.

For next spring the band is
discussing a headlining tour of
secondary and tertiary college
markets, mostly 4,000- to
6.000-capacity venues. Then
it s back to Europe in June for
festival dates. The rest of the
summer is being discussed.
"We'll work in the summer in
the U.S., but we don't know in
what scenario." Fermaglich
says. "We have to see what happens with the
record to get a better sense of what we're
dealing with."

Paramore's touring is strategic and well-
scripted, with the flexibility to react quickly
to take advantage of opportunities. "It's con-
servative with the intention of trying to sell
out as much as possible, leave no meat on the
bone and trying to set up for the next tour,"
Fermaglich says. "During the No Doubt tour
on an off day in August, we did a walk-on at
the Warped tour. We really want to continue
to have that association with both [Vans
Warped producer] Kevin Lyman and that tour
because it was so instrumental in the devel-
opment of this band."

In short, Paramore seems poised for yet an-
other major breakthrough. "You can feel that
wc have it teed up," Fermaglich says. "We have
an amazing band that is really intelligent about
their decisions and how to do this and under-
stands what's necessary to do this." •

For 24/7 touring news
and analysis, see
billboard.blz/tourlng.

BILLBOARD I OCTOBER 10. 20O9

QUESTIONS

with MARCELLA ARAK

by MARIEL CONCEPCION

Seven years ago, when she first got her start in the male-dominated world of music engineer-
ing, Marcella Araica says It was common for musicians to come to her studio and not real-
ize she'd be the one behind the board. But now, her reputation precedes her. Araica— one of
two female engineers In R&B/hip-hop, along with Alicia Keys' engineer Ann Mincieli— has
worked on songs by Britney Spears ("Gimme More"), Usher ("Love in This Club"), Keri Hil-
son ("Knock You Down"), Nelly Furtado ("Promiscuous") and Madonna ("4 Minutes"), among
many others.

Araica's big break came two months after starting a job as a general assistant at Miami's Hit
Factory studio. Although she had only recently graduated from a production and recording
program In her hometown of Orlando, Fla., she was asked to work a session with singer/
rapper/producer Missy Elliott. From there, Araica. also known as Ms. Lago, built a relationship
with Timbaland and launched her career.

Women aren't usually oncouraged to enter
engineering. How did you get your start?

When I was 20 years old, I was introduced to a
school that offered classes in audio program-
ming, and I loved the program. Four months
in, 1 researched studios I was interested in worlc-
ing in and eventually put in a call to Miami's
Hit Factory. There were no positions then, but
a week before graduation, I called and they told
me there was an opening.

O Most people know broadly what an

engineer does, but can you explain the
specific roles each type of engineer
plays? And which do you enjoy the most?

The engineer is the person that captures the
sound or mixes it down to a balanced level, the
recording engineer records the artists or the
producer, and the mixer takes all of that and
makes sense of it. That's what I enjoy doing
the most — mixing. You get the vocals that are
not exactly recorded right and instrumentation
thai isn't really good, and you have to beef up
and clarify the sound to make it all it could be.

How does it feel to be one of the only

females In the field?

There's only one other female engineer who I
know of. It feels amazing to be doing this,
tliou^ii. As a woman in this business, I want to
be able to open doors for other women that want
to get into this and show them that they can do
anything" they want.

How did you meet Missy Elliott,
Timbaland and hip-hop producer Nate
'Oanja"Hllls?

Two months after being in the program, the
studio manager asked me if I would work a
session with Missy. I was really nervous, but
I knew it was an opportunity 1 couldn't pass
up. To my luck, she ended up loving me and
asked for me to be in her sessions all the lime
moving forward. Through her 1 met Timba-
land; his engineer jimmy Douglas, who is
well-known in the field; and then a year later
I met Danja.

Q How did you wind up going into

business withHills?

We launched our own independent label last
year called New Revolution of Stars. Our first
act is a singer/songwriter out of Florida
named Kevin Cossom. Our mission is to sign
artists with real, genuine talent — acts that
cover all grounds.

1 met Danja about six years ago, and at first
we didn't mesh well. But later I found out we
basically shared the same goals and dreams. So
we began working together and chiseling our
crafts together. With the exception of one album,
I've worked on every record he's done since.

0 You're also branching off Into song-
writing. How's that going for you?

That comes with me being in the studio and
being able to vibe with producers and artists.
For me, it comes from a production side, not a
lyrical aspect. But my goal is to be on the lyri-
cal end of things. So far though, my stuff is very
personal and organic because I'm trying to tell
stories and really don't know how to follow a
format yet. It will happen in the future though;

1 know it will, but I'm not in a rush. •

207 5TH AVENUE

SAN DIEGO, CA 92101

HARDROCKHOTEISD.CO

888-520-4895

STATEMENT OF OWNERSHIP. MANAGEMENT AND CIRCULATION

1. Title of Publication: Billboard

2. Publication No. 0056-1000

3. Date of Filing: Oct. 1. 2009

4. Frequency of Issue: Weekly except for the last week in December

5. No. of Issues Published Annually: 51

6. Annual Subscription Price: $299

7. Complete Mailing Address of Known Office of Publication; Nielsen Business Media. 770
Broadway. New York. N.Y. 10003-9595

Contact: Lana Tauk. 646-6S4-5884

8. Complete Mailing Address of the Headquarters or General Business Offices of the
Publisher: Nielsen Business Media. 770 Broadway. New York. N.Y. 10003-9595

9. Full Names and Complete Mailing Address of Publisher, Editor and Managing Editor;
Publisher: Howard Appelbaunn, 770 Broadway. New York, N.Y. 10003-9595. Editor: William
Werde. 770 Broadway. New York. N.Y. 10003-9595

10. Owner: Nielsen Business Media. 770 Broadway, New York, N.Y. 10003-9595

11. Known bondholders, mortgagees and other security holders owning or holding 1% or
more of total amount of bonds, mortgages or other securities: Nielsen Business Publications
USA. 770 Broadway. New York, N.Y 10003-9595

12. N/A

13. Publication Name: Billboard

14. Issue Date for Circulation Data: July 11, 2009

15. Extent and Nature of Circulation:

Average No.
Copies Each
Issue During
Preceding
12 Months

A. Total No. Copies (net press run)
6. Paid Circulation

1. Mailed Outside-County Paid

No,
Copies of
Single Issue
Published
Nearest to
Filing Date

30.337

Subscriptions stated on PS Form 3541

11.142

11,086

2. Mailed In-County Paid

Subscriptions Stated on PS Form 3541

3. Paid Distribution Outside the Mails Including

Sales Through Dealers and Carriers.

Street Vendors, Counter Sales and Other

Paid Distribution Outside USPS

10.288

7.601

4 Paid Distribution by Other Classes

of Mail Through the USPS

C. Iota! Paid Distribution

21.439

18.701

D Free or Nominal Rate Copies

Included on PS Form 3541

1. Outside-County Copies

256

265

2 In-County Copies

3 Copies Mailed at Other Classes

4. Free Distribution Outside the Mail

1,436

6.278

E. Total Free Distribution

1.692

6,543

F. Total Distribution

23.131

25,244

G. Copies Not Distributed:

6.893

5,093

H, TOTAL

30.024

30,337

1. Percent Paid and/or Requested Circulation

93%

74%

16. Publication of Statement of Ownership is required and will be printed in the
Oct. 3, 2009, issue of this publication.

17. t certify that all information furnished on this form is true and complete.

Barbara Grieninger, Group Financial Director

GLOBAL
NEWS
LINE

gc^t^jj BY ROBERT THOMPSON |

CANADA
UNITED

Indies Link For U.S. Releases

www.billboard.biz/global

>>>MUSETO PLAY
BIG DAY OUT

British alternative rock trio
Muse, pop artist Lily Allen
and Australian act
Powderfinger are booked
to play the 2010 Big Day
Out festival tour of
Australasia. Others
confirmed for the lineup
include British dance acts
Groove Armada and Calvin
Harris, Brit rock band
Kasabian. alt-rock group
the Horrors, rapper DIzzee
Rascal and rising acts
Ladyhawke, Lisa Mitchell
and the Temper Trap. Now
entering its 18th run, Big
Day Out is the largest
outdoor music event of its
kind in Australasia.
Attendance for the six-
date 2009 edition reached
263.054, down slightly
from the all-time peak of
282,692 in 2008. The 2010
event kicks off Jan. 15 at Mt
Smart Stadium in
Auckland, New Zealand.

» RADIOHEAD'S
YORKE RECRUITS
FLEA FOR SHOWS

Radiohead's Thorn Yorke
has formed a live band and
recruited Red Hot Chili
Peppers bassist Flea to the
lineup, with two Los
Angeles concerts
confirmed for Oct. 4-5. The
shows at the 1,970-
capacity Orpheum Theatre
will feature material from
Yorke's 2006 solo set "The
Eraser" (XL) and new
songs, he announced on
the official Radiohead Web
site. The band will also
include Radiohead
producer Nigel Godrich;
drummer Joey Waronker,
who has toured and
recorded with R.E.M.,
among others; and Mauro
Refosco of New York band
Forro in the Dark.

»>HP, UNIVERSAL
PARTNER ON FREE
DOWNLOADS

Consumers buyir>g Hewlett-
Packard notebook PCs in
Asia (excluding Japan) will
receive a scratch card and a
PIN that will enable them to
register on a dedicated Web
site to gain access to
Universal Music Group's
repertoire. The prorrxrtion
offers consumers up to
1.000 free downloads,
which will be valid for one
year, with 120 downloads
allowed to be retained after
that year is up. The
promotional campaign
launches this month.

TORONTO— Several Cana-
dian indie labels have formed
a new label services company.
Rock Steady, which aims to
help global independent artists
crack the American market.

The brainchild of Toronto-
based Last Gang Records
founder Chris Taylor, Rock
Steady is headquartered in Los
Angeles and offers marketing,
PR, sales and radio promotion
services under one roof, al-
though labels need their own
U.S. distribution. The other
partners in the company are
Hamilton. Ontario-based Sonic
Unyon Records and Toronto-
based labels Dine Alone
Records. Paper Bag Records
and Underground Operations.

"Label services is the fu-
ture." says Last Gang VP
Trevor Guy. who helped set up
Rock Steady. "For any one of
the partners, the costs of set-
ting up on their own would be
prohibitive. But partnering al-
lows us to make thai work."

The Ontario Media Develop-

ment Corp. (OMDC)— a pro-
vincial government agency that
supports Ontario's cultural and
artistic businesses — provided
initial funding of S301.000
Canadian ($275,000). The five
labels contributed a total of
$100,000 Canadian ($91,000).
with Last Gang — home to Crys-
tal Castles and Metric — serv-
ing as the primary partner,
although it's not in a control-
ling position.

Rock Steady employs four
staffers including GM Adam
Hobbs. who was previously
artist relations/product man-
ager for the slotMusic project at
flash memory company San-
Disk. It underwent a soft launch
in August and is working cur-
rent releases from the five part-
ners, including Silver Starling's
self-titled debut (Last Gang) and
the Ghost Is Dancing's "Battles
On" (Sonic Unyon).

Previously. Dine Alone —
home to bands including
Alexisonfire and Bedouin
Soundclash — would either

sign bands for Canada only
or license its albums to U.S.
labels, according to founder
Joel Carriere. But now the
label can enter the U.S. mar-
ket in its own right.

"It gives us a much
stronger presence in Amer-
ica and really boosts our
prospects," he says.

Hobbs says that in addition
to traditional marketing and
promotion, the company is
working on a number of inno-
vative deals, including one
with a major U.S. hotel chain
that would feature Last Gang
acts in in-room promotions.

Rock Steady also hopes to
sign up labels from outside
North America. The Euro-
pean indie PIAS Recordings
will work select releases
through Rock Steady, includ-
ing French electronica artist
Vitalic's "Flashmob" album.

Vitalic is "a great example of
an act we've released in Europe
who has great buzz" but needs
help to make an impact in
America, says PIAS Entertain-
ment Group's U.S. representa-
tive Francois Moret "The small,
flexible dynamic at Rock Steady
is really appealing to us."

PIAS previously used label
services company World's
Fair, which shuttered in Au-
gust, for its U.S. releases —
and not everyone is sure Rock
Steady will succeed where
World's Fair failed. Grant Dex-
ter, chief executive of Canada's
MapleCore music group,
which operates MapleMusic
Recordings, says he consid-
ered partnering on the proj-
ect before backing away.

"!t is a great idea," he says,
"but I also feel it is basically
unsustainable without more
government funding,' citing

the high cost of covering the
U.S. market.

Taylor says Rock Steady can
apply for more OM DC money
if necessary, but he's confident
it won't have to.

"We've had people ap*
proaching us before we had
computers and desks," he
says. "I don't think generating
the business we want is going
to be the issue."

And Hobbs says lower-cost
services — rates start at $1 ,000
per month for a single serv-
ice— will give Rock Steady
wide appeal.

"We're super-sensitive to
the times and the fact labels
and artists aren't spending
money like they used to," he
says. "But we have a suite of
services that can be taken ad-
vantage of — some of which
they won't even know were
out there." ••••

BY TOM FERGUSON |

A KIND OF MAGIC

Merlin Targets New Digital Deals

LON DON — Merlin insists that it can still cast its spell
over the digital music market, despite a slow start for
the independent digital rights licensing operation.

Unveiled at MIDEM in |anuary 2007, the indie
label organization anticipated striking multiple deals
with digital music services as a virtual "fifth major."
But as of the fourth quarter, the digital rights licens-
ing operation has inked only four agreements: with
Sweden-based streaming service Spotify, U.S. music
subscription service iMesh, Irish music video
Web site Muzu.tv and Catch Media, whose
Play Anywhere service allows users to
store their music collection onHne. Mer-
lin now has 6,000 label members from
25 countries and claims a catalog of more
than 1.5 million tracks and videos.

Still, CEO Charles Caldas insists Meriin
remains "on track," promising a batch of new deals
before year's end.

"We're in negotiations with Virgin Media, we con-
tinue talking to MySpace Music," he says. "There
are five or six things we're working on."

Merlin has been at loggerheads with MySpace Music
over the majors' equity stakes in the service since its
September 2008 launch (Billboard, Oct. 4, 2008).

Caldas declines to reveal Merlin's revenue to
date, saying it "includes a lot of payments from

14 I BILLBOARD I OCTOBER 10, 2009

deals we can't discuss
publicly." He describes
much of Merlin's work
as "the 'dark side,' chas-
ing down infringing
services — we have ben-
efits [from settlements) flowing through to our
members on that level."

Although Caldas declines to confirm it, Merlin
member Martin Goldschmidt, managing director of
the U.K. indie Cooking Vinyl, says the organization
recently settled a long-running dispute with the U.K.
Internet radio/streaming service Last.fm (Billboard
.biz, |uly 10, 2008).

Analyst Mark Mulligan of Forrester Re-
search believes Merlin's lack of
deals reflects the global eco-
nomic situation during the
past 12-18 months.

"With the credit markets
so fragile," Mulligan says
"it's much more difHcult to raise
tlie capital that new services need to
get to market."
Caldas dismisses talk of underachievement — "No-
body should underestimate the scale and complex-
ity of what we've built," he says — but even some
Merlin members admit progress has been slow.

'Merlin has underperformed to date," Gold-
schmidt says. "It was much, much harder to set up
than people thought it would be."

Goldschmidt says Cooking Vinyl and its sister dis-
tributor Essential have yet to see money from Mer-

lin but insists it's making a difference. "Without
Merlin," he says, "indies have a simple choice: l:i-
ther take a crap deal or don't participate."

Merlin struck its first licensing deal in Octohri
2008 with Spotify, where a spokesman says Mrrlin
members "account for over 10% of usage" across the
six European countries in which it operates.

Caldas says that number "is a tangible, quantifi-
able testament to the value of what we represenL"

London-based Steve Purdham. CEO of the U.K.!
streaming service We7, also says that Merlin is
effective.

"For people like Spotify," he says, "it's been
very easy to come along and go to a single point
of contact."

'^^•^w We7 doesn't have a deal with Merlin, hav
^ '"g begun operations in mid-2007. When
Merlin fully launched in April 2008, Pur-
dham says We7 "already had the vast ma-
jority of what was required. Had We7 been
starting now, would Merlin have been a
help to us? Absolutely, yes."
Caldas is confident about future progress.
"Consumers are not stupid," he says, "and will grav-
itate to where the choice is best — a service without
the key repertoire we represent would not be a par-
ticularly attractive one."

Going forward. Caldas says Merlin is focused on
identifying "next-generation music services and
hopefully the next Spotify." However, he adds: "It's
disappointing that there are still services who are
backward-looking or just misinformed as to how
they value independent repertoire."

Reporting by Lars
Brandle, Christie Leo
and Andre Paine.

BY ED CHRISTMAN

rHI= Rll I ROARIl

WEA
I PRESIDENT/
CEO

Mike

WEA's chief on executing
the company's physical and
digital sales strategies.

Though WEA president/CEO Mike Jbara is the newest head of a major-label distributor, he
has been running the company's day-to-day operations since 2005. Jbara worked under
and is succeeding John Esposlto, who now heads Warner Music Nashville, as WEA execu-
tive VP/COO for the past four years. As such, he is well-versed in the company's capabilities
as welt as the challenges that the ever-changing business environment present to distrtbu-
tk>n companies charged with handling physical and digital product flow.

After joining WEA in 1996 as VP of production operations, Jbara added studio services
to his duties in 2001. In that capacity, Jbara was instrumental in the creation of WE As online
music and In-house studio operations, which perform audio preparation, digital mastering
and content quality control for the digital supply chain.

In 2003, he began overseeing WEA's entire U.S. production and global digital opera-
tions, first as VP, and then senior VP of production and media operations, until becoming
executive VP/COO. Before joining WEA, Jbara, who holds a bachelor's degree in engi-
neering from the University of Michigan, started the New York-based Media and Entertain-
ment Practice at Andersen Consulting and served as a senior manager from 1987 to 1995.
In that role, Jbara launched a number of client projects across consumer and industrial
product industries.

Will there be any changes
at WEA?

One of the benefits of having been
with [John Esposito] for a bit, and
frankly being one of the people he
attracted to this place, is to make
sure that all of the good stuff he laid
down remains, in terms of really
being a creative, positive, exciting
place for the employees of the
group. WEA has to continue to be
a company that evolves as the re-
quirements for our services change
from our labels. The profile of the
WEA employee continues to evolve
— a technology background is a
more common attribute of the em-
ployees walking around the halls —
and I feel very comfortable of the
new mix of talent we have here.

What is WEA structured tike
nowadays?

We continue to be responsible for
account management in physical
and in our digital business, and we
are responsible for the global sup-
ply chain, which is the asset man-
agement and fulfillment piece, for
the music group now as well. In the
lasl 18 months, we also have taken
on the responsibility for the opera-
tions and sales part of the apparel
and merch business led by Matt
Young; also what we call the inter-

active marketing group, which in-
cludes everything from some
shared Web services like search op-
timization and analytics; all the way
to our commerce op)erations and re-
tail support operation; and our di-
rect-to-consumer business.

We are taking what has been the
traditional role of WEA being a
shared service for our labels and ap-
plied that thinking to the new busi-
nesses that we are in.

How is WEA meeting the chal-
lenges of digital distribution
while overseeing the decline
of physical?

We have always been very attentive
to our physical business. But since
Warner Music Group (WMG) is per-
ceived as so digital-centric, there was
a negative perception, perhaps, with
our physical. We believe that learn-
ing from our digital business makes
us more creative and jjerhaps even
more objective about where we want
our physical business to go. Those
two businesses inside of our build-
ing are so well-integrated that we
don't draw a dishnction, and we feel

like our physical business is better
as a result of us taking an early po-
sition in digital.

WEA is one of the most active
and vocal members of the new for-

matscoTiiniittci-
of NARM. which

WEA co-chairs with Amazon,
where the talk as a group is totally
media-agnostic. We are not just
bullish but aggressively in search
of great physical offerings as well
as digital offerings.

Did Michael Jackson's sales in
the wake of his death change
the perception of physical within
the industry?

Inside of our building, not really,
but if it [gets] both analysts and con-
sumers to take another look at phys-
ical retail as a place to go for music,
we love that.

With music sales in decline, al-
bums have a shorter life span
than ever. How do you try to
counter that?

Our thoughts about developing
artists starts earlier than it ever has
before and it certainly doesn't end
from our perspective. An album is
a milestone; it is not the beginning
or the end of any particular effort
that is going on inside the music

group right now.

There is a lot more planning be-
cause there are a lot more channels.
We want to be thoughtful about our
artists' time commitment and

about the best places to put their
assets — their music and video —
with the number of different
choices in front of us. We have a lot
of busy beavers inside of our labels;
product managers who are evolv-
ing rapidly and becoming more like
brand managers. When we find
ourselves stepping into areas that
are important to our artists but are
not necessarily core skills of the
legacy music people, we go and hire
experts and we partner them with
the creative talent at the labels to
make sure that we are as effective
as we can be.

How hard Is it to break develop-
ing artists now as opposed to
three years ago?
We are planning for a long-term re-
lationship with that artist. It could
be four or five years before we see
any fruit from an artist investment.
And that's the long-term focus that
[WMG CEO Edgar Bronfman Jr.
and chairman/CEO of recorded
music Lyor Cohen) have brought to

this organization. They certainly

have developed a culture that en-
courages employees to stay focused
on the goal of developing artists for
lasting careers.

That's what you bring to the
table, but my question was re-
ferring to traditional sales driv-
ers that have lost their luster and
how WEA offsets that.
We are probably better than we have
been in some time in supporting
artists that are not on the radio. We
are very good at finding the market,
the consumer, the fan and the chan-
nel for those artists. So we have be-
come much better at being targeted
as a distributor; being incredibly nim-
ble with physical inventory as well as
being able to respond on the physi-
cal side with marketing and messag-
ing and talking to that fan base in a
way that we have not in the past.

On the other side of the coin, as
digital track sales grow, catalog
album sales are growing to a larger
overall percentage of U.S. album
sales, versus current albums. So
far this year, catalog ts 46.2% of
album sales, versus 41.7% for 2008
and 38.8% for 2007. Beside the
anomaly of Jackson's sales, is the
trend picking up speed?
In the catalog area, there have been
some effective programs around
pricing and promotion this past
year. WEA's data has historically
shown that pricing alone, without
positioning, does not move the nee-
dle. And. promotion/positioning
plus price has always been effective
for artist discovery whether it be
with a developing artist or a classic
album that might be yet unknown
to a new fan.

While we have been outspoken
about our desire to be very analyti-
cal about the true price elasticity of
music, we always encourage our re-
tail partners to share their individ-
ual results if it can provide new
insight into their customers' behav-
ior. We want everyone to win in this
space. We believe our partners and
WMG's artists win if we continue to
connect convenience, content, value
and price with music fans. ••••

^ A Learning from our digital business makes us

more creative and even more objective about ^mI
where we want our physical business to go. 0

OCTOBER 10, 2009 I www.binb04nl.bU I 15

CREATV

FANS ARE STILL getting to
know Sasha Fierce, Beyonce's
musical alter ego. fcrmally
intrcduced en the singer's 2DDS
album, "I Am . . . Sasha Fierce." f
Mast prabably don't know,
however, that the
singer/songwriter has been
friends with Fierce since
elementary school, f Manager
and father Mathew Knowles will
never forget the moment he first
met Fierce. A V-year-old Beyonc6
was entered in a talent search
open to Houston elementary and
middle school students. The song
she sang? John Lennon's
"Imagine." "Beyonce was the
youngest." Knowles says. "She
got up onstage and when she was
finished, she received a standing
ovation. Her mother [Tina
Knowles] and I looked at each
other and said, 'That can't be our
Beyonce. She's shy and quiet.' "
^Twenty-two years later, that
simmering brew of shy, quiet
talent peppered with fierce
determination and ambition is at
a boiling point. The former
frontwoman of Destiny's Child
has come into her own, enjoying

Beyonce Honored
As Billboard's

BY GAIL MITCHELL

one of the best years ofa still-
evolving solo career. fT On Oct. 2.
Beyonc^ will add one more honor
to her array of accolades wheni
she accepts Billboard's Woman:
of the Year Award. Thai
presentation will be made ati
Billboard's Women in Music
brunch in New York, recognizing
the year's top 3D women in the]
music business (see page 53). S"!

"Beyonce is a multiplatinum i
artist and a multitalented woman
who clearly embodies the
qualities of excellence and
achievement that the Billboard
Woman of the Year Award was i
created to honor," Billboard ;
editorial director Bill Werde
says. "She has not only
influenced pop culture with her
hit songs and her signature
dance moves, but has inspired
women everywhere with her
unique style, business savvy and
dedication to charitable causes."

16 ! BILLBOARD OCTOBER 10, 2009

PHOTOGRAPH BY PETER LINDBERG

In the past 1 2 months alone, Bcyoncc has accomplished sev-
eral career milestones. She not only sang "American the Beau-
tiful" during the opening ceremony of the 2009 presidential
inauguration, she also sang the Etta James hit "At Last" as Pres-
ident Barack Obama and first lady Michelle Obama danced
their first dance at the Neighborhood Inaugural Bait.

In March Beyonce launched her worldwide 1 Am . . . tour,
which has grossed some $53.5 million to dale, according to
Billboard Boxscore. She's also the star and executive producer
of the 2009 film "Obsessed," which opened at No. 1 and has
grossed more than $68.3 million in North America, according
to Nielsen EDI.

"I Am . . . Sasha Fierce" debuted at No. 1 on the Billboard
200 when it was released by Columbia Records in November.
The album, the singer's third solo set, has spun off a string of
Billboard Hot 100 hits: "If 1 Were a Boy." "Single Ladies (Put a
Ring on It)." "Halo," "Ego" and "Sweet Dreams."

After accepting MTV's video of the year award for her
iconic "Single Ladies" video a few weeks ago. Beyonce gained
a new level of fan and industry respect at the Sept. 13 event
when she unselfishly brought Taylor Swift back onstage to
complete the acceptance speech cut ofTby Kanye West's sur-
prise interruption.

Beyonce also continued her commitment this year to ongo-
ing philanthropic projects and entrepreneurial activities from
fashion to fragrances.

"She's incredibly creative," says Rob Stringer, chairman of
Sony Music Label Group. "She also works phenomenally hard
to create the opportunities she has. People tend to think there's

'□ther artists pretend
they have cantral
over what they da.
Beyonce really does.

She's growing as
an artist mare rapidly
than anyone thought.'

-ROB STRINGER,
SONY MUSIC LABEL GROUP

always an image-maker behind female pop stars. That's not the
case with Beyonc^. There's no element of diva or difficulty about
hen she takes control of the process and makes it happen. She's
grown beautifully in that role."

Beyonce's creative skills and hard work date back to that
pivotal talent show. Born Sept. 4, 1981. in Houston, the
young artist-in-training grew up listening to a variety of mu-
sical influences, including Tina Turner, Aretha Franklin.
Michael Jackson, Luther Vandross and Rachellc Ferrell. She
and friend LaTavia Roberson were only 9 years old when the
group that led to Destiny's Child was initially established
in 1 990 with Mathew Knowles as manager. The duo expanded
into a trio after Kelendria "Kelly" Rowland joined in 1992.
A year after that, the group became a quartet with the addi-
tion of LeToya Luckett.

Throughout the course of several iki tne chatif»es^ — Girls Time,
the Dolls and Cliche — the group rehearsed and played ever>
thing from luncheons and fashion shows to church gigs aiid
Tina Knowles' hair salon. Those experiences not only horu d
Beyonce's talent and work ethic, they also planted the seeds for
the singer's future business acumen.

°1 think we certainly played a part," Mathew Knowles says
"Tina had her own salon and there were many nights when sh<
came home Tuesday through Saturday at 7 or 8. And I wns w ork-
ing hard at Xerox. I think all of the girls saw that drive. They
saw our successes and also our failures."

The fledgling Destiny's Child experienced its share of dis-
appointments before grabbing the m)ld ring, nu- act competed
on "Star Search" and lost. However, the exposure led to .i
record/production deal through Elektra Records.

The relationship with Elektra ended after two years, wl thou t
a record. But things began clicking after Knowles approaclu'd
an earlier suitor. Columbia Records. Destiny's Child signed
with the label in 1997.

Destiny's Child scored its first No. 1 when "No, No, No" —
the first single from the act's 1998 self-titled debut :ilburn —
reached the pinnacle of Billboard's Hot R&B/Hip-Hop
Songs chart.

Two follow-up singles didn't fare as well. But the stage was
set for a platinum-certified fliture when Destiny's Child U-aim-d
with producer Kevin "She'kspere" Briggs. The result was the
group's first top five pop hit and second R&B chart-topi>er in,
1999:"Bills, Bills. Bills."

The act* s second album, "The Writing's on the Wall." yielded

18 I BILLBOARD 1 OCTOBER 10, 2009

Wketker you're Beyonce or Sasha, you continue to give us your all.

CONGRATULATIONS on a well-deserved honor as

WOMAN OF THE YEAR!

I ■ '

From your Team at Beyond Productions i i

BEYONCe with JAY-
TV Video Music Awards;
DESTINY'S CHILD in 2000.

two tnoR' hits ("Say My Nat»io"ancl "|iinipin'. )iiinpiri' "). open-
ing ihc door 1o a storied career.

"There are moments that just stick out from working with
the group in tlie beginning." says Lisa Ellis, former president
of Sony Urban Music. "Beyonce was always so brave and pre-
pared to be the star she is today, even at 16 and 18 years old.
She's always pushing the envelope and very competitive but
with humility and kindness; the epitome ofa professional and
human being."

The year after "Wall" brought a lineup change as well as a
turning point in Beyonce's career. Destiny's Child now was a
trio, with llie departure of original members Roberson and
Lucketl and the addition of Michelle Williams. And the group
exploded in popularity thanks to the 20()0 release ol its next sin-
gle. "Independent Women Part 1."

Tlie song, used as tlie theme in the film "Charlie's Angels."
spent 1 1 weeks at No. I on the I lot 100 and also marked Bey-
once's emergence as a songwriter. She added production cred-
its to her growing resume with the group's third album,
"Survivor." released in 2(K)I.

In 2004. the act released "Destiny Tulfilled" and. a year
later, the trio disbanded, closing a significant chapter in girl-
group history. To dale. Destiny's Child has sold 16.9 million
albums in the United States, according to Nielsen Sound-
Scan. (Worldwide, according to Sony. Destiny's Child and Be-
yonce cimiulatively have sold 100 million luiils. including
albums, physical and digital singles, and music DVDs).

During the three-year hiatus between the "Survivor" and
"Fulfilled" albums, each of the members of Destiny's Child
recorded solo albums.

Beyonce's first solo set. "Dangerously in Love," arrived in
2005. Its popularity was powered by her stiletto-heeled gyra-
tions in the video for the lead single. "Crazy in Love."

That first solo album extolled the joys of love, but the singer/
songwriter's second solo release, the 2006 set "B'Day." cen-
tered on the theme of female empowerment. With her single
"Irreplaceable." Beyonce introduced into the popular lexicon
the memorable phrase. "To the left, to the left." which trans-
lates to "I can find someone else. I don't have to slay iti this
dead-end relationship."

"1 have to commend Beyonce's vision for doing (hat song
and including it on the record." says Mikkel S. Eriksen. one-
half of the production duo Stargate. "It was a big risk be-
cause the song sounded very different from what was going
on at the time and with the other material on the album. I

don't think any of us knew it would be one of the biggest
records of her career."

Producer Rodney |erkins. who worked with Destiny's Child
on the hit "Say My Name," witnessed Beyonce's ability to
multitask without dropping the ball while recording the
"B'Day" album.

The singer had four studio rooms going simultaneously
during a recording session in New York: |erkins was in one
while producers Sean Garrett and Swizz Beal7 were housed
in two other rooms. Beyonce was in a fourth room cutting back-
ground vocals.

As jerkins recalls, among the songs she was working on were
"Dcja Vu." "Ring the Alarm" and "Upgrade You."

"M freaked me out.' he recalls. "It wasn't the fact that she
had four rooms going but that she was able to pull oflf the per-
sonality and emotion on each song, going from a ballad to a
ghetto hood beat. Songs are like mini-movies to me. and no
one can act in four movies at a time. But if you listen lo those
songs, you can hear the tonality and what she had to do to at-
tack it. Not too many people can wake up and do that — and do

that consistently."

"What people may not know about her is that besides being
such an accomplished performer, she's a great producer." adds
Big |on Piatt, president of West Coast creative for EMI Music
Publishing. "She also has some of the best A&R instincts I've
ever come across."

Beyonce's creative instincts and multitasking skills provide
the underpinnings for her other pursuits, including acting,
business ventures and philanthropy.

She made her acting debut in the 2001 made-for-TV produc-
tion "Carmen: A l lip Hopera" for MTV. That was followed in
2002 by her first feature film, co-starring as Foxxy Cleopatra
opposite Mike Myers in "Austin Powers in Goldmember." Sinci-
then she's appeared in five more feature films: "The Fighting
Temptations" in 2003: "The Pink Panther" in 2006. with Steve
Martin: the hit musical "Dreamgirls" in 2006. with Jennifer
Hudson, lamie Foxx and Eddie Murphy; "Cadillac Records" in
2008. in the role of Etta |atnes:and her most recent. "Obsessed,"
rclca.sed earlier this year.

On tlie latter two films, Beyonce also served as executive pro

20 I BILLBOARD OCTOBER 10. 2009

Copyiighted materirj

Evciyonc knows you as a Supci siar. Wc kiiow ) oii as a wise, kind & awesome

(laiif>hlcr, sister, aunt, & IriciKk

CONGRATULATIONS!

YOU I) E S E II V E

We love you.
Dad, Mom, Kelly, Solan^e & Jiielz

I T !

Cni

immmmmmmmDamDa WOMAN dfc

tDacaracumiiiraDaDaDara the year c

ducer through her own company, Parkwood Films, named after the street
she grew up on in Houston.

Beyonc^ previously displayed her business skills in 2004 when she
and her mother Tina established the production company Beyond Pro-
ductions. A year later, the pair launched their first fashion collection,
named House of Dereon in honor of the singer's maternal grandmother,
Agnez Dereon. Since then, two other collections have been spun off:
the junior lifestyle line called Dereon and the young girl's division
Dereon Girls.

Beyonce's endorsement opportunities include alliances with Pepsi and
L'Oreal along with Tommy Hilfiger's True Star fragrance and Emporio Ar-
manf s Diamonds. Those fragrance forays set the stage for the development
of Beyonce's own Coty fragrance, which will be unveiled in early 2010.

Beyond the music, acting and business ventures, philanthropy is one
of Beyonce's passions.

The Survivor Foundation — formed by Beyonc^ and Kelly Rowland to-
gether with the Knowles family — has donated more than $2.5 million
for transitional housing for Hurricane Katrina victims and storm evac-
uees in the Houston area. Among the foundation's additional initiatives
is the Knowles-Rowland Center for Youth in Houston.

On her current 1 Am . . . world tour. Beyonc^ joined forces with the
General Mills brand Hamburger Helper and the charity Feeding Amer-
ica to help deliver more than 3.5 million meals to local food banks through
fan donations. The singer also devotes time to the Make a Wish Founda-
tion, meeting and talking with children during her tour stops. She under-
scores her songs' female empowerment themes through her work with
GEMS (Girls Educational and Mentoring Services).

Yet in all of her activities, Beyonc^ is always in control, former Des-
tiny's Child member Williams says.

"An important lesson 1 learned from her is how to be firm and make
sure your yes means yes and your no means no," Williams says. "If she

'Beynnc^ was always so
brave and prepared to be
the star she is today, even
at IB and IS years aid.'

-USA ELLIS, FORMER PRESIDENT OF
SONY URBAN MUSIC

doesn't want to do it, you can't manipulate the situation with her. It's about
making decisions that are right for you, that are right business-wise, that
won't take you where you (don't) want to go or hurt you five or 10 years
from now."

Sony's Stringer adds, "Other artists pretend they have control over what
they do. Beyonce really does. She's growing as an artist more rapidly than
anyone thought."

Already a veteran at the age of 28, Beyonc^ tied the record for the most

Grammys won in a single year by a female artist when "Dangerously in
Love" earned her five statuettes in 2004, including best contemporary
R&B album and best R&B song for "Crazy in Love" featuring |ay-Z. Her
"B'Day" also garnered a best contemporary R&B Grammy in 2007. That
same year. Beyonce became the first woman in the history of the Ameri-
can Music Awards to receive its International Artist Award.

Her 2007 concert DVD "The Beyonce Experience Live," featuring her
all-female band, has been certified three-times platinum by the RIAA.

This year, Forbes listed Beyonce at No. 4 on its list of the 100 Most Pow-
erful and Influential Celebrities, No. 3 on its tally of the top-grossing mu-
sicians and No. 1 on the countdown of top Best-Paid Celebrities Under
30, estimating her earnings in 2008-09 at $87 million.

Soon back on the road for the next leg of her worldwide tour, Beyonce
shows no signs of slowing down. And that will keep fans anticipating what
the next creative moves will be for Beyonc^/Sasha Fierce.

And in the view of her father, what does the future hold for Beyonc^.'

"I can't predict," Knowles says. "But I hope she will be enjoying the
fruits of her labor with a continuing mix of music, film, corporate proj-
ects; helping others as she does now; and moving into other endeavors
like maybe painting. Most people don't know this, but she's a really good
painter. Family is also important to her. 1 see her having a long-lasting ca-
reer but hopefully not working as hard as she is now."

Whatever Beyonce does next, the one constant will be her passion.

"That's why she's able to do all of this." Knowles adds. "It's the talent,
drive, determination and passion. You can't successfully develop or fulfill
any strategies unless you have that." >•••

22 I BILLBOARD I OCTOBER 10. 2009

Future son
producer, i

proGucer, entrepreneur,
and global superstar *

Inspired by:

Beyonce Knowles

Billboard's Woman of the Year 2009

Beyonc6 Knowles stands as an Inspiration to us all, for her work as a songwrite
a performer, and for her tireless efforts on behalf of good causes around the
world. Everybody at EMI Music Publishing is proud to be associated wi
Beyonce, and looks forward to working with her for many years to co

MUSIC PUBLISfflN

immmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmrammmmm"

THE BILLBOARD

QBA

Beyonce Discusses Her Focused Performances,
Frenzied Pace And 'Fierce' Alter Ego BY GAIL MITCHELL

Singer. Songwriter. Philanthropist. Entrepreneur. Actress. Producer, Beyonce may be the
hardest-working woman in showbiz, f Take the four days leading up to MTV's recent Video
Music Awards, f Beyonce wraps a run-through of her Radio City Music Hall performance
at midnight Thursday evening. Friday morning at 10 a.m., it's deja vu as she returns to
rehearsal mode. A dressing room break is anything but: chats with MTV personnel
about show logistics segue into an editing session for her next project — a DVD culled
from a summer stand at the Wynn Las Vegas. Later that evening, Beyonce makes
a surprise appearance at husband Jay-Z's Sept. 1 1 Madison Square Garden show.
Then right after the VMAs, Beyonce and her alter ego Sasha Fierce catch a
flight to Australia to kick off the next leg of their I Am . . . world tour, f As
she ticks off her jam-packed schedule, an unfrazzled Beyonce dismisses her
multitasking with a laugh: "It's just one of those grind weeks. It will be less
hectic when I'm in Australia." A world tour is less hectic.^ As you exhale and
ponder that irony, it becomes clear that this is someone who thrives on hard
work and fierce determination. Before sUpping back into her signature stilettos,
Billboard's 2009 Woman of the Year shares how she balances work and relaxation,
feeds her philanthropic passions and envisions her future.

The average person can't keep up your pace. How
do you it?

I'm an all-or-nothing type of woman. Either I'm doing
absolutely nothing and relaxing — reading a book, sitting
by the ocean and not answering any questions — or else
I'm hands-on and giving 100%, working really hard.

I was just on vacation for three weeks after touring for
a couple of months. I have to schedule time to rest, re-
juvenate and get inspired to work again. Now I'm defi-
nitely rested and thank God I had the rest — that's the
only way 1 would be able to get through a week like this.
After three weeks without giving any answers or ap-
provals and no performing, I came back like, "Yes! I'm
ready to work!" [laughs]

How do you flip the switch from B«yonc4 to Sasha
Fierce on tour?

It's a lot easier than it used to be since I've put so many
hours into performing; I can make the transition from
Beyonce to Sasha Fierce really fast. I don't have any crazy
rituals beforehand. I get in maybe two-and-a-half to three
hours before each show. I do my makeup on tour myself
and get my hair done. Then we all come together, say a
prayer and do a little stretch. I also do meet -and- greets
during which I meet a lot of my fans. I usually meet chil-
dren from the Make a Wish Foundation. I've basically
given them an open invitation whenever anyone wants
to come. That's always a highlight of the day for me.

On my days offfrom the tour. I do a lot of sightseeing.
I love to visit churches and museums all over the world.
The architecture in America is amazing but in Europe,
there's so much history. I also started riding a bike on
my days off with others like my assistant and stylist. It's
amazing how I'm able to ride around on a bike. People
kind of see it's me but since I'm on a bike, they think,
"No, it's not her." And by the time they realize it's me.
I m already gone. It's great to do something normal every
day. It keeps me grounded.

What do you do to maintain your tour stamina? I
heard a rumor that you run on a treadmill in heels
and sing.

[Laughs heartily] No. I don't run on a treadmill in heels.
That's a bit extreme. But I do practice my choreography

in heels. And I have a rule that when 1 have my heels on.
everyone has to have their heels on too. Sometimes the
dancers are like, "Oh, God. we hope Beyonce comes in
late," because I '11 go all day. And in the end, I '11 have blis-
ters and my toes will have bruises. It's really hard some-
times. I still do all the boring things that everyone else
does in regular workouts like squats and the treadmill.
But I mainly get in shape from doing the choreography
during those long 12-hour rehearsals for two months be*
fore a tour.

Were you surprised by the immense popularity of
the "Single Ladies (Put a Ring on It)" video?

Out of all my videos, it was the least expensive and took
the least amount of time. And it ended up being the most
iconic. I absolutely didn't expect that — I don't think any-
one did. But I knew exactly what I wanted to do: Keep it
simple. I've done so many things in videos with differ-
ent hair and wardrobe changes, different sets and lights.
I just wanted to keep this one really minimal. And once
we got on the set, it was like. "Wait a minute. This is
something special."

I 'd seen this 1 969 video [ featuring Gwen Verdon). this
one take of amazing Bob Fosse choreography set against
a white background. And I thought. "Wow, despite all
the technology we have now. wouldn't it be great to just
strip it all down — without a bunch of different camera
shots and cuts, without any hair and wardrobe changes —
and make it all about the performance?" We had exactly
12 hours to film that video. We did it after shooting "If I
Were a Boy," so I used the same director and same crew,
renting out a studio in New Jersey. From the black leo-
tards to incorporating some of Fosse's 1969 choreogra-
phy into our modem choreography, it was just a conscious
effort at keeping everything simple.

Outside of music, you're committed to several char-
itable causes. What attracted you to these partic-
ular organizations?

I'm like everyone else. There are certain things I'm pas-
sionate about that are close to my heart. I'm so inspired
by the children in Make a Wish. It gives my life a way
bigger purpose when I know I can bring someone joy,
especially someone in a hospital whose childhood is ba-

24 I BILLBOARD | OCTOBER 10, 2009

Cni

IDEO

rOMAN OF THE YEAR.

iUli'ill^liijMlll

ONGRATULATIONS BEYONCi FOR AN
MAZING NIGHT AT THE MTV VIDEO MUSIC
WARDS. YOU WERE STELLAR THAT NIGHT
ND FIERCE ALL YEAR.

Cni

sically sacrificed. And their families are sacrificing too.
After being in hospitals, dealing with needles, medicines
and all the physical and mental pain these kids and fam-
ilies go through ... for me to know that I can take them
away from that is very important.

Ever since I was 9 years old, I've been working with
my pastor to help the hungry and homeless. So on every
tour, I've done something to help fight hunger. And this
time we were able to provide 3.5 million meals — that's
such a huge accomplishment. I'm grateful to work with
General Mills and Hamburger Helper and be a part of
something on such a large scale as Feeding America. I 'm
just so surprised at how many young people came to the
concerts with canned goods and were concerned about
this cause. They helped make this happen. It wasn't me.

Our family charity, the Survivor Foundation, is still
growing. Then there's GEMS [Girls Educational and
Mentoring Services]. I saw something about it on televi-
sion and wanted to help. It's real important for people
not to judge. That's why I sit down and talk to these ladies
about what inspires me to be strong, and they inspire
me as well. To talk and cry with these ladies, to hug these
ladies and invite them to the shows to hear songs about
empowermg women to set their own standards in rela-
tionships and build self-esteem. Those are things I can
share with these young women. These are all things that
have something to do with my purpose in life.

And you're just as busy on the entrepreneurial side,
dating back to your association with L'Oreal.

I have worked with L'Oreal since i was 18 and it con-
tinues to be a great relationship. And with the cloth-
ing line that 1 started with my mother fTina Knowles],
I'm still making sure the brand is true to what I like
and what I think my fans will like. Making it afford-
able for them was very important. At my concerts, we've
offered seats for $10 so that people who can't afford it
can attend.

I don't realize all that I do until I do interviews like
this. And then I'm like, "Oh, my God. how is this possi-
ble?" But I usually break things up and focus on one
thing at a time. It is a lot and thank God I love it, because
I don't know how else 1 would be able to do it. You just
make it happen.

Something else that's about to happen is your new
Coty fragrance. Can you give us a sneak preview?
I've been partners with and have endorsed different fra-
grances. But this is my first time developing my own fra-
grance. I 've spent over a year having meetings, working

28 I BILLBOARD I OCTOBER 10. 2009

with the perfumeries. It's been really interesting. I'd
done a Uttle of that in the past, approving a couple of
things here and there. But I've been a part of this from
ground zero. We've gone back and forth and back and
forth over and over again to get the perfect fragrance.
Everything I love, that's what this fragrance is. Fragrance
makes me feel sexy, so I want my fragrance to be sexy
and seductive.

My favorite color is gold and that's also being incor-
porated into the project. I grew up playing with my
mother's perfumes and love antique bottles, so I
wanted my fragrance to have this antique feeling. The
bottle looks like a piece of art. I can't reveal the name
yet. but it comes out early next year. I've already shot
the commercial.

Have you lined up your next acting gig yet?

I did two movies last year, which was hard because I had
the album and a tour. I'm on tour right now until March
and 1 '11 be going back and forth for some of the award
shows. So probably next year after the tour something
may happen. I've gotten a lot of scripts and out of those
there are 10 that are very good. So I have to pick the one
I really love.

All of the work I've put into my films has paid off be-
cause the type of scripts I'm getting now has completely
changed. I've always wanted to do something darker and
more dramatic because I'm much better at drama than
anything else. I don't think anyone knew that until I
played Etta james; people could see my range. And then
I did the other movie, "Obsessed." It was so much fun,
especially the fight scenes. I fell in love with doing those
stunts. That was my first time ever doing anything with
action in it. Eventually, I would love to do something with
a little more action in it.

I "m not in a rush because acting for me is fun — some-
thing I do because I enjoy it. I don't have to do it. So I'm
going to be patient and find the right film to work on next
year or whenever it works out.

Is music still as much fun for you as it was in the
beginning?

The Inith is 1 really love what I do. I live for it. I've in-
vested so much of myself in my career that I cherish it.
I've worked too hard to do something to damage what
I've basically dedicated my life to.

I still definitely get a high every time I get onstage. But
it's not just the performing. It's also coming up with cre-
ative marketing ideas and doing cool collaborations, like
my fragrance. I love everything about this.

BB
BF
B

□

BB
BB
BB
BB

□L
BB
BB
BB
BB
B^
E_
□B
BB
BE
BB

Beynnce s

Fans

In advance of Beyonce's appearance to receive
the Woman of the Year Award at Billboard's
Women in Music event Oct. 2 in New York, we
invited friends, family and colleagues to offer
their tributes. Several also named their favorite
Beyonce song.

"I'm dEfinitely proud of her musical
accomplishments but I'm probably more
proud that she's a truly good person. My
favorite song is a bonus track called
'Daddy' that appears on her first solo
album. It basically says, 'Thank you for all
you've given me and when I marry a man, it
will be like my daddy.' "

— MATHEW KNOWLES OF MUSIC WORLD
ENTERTAINMENT, BEYONCE'S FATHER
AND MANAGER

"I'm sa ppDud of my big
sister. She's mare than
waman of the year;
she's an inspiration."

-SOLANGE KNOWLES, SINGER/SONGWRITER

"The good news for Beyonce is that she's
not just as good as her last hit song. My
admiration lor everything she does is
immense. Behind her inspiration is an
incredible amount of creative eneray and
work ethic. My life would be so mucn
Easier if I haa ID of her."

-ROB STRINGER, CHAIRMAN, SONY MUSIC

LABEL GROUP

"Beyonce knows how to balance what fans
want and how to push the envelope,
experimenting with sounds and directions.
That's what makes her the superstar that
she is. 'Irreplaceable' was a sleeper on the
album but ultimately turned out to be the
fan favorite."

-MAX GOUSSE, SENIOR VP OR AftR, ISLAND
OEF JAM RECORDS

"Beyonce is a true artist who brinps it
every time. My favorite song will always be
'Flaws and AIL' So much feeling, so
beautiful: her voice sounds amazing."

-KELLY ROWLAND, SINGER/SONGWRITER

What else is on your to-do list?

I'm interested in a lot of different things. I'd like to get
involved in videogames since I really love Wii Fit. I think
it would be a great idea to incorporate choreography be-
cause for me my workout is way more fun when it in-
volves dancing as opposed to running on a boring
treadmill. So I would love to do some kind of fitness game
but incorporate dance and performance into it. I think
a lot of women would enjoy that.

I also want to continue to produce films — even if I 'm
not in them — as well as a documentary on my life. Ac-
tually, I'd like to do a film loosely based on my father's
[Mathew Knowles] childhood and school years. He's had
an interesting life. But that will probably be in a couple
of years.

Is there a chance you'll start your own label?

Yes, eventually, when 1 have time. I'm doing so many
things, I have to slow down a bit so I can focus, [laughs]

Have you thought about taking a longer break after
this tour?

I think after maybe a month or two months, I'd be really
bored. But I don't see myself working this hard for the
rest of my life. It's just too much to do forever. 1 thank
God I started touring and building a fan base when I was
really young. So now if I took off a couple of years, I think
1 'd still be able to come back, go on tour and do records.
I'm still a young woman.

What sparks your creative vision?

I've always tried to pick songs and singles that were a
part of pop culture, a part of things that people are pas-
sionate about and want to talk about and debate. "Sin-
gle Udies (Put a Ring on It)" is an uptempo song that's
fun. But it's also something women go through every

day. "Irreplaceable" is also about something people ex-
perience every day. More than anything, I always try to
challenge myself and do a variety of different things. On
"Sasha Fierce," the slow album showcased my vocal abil-
ity a lot more. And I had the uptempo album to show-
case the dance.

I 've tried to be an artist who pays attention to detail
and who is also a strong vocalist, performer and song-
writer. I'm very happy to see other female artists chal-
lenging themselves to do everything. That's something
we started with Destiny's Child. We were very young,
writing and producing our own songs. I'm very proud
of that.

What will Beyonc^/Sasha Fierce be doing In five
to 10 years?

Probably the same things. But maybe I'll be spacing it
out a little more, [laughs] Not every year; maybe every
three years.

Maybe also a mom?

In five years . . . yes, probably.

Any Ideas yet about your next album?

I haven't actually started writing anything. Maybe after
I leave for Australia on the next leg of this lour.

You can't end this Interview without one last ques-
tion: Any truth to the rumor about a Destiny's Child
reunion tour and/or album?

I don't know if we would do another record anytime soon.
And we haven't talked about a tour. That's just been some-
thing floating in the media. If people keep talking about
it, maybe we'll do it. If that's what people want . . . who
knows? But whenever the girls need me or I need the
girls, we're here for each other. ••••

□B
□B

□B

as
zu

<>■
□Z

B
„B
□B
BB
BB
BB
BB
IB

B
B

3
B

□B
BB

~B
3

□

B
B

□

3
3
^B
BB

□r

□E
□B
□~
B
E

□L
□B
B
_B
□B
□B
□
B
BB
BF

"My favarite Beyonc^
sang would have to be
'Dangerausly in Love.'
She sang it with such
conviction and passicn;
I believed every ward.
And that's what is
great about Bayonet:
She knows haw to
personalize every sang
she sings."

—RICO LOVE, SONGWRITER/PRODUCER

"BeyancE is the greatest perfarmer alive.
How can one person have all that talent,
grace and vi/ork ethic? Phenamenal."

-JOHN LEGEND,
SINGER/SONGWRITER/PRODUCER

"It's a privilege to v^nrk with SDmenne as
talented and driven as BeyancE. Besides
being such an accomplished performer,
she's also a great producer with some of
the best A8R instincts for what makes a
good song. She's not interested in knowing
who the song was written by before she
hears it. For BeyoncB, it's all about the
music, not the personalities behind it."

-BIG JON PLATT, PRESIDENT OF WEST COAST
CREATIVE, EMI MUSIC PUBLISHING

"The preatest singers each have their
'thing that they do better than anyone else.
Beyonce's thing is taking a great song and
making it an event. She adds her own
personality and vocal prowess like a
master chef adds the missing ingredient to
his signature dish. Beyonce brings that
missing ingredient."

-RYAN TEDDER, SONGWRITER/PRODUCER
AND MEMBER OF ONEREPUBLIC

"Beyonce is a great talent, extremely
charismatic. People are drawn to her
like a magnet. She's a down-to-earth
young woman who, with all she has
accomplished, is not full of herself.
She is class personified."

-SMOKEY ROBINSON

CONGRATULATIONS
BEYONCE

on being named

WOMAN OF THE YEAR

From your Dereon Team at Kids Headquarters New York

(S) ■

ACTING'S'

Years After Her MTV Debut,
Beyonce Is A Celebrated Actress
With A No. 1 Movie To Her Name
BY MARIEL CONCEPCION

It was just eight years ago that fans first
caught sight of Beyonce's acting talent.

At the age of 20, the singer added the
new achievement to her resume when she
starred in MTV's "Carmen: Hip-Hopera."
a made-for-cablc movie in which she
played an aspiring actress named Carmen
Brown, alongside Mekhi Phifer, Mos Def.
Wyclcf )can, jcrmaine Dupri, Bow Wow
and others.

Today. Beyonc6 has gone from the small
screen to the big screen, acting in six the-
atrical releases.

When she began her film career, Beyonc^
made sure she gained as much experience
as possible to be considered a solid actor. A
year after filming "Carmen," the singer
landed a co-starring role in the third install-
ment of Mike Myers' Austin Powers series.
"Austin Powers in Goldmember." She ap-
peared in the role of Foxxy Cleopatra.

Then, in 2003, Beyonce starred in the ro-
mantic comedy "The Fighting Temptations"
with Cuba Gooding )r. Next, in 2006, she co-
starred with Steve Martin in a remake of "The
Pink Panther."

The same year saw the release of "Dream-
girls." in which Beyonce starred alongside
lennifer Hudson, Jamie Foxx and Eddie Mur-
phy, in the the story of the fictionalized '60s
R&B group the Dreamettes. Beyonce co-
wrote "Listen," the lead single for the film's
soundtrack, which was nominated for an
Academy Award.

One of her latest and most noteworthy
films is 2008's "Cadillac Records." a
biopic about the Chicago-based record
company executive Leonard Chess and
the musicians who recorded for his label.
Chess Records. Beyonce portrayed singer
Etta James — one of her most celebrated
roles to date — and garnered producing
credits for the film, yet another notch
under her belt.

"The film was initially offered to her as
just an acting vehicle, and it was something
she really responded to in terms of material,
role and character," says Andrea Nelson
Meigs, Beyonce's film agent at International
Creative Management.

"But she was drawn especially to her role be-
cause of what Etta fames represented in the music
world, and so she wanted to get involved in a more
intricate way — both in development for casting
and music."

So Beyonc^ became one of the boosters for the film,
helping to bring all the different elements of the
movie together. Meigs says. She aided actors with
their scripts, shared her thoughts on how scenes
should be shot and even got involved with lighting,
among other things.

And earlier this year Beyonc^ co-starred in "Ob-
sessed." which opened at No. 1; it's the second film
she co-produced after "Cadillac Records." In "Ob-
sessed" she's married to a business executive being
stalked by a co-worker.

At one of the meetings during the filming of "Ob-
sessed," Beyonce impressed observers with her film-
producing vision.

"1 sat there and watched her give her notes on the

Screen star: BEYONC^ In (from top) 'The Fighting
Temptations,' 'Austin Powers in Goldmember,' 'Obsessed' and
'Cadillac Records.'

script that she had outlined," Meigs says. "They were
typed up and articulated how scenes could be better
... I was so impressed and blown away.

Meigs adds, "I don't think any of us expected or
anticipated that.

"Oftentimes when celebs are afTorded producing
titles, people think those are for vanity. But what hap-
pened in that room alone made Beyonc^ deserving
of her credits."

Although the film received mixed reviews, it has
grossed $68.3 million at the North American box of-
fice, according to Nielsen EDI.

What's left for Beyonce to conquer in the world of
film and acting?

Meigs says Beyonc^ is looking over a couple of act-
ing and producing projects, although none can yet
be announced.

"Going to Broadway and winning a Tony is also
something we foresee in the near future," Meigs
says.

BILLBOARD I OCTOBER 10, 2009

□

□r

E
E
E

□L
~B
3

"She's an incrediblE vocalist and one
of the hardest-warking artists in show
business, not to mention a positive
inspiration for women. Younp people these
days need strong role models, and she's
that person. For all the fame and fortune
she has been blessed with, Beyonce acts
like she's just the pirl next door. She's a
real and pure souL"

—JIM JONSIN, SONGWRITER/PRODUCER

"She is graceful and never shows any
weakness or frustration despite what may
be poing on around her She always has fun
witfi whatever she is doing. A professional
but still a sweetheart."

-SEAN GARRETT, SONGWRITER/PRODUCER

"Waman of the year . . .
What teek sn lang? She's
been woman of the year
for me far the last ID
years. My favorite
Beyance sang is
'Survivor.' It's just one of
those songs that
embodies strength and
courage for females as
well as males."

-DENNIS ASHLEY, VP OF CONCERTS.
INTERNATIONAL CREATIVE MANAGEMENT

"When we worked together on 'Dreamgirls,'
it was an opportunity to work with one of
the true great voices in our business. I'm
so proud to see her continuinq in the
tradition of great voices like Whitney
[Houstan], Toni [Braxton] and Marian
[Carey] for the next decade's listeners."

-HARVEY MASON JR.,
SONGWRITER/PRODUCER

"It's not unexpected that she is being
recognized as the woman of the year.
You're talking about a woman who is super
talented, tireless-and isn't showing any
signs of slowing down."

— C. "TRICKY" STEWART,
SONGWRITER/PRODUCER

BEYONCE

THE BILLBOARD WOMAN OFTHEYEAR

CONGRATULATIONS FROM ALAN HAYMON
AND YOUR FANS AT HAYMON EVENTS
AND LIVE NATION

TvE nnxiQn

www.LiveNation.com

Cri

Cni

HEART

□FAN
ANGEL

How Beyonce Gives Back
BY MARIEL CONCEPCION

Earlier this summer during a concert stop at the Izod
Center in New Jersey. Beyonce brought a little girl
named Jada to the stage. While kneeling on the floor
and holding in her arms a child who is battling
leukemia, the 28-year-old singer dedicated to her the
show's closer, "Halo."

According to the Make a Wish Foundation, which
works with celebrities to grant wishes lo children
with life-threatening medical conditions, that dedi-
cation was Wish No. 40 that Beyonce has fulfilled
during nine years of involvement with the group.

Although she's one of some 800 celebrities who
granted wishes last year alone, according lo Make a
Wish media relations manager Brent Goodrich, Be-
yonce is one of the most popular recipients of re-
quests in recent years.

"She's obviously an admired performer, but also,
she really makes the children feel like they're No. 1
when they meet," he says.

Make a Wish isn't (he only way in which Beyonce
gives back. A few years ago. she teamed with her
mother Tina, father Mathew and sister Solange
Knowles to start their own family foundation: Sur-
vivor. The nonprofit organization is based in her
hometown of Houston and assists those who have
been displaced, are homeless or have been stricken
by HIV/AIDS. The Survivor Foundation also started
the Knowles-Rowland Center for Youth, a multipur-
pose community outreach facility in Houston.

"Most recently the organization assisted with sur-
vivors of Hurricane Katrina and helped find housing
for those displaced by the disaster." says Andrea Nel-
son Meigs. Beyonce's film agent at International Cre-
ative Management.

Her willingness to help doesn't stop there. Late

36 I BILLBOARD I OCTOBER 10, 2009

last year, after watching the documentary "Very Young
Girls," Beyonce visited the Harlem headquarters of
Girls Educational and Mentoring Services, which pro-
duced the film and works to stop sexual exploitation
and domestic trafficking of children.

"Her mother. Tina Knowles, reached out to us and
said she'd never heard Beyonce sound more passion-
ate about something." GEMS founder/executive di-
rector Rachel Lloyd says.

"Two days later. Beyonce came in and said she
wanted to learn more and wanted to understand what
the girls had been through. She was supposed to stay
15-45 minutes, but stayed five hours instead. At the
end, we said a group prayer lead by her mother. It
was very intense and emotional."

Since then, Beyonce has become one of the faces
of GEMS' national campaign "Girls Are Not for Sale,"
alongside Halle Berry and Demi Moore. And she
arranged for girls from GEMS lo get tickets and back-
stage passes this past summer for her concert at the
Izod Center in East Rutherford, N.)., as part of her I
Am . . . Sasha Fierce tour.

On that tour. Beyonce also teamed with the Gen-
eral Mills brand Hamburger Helper and Feeding
America, which touts itself as the nation's largest do-
mestic hunger-relief charity, for the "Show Your Help-
ing Hand" campaign. The campaign sought to provide
3.5 million meals through local food banks by en-
couraging fan donations at her concerts.

"Her name came up because in various occasions
Beyonc6 had mentioned how Hamburger Helper was
one of her all-time favorite comfort foods," General
Mills VP Beth Brady says. "So. we thought there was
no one more authentic for il than Beyonc6 — giving
back is true to her DNA."

This is the second time Beyonce has joined forces
with Feeding America, according to the charity's pres-
ident/CEO Vicki Efsarra.

"For her 2007 tour, we had a food drive at every one
one of her tour stops. For this past tour, she held a
press event at all her shows to help promote the drive."
she says, pointing out that hunger becomes most crit-
ical in America during the summer and winter, which
is why she is in talks with Beyonc^ to work together
again this upcoming holiday season.

"She's just so beautiful, talented — she's so impres-
sive and grounded and manages her career very well,
but she's always striving to use her voice to try and
influence good in the world," Efsarra adds. "Not all
human beings find a way to do that."

□B

□B
□B

□r

□E

□B
□B

□r

□L
□B
□B
□B
BB
BB

"SHe was CDmpletEly egalitarian [working
on the film "Dreamgirls']. It wasn't about,
Tm the star end you're not' with the other
ladies. It was, 'We're all in this.' And she
was sweating bullets and working hard like
everyone else. In all my years of mixing
with people you would say are stars,
Beyonce was the most refreshing of
anyone. The whole star trip isn't there.
She's so talented and cool. I adore her"

-HENRY KRIEGER, COMPOSER

" 'Irreplaceable' Is a well-
written, timeless record.
And Beyonce's delivery
was incredible. I know !'!!
still be listening ta that
sang 2D-2D years fram
now."

-RODNEY JERKINS,
SONGWRITER/PRODUCER

"I love songs that show off the emotion and
rawness in Beyonce's voice like
'Resentment' and the sonqs she did as Etta
James in 'Cadillac Records.' This honor is
well-deserved; She's one of the special
angels that we're blessed to have. I
absolutely love her to life."

-MICHELLE WILLIAMS, SINGER/SONGWRITER

"I still remember the first time I ever heard
'Crazy in Love' and watched the video. I was
blown away by the whole combination: a
great record together with an incredible
□Erformance. The Bnergy was so in your
face. Beyonce is the total package."

-MIKKEL S. ERIKSEN OF
SONGWRITING/PRODUCTION TEAM
STARGATE

"I think it's very obvious what my favorite
Beyonce song is. But my second favorite is
'Single Ladies (Put a Ring on It).' It's very
sparse yet very creative and the lyrics are
intriguing. I don't think I've ever worked
with anyone better: I can't wait to work
with her again."

-TOBY GAD, CO-WRITER OF
"IF I WERE A BOY"

9/aa/ am/^oti/^^mj/i/y Aaae^ /}€€/v <siccA a/i/
iria'(^//y/&^artof/7^ 9/aar Aa/xl caofA/,

a/^ ms^M^m^, 9/oa aj^ tmA/y a /^eaat^d^>^/^a/v.

^mmmmmmmmmmDarammmmmDaDamm WOMAN of:

-uDrarararacDrararamDDrararararararararara the year :

TAKING IT

□NSTAGE

Beyonce Emerges As A Formidable
Live Force BY GAIL MITCHELL

At a time when touring achievements have
become an even more crucial measure of
industry success, Beyonce has grown into a
formidable force in concert. 1 Beyonce
launched her yearlong, worldwide I Am . . .
tour in March. She first performed in the
United States and Canada before embarking
on an international itinerary that included
stops in the Netherlands, France. Belgium, Germany, Portugal, the United Kingdom.
Ireland and. most recently, Australia and Singapore. The tour sponsors include L'Oreal
and General Mills/Feeding America in the United States; Nintendo in the States, Eu-
rope and the United Kingdom; and Crystal Geyser in Japan, f Of the 55 shows that Be-
yonce has logged as of Sept. 16, she has grossed $53.5 million and drawn 667,509 fans
in primarily 15,000-seat arenas, according to Billboard Boxscorc. f In 2007, the Bey-
once Experience tour — staged at similar-sized veimes — grossed S24.9 million, and
272,521 fans attended the 29 shows reported to Boxscore between April 21 and Sept. 8.
f "It's staggering the amount of progress Beyonce has made at only 28 years old." Sony
Music chairman Rob Stringer says. "She's doing great in the digital world and still
selling physical CDs. The live touring was the last piece of the jigsaw puzzle. Now that
touring level is conquered." • Dennis Ashley, VP of concerts for Beyonce's booking
agency International Creative Management, adds, "I've never seen an artist work as liard
as she does just in rehearsal for the perfection she brings onstage to fans." • Taking a
break from the big stage. Beyonce customized her touring show this summer for an
exclusive and intimate engagement at Wynn Las Vegas' Encore Theater. That four-night
stand ran |uly 30-31 and Aug. 1-2 and was taped for use in an upcoming DVD
compilation, f In October Beyonce will perform in Korea, [apan, China and Ethiopia.
Then in November, she'll travel to Russia. Turkey. Egypt, Greece and back to the United
Kingdom and Ireland. Still on tap: dates in Brazil. South Africa and South America be-
fore the tour wraps next March. •

BEYONCE.

With SO many dreams coming true,
may your star continue to rise and
shine with brilliance.

Beginning with your first solo tour, we are
honored you've entrusted us to deliver you
safely and In fierce style to fans at sold-out
venues all across North America.

On behalf of our over 100 team members,
congratulations on being named Billboard'
2009 Woman of the Year.

BILLBOARD I OCTOBER 10. 2009

Cni

CONGRATULATIONS BEYONCE

From

Chris Kantrowitz, Frank Gatson, Kim Burse

and your friends at

Cni

:Dii]m[iEQm[iEDm[inEDmoiQmi
:ujujLULULum[ii[i][i][ii[in]mDio[in

FRAGRANCE,

i FASHION
AND MORE

Beyonce Is The Pretty Face Behind
Several Endorsements
BY MARIEL CONCEPCION

Previously the face of the fragrances True Star from
Tommy Hilfiger and Diamond from Emporio Armani.
Beyonce is readying the release of her own scent early
next year, with a name that's still under wraps.

According to Carol Goll, head of the global branded
entertainment division of 1 ntcrnational Creative Man-
agement. Bcyonc6 signed a deal with fragrance house
Coty. which is also behind perfumes for |ennifer Lopez.
Sarah {essica Parker. Celine Dion. Halle Berry and
David and Victoria Beckham. The agreement author-
izes Coty to create an "alluring and sophisticated' per-
fume that "personifies me as a woman [and reflects
my) inner power." Beyonce said in a statement an-
nouncing the fragrance.

The new fragrance, slated to hit stor^ in early 2010.
is the latest addition to a lengthy list of endorsement deals
for Beyonc^. with companies from Pepsi to L'Oreal.

This past spring. Nintendo DSi premiered a world-
wide commercial for its game "Rhythm Heaven. ° in
I which Beyonce stars. Also this spring. Crystal Geyser
I announced that Beyonce is the new spokewoman for
the water brand in Japan and would be featured in its
ads there.

Also in Japan. Beyonce and sister Solange Knowles
are the faces of Samantha Thavasa — a japanese fash-
ion company that launched in 1994 and specializes in

irarammmmmmmmmramDQ WOMAN dfc

iDararararaDarararararararara the year [

A smile that sells:
Clockwise from
top, BEYONCE
has deals with
L'Oreal, Samantha
Thavasa (with
sister SOLANGE)
and Nintendo.

handbags for young women.

"It's tough, if s fun. and it's sexy." Beyonce said in a
statement about Samantha Thavasa's latest Disney hand-
bags line, which tlie siblings recently promoted in Japan.

Beyonce's longest- standing endorsement deal is with
cosmetics brand L'Oreal . with which the singer signed
a five-year contract in 2004.

"The one thing that attracts someone to Beyonc6 is
her authenticity." Goll says. "She's really about her
lifestyle, her strong feelings of empowerment, her beauty
and her passion."

Goll adds that before signing any deal, Beyonce's
team examines a brand's perception in the marketplace,
its share of the market and how it stages campaigns.

"We definitely don't want to do one-ofTs. We'd rather
do long partnerships." Goll says.

Moving forward. Goll says there will be more part-
nerships, but she doesn't offer any details. Goll says of
Beyonc^: "Whenever she puts her name on something,
it's organic and people can easily see the affiliation.
Crystal Geyser is a product she drinks and delivers a
message about piurity. health and fitness that she wants
to exude."

Phoenix House

Rising Above Addiction
Phoenix House congratulates Billboard's Woman of the Year.

A brilliant entertainer and great-hearted spirit, Beyonce gives generously of her talents, her compassion,
and her support. The men and women of Phoenix House are grateful for her gifts to us — the inspiration,
understanding, and practical contributions that help those in treatment find and sustain recovery.

40 I BILLBOARD I OCTOBER 10, 2009

Cni

Our CongratuCations to (Biffioard/i

Your Success 1K.S a Recording Star and Actress

I I and
Your Contributions to T'fiose Less Tortunate

Trovide inspiration for aCCofus to
Q-CJor tfie Stars andirermmfoer to qv\

We congratuCate you and your management team

Your Friends at
Provident Financial. Management |

A]^ RSM McC}]adre\. Inc. Business
Business Managers to
the Entertainment and Business Communities

I^)S/\n£jdcs San I-"rjncisco ^^'oodland I lills I

immmmmmmDammmDommrarammDammmmmmDammmmmmmmmmmmmmmm woman dfc
]raramrararaci]DararararamrararamrarararararararararamrarararaDarararararamrararararara the year l

BEYDNCE DN THE CHARTS

Beyonce has been a force on the
Billboard charts since Nov. 29, 1997,
when she and her fellow Destiny's Child
members debuted on the Billboard Hot
100 with their first hit, "No, No, No."
Since then, between her solo sets and
her albums with Destiny's Child,
Beyonce has racked up 37 Hot 100 hits.
They include five solo No. Is and another
four with the group, f Destiny's Child's
"Independent Women Part 1" leads
Billboard's exclusive recap of Beyonce's
biggest Hot 100 hits. The track spent 1 1
weeks at No. 1 on the chart in late 2000
and early 2001. It reigns as the song with
the most weeks at No. 1 by a female
group, fl On the Billboard 200, seven
studio albums have charted from
Beyonce and Destiny's Child combined.
The group's 1998 self titled set was the
first to chart, peaking at No. 67 and
selling 831,000 U.S. copies, according to
Nielsen SoundScan. Since then, every
studio set released from either act has
peaked in the top five and sold more
than 2 million copies stateside. ••••

Rink

Artist

Label

Year

INDEPENDENT WOMEN PART 1

Destiny's Child

Columbia

2000

IRREPLACEABLE

Beyonc^

Columbia

2006

BABY BOY

Beyoncd Featuring
Sean Paul

Columbia

2003

CRAZY IN LOVE

Beyonce Featuring
Jay-Z

Columbia

2003

CHECK ON rr

Beyonc^ Featuring
Stim Thug

Columbia

2005

SINGLE LADIES
(PUT A RING ON IT)

Beyonci

Music World/
Columbia

2008

1 ' "TTTl— —

SAY MY NAME

Destiny's Child

Columbia

NAUGHTY GIRL

Beyoncd

Columbia

2004

■03 BONNIE a CLYDE

Jay-Z Featuring
Beyonce Knowles

Roc-A-Fella/
Def Jam/IDJMG

2002

SOLDIER

Destiny's Child Featuring
ri. 8 Ul Wayne

Coluinbia

2004

ME, MYSELF AND 1

Beyonce

Columbia

2003

HALO

Beyonc^

Music WorW/
Columbia

2009 1

IF 1 WERE A BOY

Bayonet

Music Worid/
Columbia

2008

BEAUTIFUL UAR

B«yono«aShaldra

Music Worid/

2007

CONGRATUI^ATIONS BEYONCE

• ■- ■ '■ .

YOU ARE SO WORTH IT!

LOVE d-"'-
MCCANN ERICKSON NY :

McCANNNY

42 '. BILLBOARD I OCTOBER 10. 2009

iTiltthi'f"

From the age of 1 6 years old till now you have given generously to fund projects for
people in need. The Knowles-Rowland Center for Youth, The Knowles Teiiionos Place

& your St. Johns family salutes you.

Beyonce Kaowles

\ " Billboard Woman Of The Year Award ! " i

TOP BEYDNCiBOXSCORES

woman of tke year

WE ARE...

proud to Le your sound company

CLAIR

FEEDING
AMERICA

Beyonce, Hamburger Helper
and Feeding America in
the fight against hunger

at ShowYourHelpingHand.com

GROSS SALES/ ARTIST(S) AKendro -i»av
".-r- v«nue. Localloa oatMs) ■ n v,- -^Ji .n'

Pron«otw(s]

$4390.316

BEYONCE, SHONTELLE, ZARIF

■

02 Aremi. London 69,927
May 25-26. Jun. 8-9, 2009

AEG Live

$4,782.S9S

BEYONC£, SHONTELLE, ZARIF

02, Dublin 50,606
May 29- JO, June 3-4. 2009

AEG Live

$3,679,733

BEYONCf, FLO RIDA, JESSICA MAUBOY

Acni Aicn.\, Sydney 29,584
Sept 18-19 2009

Michael Coppel Presents

■

$3,526,375

BEYONC£, RICHGIRL

Madiion Square Garden. 27,5W

rjew york Juno 21. 22, 2009 : Iao ilwi

LiV9 Nation, Haynton Entertainment

$2,744,345

BEYONC£, ROBIN THICKE '^^^

Hadl«>n Squ»r« Garden, 26,109
New york. Aug 4-5. 2007

Live Nation. Haynr\on Entenainment

$2,6e«,497

BEYONCE, FLO RIDA, JESSICA MAUBOY

Rod uavi*( Aiena, MeiOourne, 23 448
Auit'sll.i Srpt lS-1ii, J009

Michoet Coppel Prcwnl*

$1,708,805

8EYONC£, ALICIA KEYS, MISSY ELLIOTT, TAMIA

MCI Contct, Wdtiiinotoii. D C. 25,379
April 7. 11. 3004

Clear Channel Entertalnmant.
Dimensions Entertainment

$1,644,858

BEYONCE, ALICIA KEYS. MISSY ELLIOTT. TAMIA

{

5iS750/550iJO

OahldfKl Arena. Oakland. Calif 30.725
Apfil 18, 20. J004

Clear Channel Entertainment

$1,606,987

BEYONC£. ALICIA KEYS, MISSY ELLIOTT, TAMIA

Airowhcad Pond, An.ihoim, 19,502
Calif,. April 17, 21 2004

Clear Channel Entertainment

(1,505.677

BEYONCE, SHONTELLE, ZARIF

. ttO^M -

Odyssey Arena. Belfast, Nofthefn 19.600
Iroiand. M-sy I)-Juno 1. 3009

AEG Live

$1,437,146

BEYONC^ RICHGIRL

Staplst Centfff. Lot Angeles 12,738
July 13. 2009

Live Nation

$1,402,508

BEYONCE, RACHEL KRAMER

<a.: e ^ 'i'j ■

Ahoy, RotteiiUm, ihe NetheflarxJs 20,297
M.iy 2-S 2009

AEG Uve. Live Nation International

$1,390,421

BEYONCE, RICHGIRLjHH|HH|

Vcfiron Ccntei, Waihmctton. DC- 13.736
June 24, 2009

Live Nation. Haymon Entertainment

$W7,995

BEYONC6. RICHGIRL

V/iKtmvia Cantor. PhiUcMpNa 14.971
June 26. 200S

Live Nation. Haymon Entertainment

$1,359,250

BEYONCE. RICHGIRL

Un.led Ccnlcr. CM.caao 13.852
July 17 2009

Live Nation, Haymon Entertainment

$1,299,295

BEYONCg, ROBIN THICKE

Sl.iplo^ Contof, Ldi Aogpiet 11 664
Sopi 2 2007

Live Nation, AEG Live, Haymon
Entertainment

$1,281,632

BEYONCt, RICHGIRL

PtillliH Ar«cu, Atlanta 13.949
July 1. 20O9

Live Nation

$1,251,970

BEYONC^. ROBIN THICKE

MGM Gr.ind Ciarden, L,Ti Vegas 10.171
Auy, 25. 2007

Live Nation, in-house. Andrm Hewitt
COu, Haymon Entertainment

$1,242,263

BEYONCE, ROBIN THICKE ^^^H

VeWion Cenlcf. Wailimgton, DC 13 248
Aug 9 20D7

Live Nation. Haymon Entertainment

$1,230,623

BEYONCE, CHRIS BROWN

v.AJ

Ac«r Arsna. 5ytln«y 13.476
AD'il 21. 2007

Michael Coppel Presents

$1,177,040

BEYONC£, ROBIN THICKE

izod Center East Ruiherrord, 10,924
N J,. Aug 1. 3007

Live Nation. Haymon Entertainment

$1,165,437

BEYONCg, SHONTELLE, ZARIF

M.vic>iosic>t Evwnng Newt Arprva. 14,592
MadctKnlcf. EnQlsnd. May 27 2O09

AEC Live

$1,15SJ»1

BEYONC^ RICHGIRL

ToyoM Center. Houiton 13,130
July 4. 2O09

Live Nation. Haymon Entertainment

$1,155,901

BEYONC^. ROBIN THICKE

W.icnovi.i Contor, PhiiiMloiphia 11 956
Aug- 10. 2007

Live Nation. Haymon Entertainment

$1,142,061

BEYONCE, HUMPHREY

Palais Omnisporls B«rcy, P«fK 16,149
May S, 2009 .-JK.y

AEG Live, Live Nation Internation.il

44 I BILLBOARD I OCTOBER 10, 2009

Cni

BEYONCE

Your incomparable talent and remarkable beauty is only exceeded
by your boundless compassion and unyielding devotion to your

family, fans, and friends.

You inspire us - every day - to be better
at everything we do.

Congratulations on this well deserved honor.

We love you.

Ken, Jeremy and all of your friends, fans and family at
Goldring Hertz and Lichtenstein, LLP

Co(_. ,

mm WOMAN DF mmmmmmmmmmmmmmmmmmmmmmmmmmmmmcGmmDC

irara THE YEAR ramrararararamrarararararararararararararararacaDarararacararaDC

BEYDNCE'S ALBUMS
BY THE NUMBERS

Year Released

2003

"Destiny's Child"

Title

"The Writing's on the Wall"
"Dangerously In Love"

"Destiny Fulfilled"

2006

"B'Day"

"I Am . . . Sasha Fierce"

Artist

Destiny's Child
Beyonc^

Destiny's Child

Beyonc^

Destiny's Child

Billboard 200 Peak

1 (two)

1 (two weeks)

U^. Sales*

6.3 million
4.7 million
3.2 million

SOURCE Nioliofi Sounasr.dn tniough A,,^ 30 'WctulM^, accorOlnfl to Sony, DWny^ Qud 4nd Beyooc4 CWnwUDvely rwve SOlO 100 million unltv MicluOing dlbumi. ohy»iC«l and digilot 3m9lev and rr

destiny's child

iZIESTINY S CHILCD

AdweekMedia I .1 .

marketing to

women

+ Purchasing Power With A New Set Of Values
NOVEMBER 4, 2009 westin Michigan avenue • Chicago

Speakers Include:

*Co-located with Marketing to Men!

Tina Sharkey

Chairman and
Global President
BabyCenter

Advertising
State Farm

Gannon Jones
Vice President.
Marketing
Frito-Lay
North Ameiica

Trendspotling

Mary Murcko

Sen tor Vice
President. Publisher
Prevention

Case Study and Panel Topics Include:

• The War On Aging: Understanding The Beauty Buyers' Psyche

• The Feminine Side Of The Masculine Brand

• Create Your Own Network Of Onlir>e Communities

• Reaching Wonien Through Any & All Media They Consunne

• Gen X Women: Flirting With Forty

For full speaker lineup and complete conference schedule

adweekmediaevents.com/marketingtowonnen

REGISTRATION Alma Weinstein: 646.654,7254 alma.weinsteinenielsen.com SPEAKERS Rachel WilSams: 646.654.4683 raciie(.williams9nielsen.com
SPONSORSHIPS John Grosfeld: 660.759,8728 |ohn.grosteldenlelsan.com QUESnONS Becky Teagno: 646.654.5169 becky.teagnoenlelsen.com

CONFERENCE
SPONSORS

POPSUGAR

mindspark Prevention

OFFICIAL MOeiLE
ENQAOEMENT
PARTNEH

M07<&c AdweekMedia ,

HOSTED BY iiiiiim laiMwiBii imiwih Dillboard

Register for one day, get bonus access to the Marketing to Men event co-located with Marketing to Women! Attend both events for $A99 - Enter Promo Code MENANDWOME

46 I BILLBOARD I OCTOBER 10, 2009

Cci

ICM

INTERNATIONAL

MANAGEMENT

We proudly

congratulate our client

Beyonce

Billboard
Woman of
the Year

and salute our colleague

Marsha Vlasic

Women in Music Honoree

RISINB STAR

□P THE YEAR CrZimiL tJL iJL JL JL iJL JL uJL .JL uJL JCTDCTDCTZDirZDL iJL i_][mL ._JL uJL lJL iJL UL .-JL iJL lJL

Lady Gaga is being honored as Billboard's
Rising Star, but it seems more accurate to
call her a skyrocketing star — of music, videos
and fashion so avant garde that it sometimes
involves the wearing of Muppets. Her album
"The Fame" is the best-selling debut album
of this year in the United States with 1.3 mil-
lion copies sold, according to Nielsen Sound-
Scan. It has spawned four top 10 Billboard
Hot 100 hit singles, including two No. Is:
"Just Dance" and "Poker Face." And it's the
fifth-biggest-selling album of the year over-
all, behind only Michael Jackson's "Num-
ber Ones," Taylor Swift's "Fearless," the
"Hannah Montana Movie" soundtrack and
Eminem's "Relapse."

FIRST

LADY

Billboard's Rising Star Breaks Records
And Shatters Boundaries
BY CORTNEY HARDING

Even though Stcfani Germanotta paid her dues perform-
ing on the Lower East Side and in NYU college bars, the
artist known as Lady Gaga seems to have sprung onto the
pop stage fully formed and fully fabulous. But Gaga isn't
just a talented recording artist and compelling performer.

ALL THE SINGLES, LADY

GAGA BURNS UP THE BILLBOARD HOT 100

OtM

DtbnOilt Put

PtikMt

MHtaOlOwt

"Just Dun"

Streamliiw^nLive/tlHrTYlree/lntnuofK

"PoterFate"

l/!/20M 1

Slreamliw/Konlive/Cherrvtree/lfilencope

"LonfiaRie"

vii/nos i

yreamhiw/Konlw/ClwrrYlree/lrlentoce

"Papmnr

100/2009

StreanHne/KonUve/CherrYttKAntefuotw

SOURCE Tlw Wlb

Oct W fn't Som in.ougi ti'c -m- ."doB SmJl

She's an accomplished songwriter who lias licensed tracks
from "The Fame" to more than 100 placements and has
written for such names as Fcrgic. the Pussycat Dolls. Brit-
ney Spears and New Kids on the Block.

A few months ago. she struck a deal with Steve Stoutc's
Translation branding agency. Rather than connect her with
brands, Stoute says he'll treat the performer herself like
one. "I don't just want to do deals for a check with her."
Stoute told Billboard. "She's at the point where she's big-
ger than life. She has transcended music."

Gaga has became known for wearing larger-than-life out-
fits, but she's not just trying to get attention. She's making
a statement about living the glamorous life and defining
her own identity in the public's ever-expanding field of vi-
sion. "There are all these places where art and self-
expression and clothing can intersect." she told Billboard.
"When I wore the Kermit outfit [a blouse and hat made of
plush dolls), it was a commentary on wearing fur"

Gaga's visual aesthetic can also be seen in her videos,
which were nominated for nine awards at the 2009 MTV
Video Music Awards, including best new artist, video of the
year, best female video and best pop video for "Poker Face."
She went home with the trophy for best new artist and a
solidified reputation as a live artist after giving a perform-
ance that recalled both early Madonna and the movie of
Stephen King's "Carrie."

Gaga's year isn't over yet. On Nov. 24 she'll release "The
Fame Monster." a double-disc repackaged version of her
debut that will include several new songs, including her
fifth single. "Bad Romance." And after thai, who knows
what she'll do — or wear — next. ••••

48 I BILLBOARD I OCTOBER 10, 2009

md salutes

Beyonce Knowles

yNoman of the Year

Lady Gaga

Rising Star

md all of the extraordinary women

n the music industry recognized by Billboard

"or their significant contributions to the business.

0100 Santa Monica Blvd., Suite 2200 ■ Los Angeles, CA 90067 ■ 310.282.2000

OS Angeles New York Chicago Nashville www.loeb.com

LOEBSc

LOEBllp

1909-2009

A century of adding value.

Cni

LEIUCOBO

PEDRO, JENNI,
LUPILLO AND JUAN
RIVERA REVEAL THE
SECRETS TO THEIR
REGIONAL MEXICAN
MUSIC DYNASTY

THE

MILY

Regional Mexican music has always been a business of mav-
ericks, many of them as bold and entrepreneurial as the char-
acters depicted in the genre's hits.

In the United Stales, a significant part of that business has
been forged by a family whose patriarch broke into the busi-
ness by selling cassettes in a cantina in Long Beach, Calif.

Pedro Rivera founded his own label, Cintas Acuario. in the
mid-'SOs. launching the careers of multiple acts, including
those of his children, Lupillo and )enni Rivera — two of the
most visible and top-selling names in the regional Mexican
genre — as well as that of up-and-comcr Juan.

In turn, in a genre steeped in tradition, lenni and Lupillo
stand out as pioneers of a new generation of artists who —
like pop stars — have presented themselves as personalities
as well as artists.

Pedro, an immigrant who came to the United States in
1966, is also developing the careers of two other sons, Pedro
Jr. — who sings Christian music — and Gustavo. Another
daughter. Rosi, plans to record in the future.

TTie distinct arcs of each of the Riveras" careers underscores
the versatility of the regional Mexican business and how it
has redefined itself to preserve its position as the biggest,
most lucrative Latin music genre in the United States.

"The Rivera family represents the essence of regional music
and the Mexican community in the U.S.." says Gustavo Lopez,
president of Fonovisa Records, which releases |enni and (uan,
and Disa. which releases Lupillo. "Their vast musical talent
combined with their excellent approach to the business have

and will continue to make them a powerhouse."

The top-selling family member. Lupillo, has sold 1.1 million
albums in the United States, according to Nielsen SoundScan.
Jenni has sold more than 700,000. while (uan. who's younger
and only recently signed with a major label, stands at 67.000.

All the Riveras have espoused a patient approach to stardom,
recording for years before hitting it big. All tour constantly, with
Jenni selling out two nights al the Nokia Theatre in Los Ange-
les in July, grossing nearly $1 million with an attendance of
more than 1 2.000. according to Billboard Boxscore. All learned
the music business from the bottom up and. following tlieir fa-
ther's advice, all kept ownership of their master recordings.

"Lupillo and 1 both worked at my father's record label,"
Jenni told Billboard in an interview last year. "We know how
to deal with distributors and stores. We accidentally turned
into artists ourselves, so we know how to hire a promoter,
who to deal with, and we've built it up little by little. More
than an artist. I'm a businesswoman."

Pedro got started in show business as a photographer in
Long Beach nightclubs and cantinas. Eventually, he started
singing once a week, then began writing and performing his
own material.

He became an accidental impresario after meeting singer
Genaro Rodriguez, who had released an album with a small
indie label. Rodriguez's master reverted back to him when
the album flopped, and on an impulse, he gave it to Pedro.

Pedro took the master and produced thousands of cas-
settes, which he then sold along with the photographs he took

of nightclub patrons. He began taking cassettes to local dis-
tributors and selling the rest at swap meets during the week-
ends. Eventually, other groups approached him to record and
distribute tapes, including El Chapo de Sinaloa in 1986 and
Los Razos and Graciela Beltran in 1987 — all names that went
on to become major stars in the genre years later.

Although Pedro didn't have any musical training or back-
ground— and he openly admits this — he did have an eye for
talent. And he realized early on that there was money to be
made from those home-grown recordings.

"All my artists are licenses." says Pedro, who has refused
to sell his publishing catalog through the years. "For exam-
ple, say you recorded with me 10-12 years ago and had no
success. And suddenly you have a hit. i take advantage of that
and do a 1 5-hit compilation and offer it to a label."

Pedro also hit on another notion early on: Because he didn't
have the budget to take singles to radio, he exhorted his artists
to try their luck with corridos, the narrative subgenre of re-
gional Mexican that relates stories of heroes and anti-heroes,
which now is gaining unprecedented traction on radio (see
story, right). Pedro says. "I used to tell my artists. 'We have
to study corridos. sing corridos. because they can help us sell
albums, regardless of who sings them.' "

For Jenni. it was thecorrido "Las Malandrinas" that pushed
her to general awareness after recording several other albums
that did little commercially.

Pedro licensed the album to Fonovisa. and Jenni pounded
the pavement promoting it at a lime when the genre was

50 I BILLBOARD I OCTOBER 10. 2009

Cni

catching on — bui only among male singers.

■' 1 1 was the late 1 990s and the early 2000s and the female artists
were singing ballads and romantic fare." }enni says. 'So I fig-
ured. 'I'm not typical at all in any way, so I'm going to do what
the guys do but in a different voice.' I wrote it myself. I went and
knocked on doors myself, spoke with programmers myself, and
ihey listened. And they said, 'We'll give the song the opportu-
nity to air, and we'll see if there's response.' And !o and behold,
the song aired on [Los Angeles radio station] La Que Buena
[KBUE] . . . and it put (enni Rivera on the musical map. And
then, it was up to me to stay on that map and continue to record
songs that were what people wanted to listen to."

Corridos also were the initial path of success for Luptllo,
who burst onto the regional Mexican scene in the early '00s
armed with designer suits, cigars, wide-brimmed hats, a shaved
head and a Bentley. His father licensed the album "Despred-
ado" to Sony Discos, and the singer went on to sell more than
half a million U.S. copies, according to SoundScan.

Lupillo, who, like his sister, grew up in Long Beach and is
bilingual, appealed immediately to a younger, bicultural buyer
of Mexican music who identified with his home-grown na-
ture even though he sang traditional banda music.

fenni and Lupillo have since taken their careers in differ-
ent directions. |enni has remained with Fonovisa, which has
promoted her heavily through the years although she and her
father control their master recordings through Pedro's com-
pany. Ayana Musical.

Lupillo, on the other hand, signed with Univision Records
after leaving Sony, then went to Venemusic and now has an
artist deal with Disa.

Both siblings, however, have broken ground as artists who
have taken regional Mexican music from fairgrounds and
rodeos to theaters and arenas like the Gibson Amphitheatre
and the Nokia Theatre in L.A. In fact. Lupillo co-hosted the
Billboard Latin Music Awards in 2007.

Both have also developed distinct imaging and personas.
Jenni, who often speaks publicly about her private life — in-
cluding her much-publicized divorce from an abusive first
husband— is developing a reality TV show and will release a
biography later this year.

juan is producing his own TV show, a blend of reality and per-
formance that he hopes to sell to a network. "My father always
taught us to work on our own and rely on no one," says juan,
who eight monihsagowasa contestant on a reality show in Mex-
ico on the Aztcca network. That led him to host another Azteca
show, "El Festival Azleca Music," in the United States. Acutely
aware of the potential of the Internet, he has hired someone to
handle digital media for him in Mexico. "Even though times are
rougher than ever, I'm working harder than ever." he says.

These types of extracurricular activities never appealed to
Pedro, however, and he now finds sales sorely diminished
and the bulk of hi.s income deriving from his valuable mas-
ter recordings.

"When I began to develop artists. I didn't have the vision
to sign recording deals together with touring contracts," he
says. "And that's where the money is."

However. Pedro continues to seek out new talent through
his own artist development collective. El Talento. and he has
his own Internet radio station, which he hopes will take off
in the near future. All Cintas Acuario and Ayana Musical re-
leases are also sold digitally on the Cintas Acuario Web site.
"We have to wait for the Internet to begin working ( for Latin
artists]," he says. "Everything has a process."

Jenni. Pedro. Lupillo and juan Rivera willsp€akat Billboard's
Re^onal Mexican Music Summit Oct. 8 ai the Hyatt Regency
Century City in Los Angela.

52 I BILLBOARD I OCTOBER 10, 2009

I BEYOKD BORDERS

A NEW WAVE OF RISQUE NARCOCORRIDOS GAINS
POPULARITY -AND RADIO PLAY- IN THE U.S.

Corridos- songs that tell the stories of notorious ctiarac-
ters- have gained new prevalence among mainstream fol-
lowers of regional Mexican music thanks to artists that are
daring to sing In the bluntest of terms and radio's new will-
ingness to play the racy songs.

Corridos hafve traditionally tackled many subjects in many
ways. For the last three decades, a popular subgenre has
been narcocorrldos, for example, which tell tales of drug
dealers arxS their exploits.

Until recently, however, songs that got too explicit were
rarely. If ever, played on radio. That is no longer the case, with
acts like Larry Hernandez, El Compa Chuy and El Potro de
Sinaloa rising on the charts with tracks like "El Katch," "El
Piloto Canavis" CThe Cannabis Pilot) and "El Sr, de la Hum-
mer" (The Guy With the Hummer).

"What's very Interesting is that radio Is increasingly play-
ing more corridos," says Gustavo Lopez, president of Oisa
and Fonovisa. "And stations that do so are successful and
have younger listeners, So, it's not only about the movement
itself but about the acceptance at radio."

For example, kx>nk: norteno group Los Tigres del Norte de-
buted at No. 1 on Bllltraard's Top Latin Albums chart with
their new album, "La Grants," at tho tdme tlrn« ttw sinola of
the same name hit No. 1 on ttie regional Mexican airplay chart
This is the first time a corrido hit No, 1 on that chart since Los
Tigres' "La Reina del Sur" did so in 2003.

Los Ttgres pioneered ttie comnwrcial corrido. singing about
drug trafficking long tief ore it was acceptable to radio. But un-
like toda/s crop of acts, which bluntly spell out drug usage and
violence, Los Tigres' style is far more subtle.

"What happens around us is the same," says Jorge Her-
nandez, lead singer of Los Tigres. The way things are told,
however, is different. "Our proposal, like [those of journal-
ists], lies In providing information that people have actu-
ally experierKed. But our reality doesn't rise to this level
Of fiction."

Songs like the legendary "Camelia la Teiaru." for example,
tell— in beautiful prose— the story of drug-trafficking lovers
Camelta and Emiik>, with Camelia shooting Emilio after their
successful heist when he confesses he loves someone else.
The current hit "La Granja." in turn, is a parable that com-
pares corrupt government to animals in a farm (ar>d yes, it has
been compared to George Orwell's "Animal Farm").

In contrast to Los Tigres del Norte, the now crop of acts
leaves nothing to the imagination. The players in their songs
traffic drugs, they get high, and they make money, as evi-
denced in the hit "El Katch." performed by both El Compa
Chuy and El Potro de Sinaloa ("Armani, Dolce y Gabbar\a,
Land Rover to cruise/With dollars in my bag and

Buchanan's to drink.")

Popular corridos inclucie l^rry Hernandez's "El Baleado,"
which reached No. 14 on the regional Mexican airplay chart
in July, and El Compa Chuy's "El Katch," which is essentially
a party song and went to No. 2 the same month.

Few of these hardcore narcocorrldos have entered the top
to of the regional Mexican airplay ctiart However, Josd Santos,
president of Santos Latin Media, which consults many radio
stations nationwide, says this fs a function of certain songs
tieing popular only in specific areas. Because corridos are es-
sentially stories, they often refer to specific regioru In Mexico
and appeal to pockets of the population that identify with
those regions.

A factor in radio programming. Santos says. Is that fans—
especially those from Mexico— request specific songs. In ad-
dition, popularity on the Internet, where many acts have
garnered hundreds of thousands of hits on YouTube and
MySpace, spurs radio interest.

Larry Hernandez, for example, has been putting out al-
bums since 1999 but only gained radio airplay after he
Signed with Fonovisa. (Hernandez was shifted to Fono-
visa after his original label. Machete Music, was acquired

by Universal.)

"I don't think this would have been possible without a big
label." he says. "Getting onto radio is hard, but when peo-
ple request the song, nothing is hard. 'El Baleado' started
climbing. There were radio stations that didn't want to air it
but they finally programmed it. Anything is possible when
people want to listen to something."

"El Baleado" is a track from Hernandez's new album, "16
f>4arco Corridos," which is No. 7 on the Top 1-atin Albums chart
The song Is a day in the life of a hard-drinking, card-playing
drug dealer, and the video plays out as an ode to the lifestyle.

However. HemarKlez says he in t>o way seeks to glorify that
way of life. While some of the appeal may lie simply in its
shock value, composer/singer Hernandez says he sings
about what he knows. "I lived violence as a child." says
Hernandez, who's also an avid reader of books about
drug cartels and the drug trade. "I was born in Los Ange-
les but was raised In Mexico, and as a boy, I saw how this
person or the other was killed. They are my experiences."

But while this may t>e the reality in Mexico, it isn't the
same in the United States. This fact, producer Adolfo Valen-
zuela says, makes the songs harmless— and appealing— In
the United States. "Here, it would be almost impossible for
[young people] to go arourtd toting guns." says Valenzuela,
whose company. Twiins Enterprises, has signed several new
acts lllte El Kommander. "I think they merely see it as some-
thing forbidden and cool. They see it as a new trend." —LC

Cr.i

MOBILE ENTERTAINMENT

BILLBOARD
T0P10
WIRELESS

ARTISTS

BY ANTONY BRUNO

The mobile music landscape has changed dramatically in
the last two years, as the i Phone revolutionized the
capabilities of wireless devices. New apps are forging new
links between artists and fans, as the phone evolves

beyond a sales platform for
ringtones to a hotbed of new
ways to entertain and
communicate. And while there
isn't any shortage of artists
pursuing projects in this
exciting new space, only a
handful are taking the lead, cutting new trails
for others to follow as the landscape changes
around them. Here, Billboard presents its
second Top 10 Wireless Artists list,
identifying the acts setting standards in how
to use mobile for promotion and profit.

FALL OUT BOY: THE INNOVATORS

Most artists are content to use today's mobile applications in the i
possible: adding their content lo a template and watching what liappons.

The members of Fall Out Boy take the tools available and make them iluii own
by integrating mobile services into a broader interactive experience. While plenty
of bands let fans download photos to set as wallpaper images for their phorus, last
year Fall Out Boy made a game out of a scries ofcoIlcctibleTarot cards. Rather than
just listing the number for SayNow — a service that lets bands and fans trade ^ oice-
mails — the group hid the number in the music video for "Headfirst Slidr Into
Cooperstown on a Bad Bet." The first message the band posted lo the service
came from "Tiffany" — the robot lead character of a comic Ixiok series i ailed
"Fall Out Toy Works*' — reading a URL directing fans to the online c omii .

In each case. Fall Out Boy keeps fans engaged by adding another layer ( if en-
tertainment. It was one of the first bands to set up a special Web site where
fans could upload mobile photos while at concerts. For this year's B( hijvers
' Never Die tour, it gave away tickets as part of a mobile messaging sweep-
stakes. The group is legendary on Twitter — one of the first acts to reach more

than I million followfrs — and uses its Mozcs mobile fan club lo poll tnem*
bers weekly on topics like their favorite song title and desired tour ^tops.
And it will be one of the first bands to sell music through the new TapTap
Revenge 3" mobile rhythm game from Tapulous.
"When they see something working, and see the automatic reaction by thd
they continue it and keep it going," says Dan Kruchkow, head of digital media
strategy for Crush Management, which reps Fall Out Boy. "They definitely like to
make it very interesting for the fans." BHI

OCTOBER 10. 2009 I www.billboard.biz | 53

U2: THE DEAL-MAKERS

Here's the kind of clout U2 has these days: When the band
announced that BlackBcrry was sponsoring its 360° world
tour, the move drew headlines for the fact that Apple — which
sponsored its last tour — was no longer involved.

In support of the Black Berry-exchisive mobile version of
its "No Line on the Horizon" album, U2 appeared in a Black-
Berry TV spot reminiscent of its earlier iPod ads. The band's
app lets users sample songs from the new album and link
to a U2 Mobile Shop to buy the album for S 10 or songs for
$1.50 each . Other elements include lyrics, a news feed and
a photo gallery.

Up next is an innovative set of social tools that will allow
f^fl^^^ concerts to mark where they're sitting against a
venue, and the ability to chat and share pho-
tos with oWpr app users attending the same concert. A
"Who's Li^piing" tab will let users see the names and lo-
cations of^Bier fans listening to the album on BlackBerry
devices ij^^al time.

Man^Vr Paul McGuinness says the band's goal is to rein-
vent th^lbum for the digital age. replacing CD booklets with
inte^five digital experiences. "As music fans, the band has
joyed all the detail of an album gatefold or CD book-
said after the BlackBerry app launched. "They want
iiakc visual material available with their albums, and this
app is the id&l way to do it."

It's easy for artists to jump on the bandwagon once a new mo-
bile application shows promise — it's much riskier to be the
first to test out a new platform. Yet when Matchbox Twenty
frontman Rob Thomas prepared for the release of his second
solo album, "Cradlesong." he became the first artist to launch
a mobile version of Atlantic's Fanbase platform.

As a computer
widget, J
fans aggn
and content like ph
videos and mus^
official online^tirces.
like an artist'sreb site,
as well as fr3
cial sources,
user-generated phoi
or news outlets. T|
mobile version d
same through tl
Adobe's I

nology but adds a few mobile-centric tweaks, such as letting
fans leave voice-mails, chat with other fans or find nearby con-
certs based on the phone's location.

The iPhone version includes two games — "inner Beauty"
and "Reverse Barbershop" — and a version for Nokia's Ovi music
and entertainment service is in the works. Thomas is also work-
ing witli BlackBerry maker Research in Motion on a free app.

A self professed "Twittering fool" with more than 100,000
followers, Thomas has sent more than 3,800 updates since
late March, personally responding to fan questions from his
ever-present BlackBerry. He revealed the first single from the
new album, "Her Diamonds." on the service. "Everything
about the way I deliver music to my fans and my relationship
with fans has changed," he told attendees at Billboard's Mo-
bile Entertainment Live conference this spring. "The only
thing that hasn't is the context that goes into it."

DAVE STEWART: THE EMISSARY

Famous for his recording work as half of Eurythmics and
as a solo artist. Dave Stewart also now serves as Nokia's am-
bassador to the entertain-
ment industry.

After becoming friendly
with Nokia executive VP of
entertainment and commu-
nities Tero Ojanpcra three
years ago, Stewart became
the inaugural (and to date
only) member of the mobile
phone company's Artists Ad-
visory Council, charged with
brainstorming new mobile
music products and forging
relationships with the music
industry elite.

Nokia could hardlyj
found anyone better-suited for the role. Stewart may!
of the best-connected songwriters in music-
duced Nokia executives to Bono and is writing sc
French first lady Carla Bruni — and he's a reg
think conferences like TE D and the World Econq
in Davos. Switzerland.

Most recently, he used a Nokia-branded ;
launch the career of an artist he manages — C
Cindy Gomes. It was Stewart who convince
the game around the singer by having her record i
music specifically for it, which players could then purd
on Nokia's Ovi music service.

TRENT REZNOR: THE APP MASTER

Ever since he left his major-label contract, Nine Inch Nails
mastermind Trent Reznor has l>een experimenting with new
digital models of distribution and promotion. In the mobile
environment, he hit his peak in April by releasing the NIN:
Access app, which included all the usual elements of artist
apps — access to music,
photos, videos and mes-|
sage boards — as well as a
G PS-based location feature
called Nearby. This lets
users scan an area for other
Access users as well as add
location information to
posted messages and pho-
tos. It even lets fans join
chat sessions with others
in a given area. The app
uses existingi
power most c
tionality: An e
Google Eartlj

view conversations taking place on the app's cl
from either the phone or from the desktop, and /
sion ofTwitter — called Twinkle — powers the text?

The Access app isn't his only experience on the iPhon^
Reznor struck a deal to make the first artist-branded versioh
of the popular music rhythm game "Tap Tap Revenge" lai
last year, and he later took on Apple's sporadic app appro^
process when it rejected an update to the Access apojp
listed his song's lyrics. The update was ultimatami^^d.

SOULJA BOY TELL'EM: THE PROMOTER

After launching his career on YouTube, Souija Boy Tell'em
used mobile platforms to maintain his momentum, prima-
rily through fan communication platforms like SayNow.

Souija Boy included his SayNow number as a line in the
chorus for his hit "Kiss Me Through the Phone" — released
just before Valentine's Day — and registered more than 4
million fans to his SayNow account. That makes Souija
Boy the service's No. 1 artist, according to SayNow. Since
his account went live in June 2007. he's received nion-
than 36 million incoming calls, his recorded messages
have been listened to more than 100 million times and
fans have left him more than 8.5 million messages. He's
also recorded 300 messages for all users to hear, whic
includes snippets of "leaked" songs
and tour updates, and he's held 30
live conversations with select fans.
Whenever he leaves a new message
on SayNow. an update is sent to all
users on Twitter.

According to his label. Uni-
versal Music Group, "Kiss ,
Me Through the Phone" is
its best-selling mas
ter ringlonc of m. ■

the yearand has i^^E^UT

sold the most
combined
copies across ;
mobile formats.

Souija Boy's other mobile
activities include using Veri-
zon's Mobile Recording Stu-
dio bus to remix songs
performed at various venues
on the America's Most Wanted
lour, and then making those
tracks available on the operator's
V Cast music service.

igs

BILLBOARD I OCTOBER 10, 2009

IMOGEN HEAP: THE DIY DIVA

Although signed to a major label. Imogen Heap likes to do
things her own way. She's constructed a recording studio
in (he former playroom of the house where she grew up,
and she wrote most of the tracks for her latest album, "El-
lipse." while traveling through the Asia Pacific region using
a portable setup.

Fans got the Inside
scoop on most of that
process by following her
on Twitter. She has av-
eraged three Twitter
posts per day since April
.',008, and she doesn't
i~^e a ghostwriter. In
l.irch. she let fans cre-
dle her official bio by
crowd-sourcing it to the
Twitter community: she
received more than
1 . 500 responses. Those
whose ci

made it into the final version received a hand-signel
the new album. She also posted links to the unfinished s
from the album, eliciting feedback and su^estions. As
suit. Heap has more than 900,000 Twitter followers, ran^ng
No. 18 among artists using the service. That's more thai
artists who get far more radio airplay and sales. IncBmg
Lady GaGa and Trent Rcznor.

She uses an i Phone app called 1 2seconds — which I"
create a short video by capturing three photos and «»udio-
clip from their iPhones — to upload quick updates o»!r daily
activities. And Heap is one of the few artists usin^fe .mobi
domain name to operate her mobile Web site.

PEARL JAM: THE DISTRIBUTORS

Mobile phones weren't even on the radar In 1991. when
Pearl |ani put ou: "Ten. " but the band has certainly embraced
the platform in recent years. For the album's March reis-
sue. Pearl |am teamed with Verizon Wireless for promo-
tion: In the 10 weeks prior to the March 24 release, the
company gave away a dificrcnl song ofTthe album each week
as a mobile download to subscribers as part of the "Ten
Weeks of 'Ten' "initiative.

Prior to that exclusive deal. Pearl jam teamed with Veri-
zon to make songs performed at each stop on its 2008 tour
available to attendees. Using the mobile opera torjadriobile
Recording Studio bus, the band's engineer mixedw^ee s(^^s
from each show for download on the V Cast mi^ st-nm'—
one for free and two al the standard download [irke ul S. 1 .29.
Verizon later made ringtones and ringbai k iniws <nir n( the
same songs. As the tour went on. llierjt.ilnc c^f^t -illnwini;
fans to download any version performed tlium^linuttfieUjin.

Most recently, Pearl jam and Verizon pi i>iiioii»dllif iund't
new album "Backspacer." released Sept ' ni ■ ■( ■ m-
lomers an exclusive ringtone and nr.;
song from the album every Thursday Ilmc.;:!!? uj^ ; e-
lease date, with the final three songs made avaiLii>!r ihe
week before release. -^^^^

DAVE MAHHEWS BAND:
THE COORDINATORS

After not releasing a studio album for four years, the Dave
Matthews Band had plenty of time to get its mobile ducks
In a row in preparation for the rollout of " Big Whiskey &
the GrooGrux King" in June. Fans who entered their mo-
bile number on the band's Web site received a free MP3
download of the first single. "Funny the Way It Is," before
it was available through any other outlet, resulting in 1 mil-
lion signups. The band also partnered with A'H
away the single to those using the Napster Move ap{
tion in hopes of driving them to purchase HBptones
ringback tones ot' other songs on the alhuni.

Tlie band worked with the mobile fan club gpei aior Mozes
to offer special ticket alerts and track giveaways. In jJv jnOB
of the album release, the band created a spi-dal vcr>i(iM ^
the "Tap Tap Revenge" iPhone rhythm ganii- from llipti*
lous that featured older songs and tracks fmin ilm- new
album, becotningonly one of a handful of acts to relej^ft
branded version of the game. Tlie band then followedBp
with an iPhone app that lets users see the sei lisi ftrtrnp-
coming shows in real time.

KEITH URBAN: THE MARKETER

By now it's become a common practice to let fans send text
messages and photos to a screen during live shows, but
Keith Urban expanded on the idea during his Escape To-
gether world tour.

In addition to offering participating fans the chance to win
seat upgrades. Urban gave every fan who posted a text mes-
sage a free live track from a choice of four songs. Those who
provided their mobile phone numbers received details about
how to enter the Me. You and a BBQ campaign, backed by
tour sponsors KC Masterpiece and Kiii^'^f ord . wiU|g^^vin-
nergettinga private concert and f^^ryard i ooka^^i^^-
test received almost 500.000 entrie';. ^Airh KaPWa-nerpWe
and Kingslord said was the most tlify\i- ri'i^eivt-d toi a pro-
motion. .^dditionally. more than M°a q£^ans tt'-\ti'd ines«
sages during Urhan's shows ultimate!;
mobile fan club, whicli now has 300,

Urban alsocreated the Keith Urbai
with the mobile service provider Zan
updates and content from the tour; fiS preteck-d
tour with a set of Verizon VIP perfVirma
Verizon subscribers. Verizon also w
cape Together tour.

bto his MozB

IP IVs iPhone ad|
toleilBiiisgel nev^j^

Kfoi

:a spoil

OCTOBER 10. 2009 I www.blllboard.blz

Cni

MOBILE ENTERTAINMENT

How do you develop your digitdl strategics
Ninety-nine percent of the time we come up with the ideas,
like the takeofT on the "Oregon Trail" game or the Citizens
for Our Betterment campaign. Obviously we don't have any
programming skills, though, so we don't do any of the back
end. But we go through all the bugs of everything before they
come out and speak up if we don't like the way something is
presented. There are times when we are approached by dif-
ferent people or companies. We are open to cool ideas from
other people, for sure.

Fall Out Boy was one of the first bands to embrace
MySpace and social networking, but now everyone
uses those platforms. How do you keep up with new
and disruptive technologies?

We were lucky in a weird way because we came in at the tail

end of I 111- era when hand^ still had viJt os on MTVund w viv
still si'lling records and made money touring, and we had
peer-lo-peer downloads on MP3.com and MySpace and all
of that. So, we had the best of all those things and were able
to establish ourselves as a band so that if one platform dis-
appeared, we still had other outlets.

In terms of new stuff. I'm pretty mucha tolal insomniac,
and I'm up all night looking around. I follow the kids. My
brother was the one who told me to switch evcrythinj^ to
Facebook. He was way early on it and he is younger than
me. I think that you get into trouble when you stand still.
You got to be like a shark.

Speaking of new things, when can we expect th« next

FaM Out Boy album?

I think that there's nothing worse than when you like a band

IHEBUBOAKDOM

PETEWENT

Fall Out Boy's Bassist Talks Mobile
Strategy And Offers Advice On How To
Get Fans To Love You In 140 Characters

BY CORTNEY HARDING

In this age of oversharing, it seems
strange to think that until 10 or 15 years
ago the most a fan could hope for in terms
of communication from a famous artist
was a signed picture from a fan club or a
few minutes outside a tour bus after a
show. When Pete Wentz and his band, Fall
Out Boy, started making noise in 2003, the
band was noted not only for its emo-pop
music but also the way it used e-mail and
blog postings to forge closer relationships
with fans at a time when most acts were
still getting online. ^ Millions of albums
later, Wentz and his bandmates stay in
touch with Twitter and use the Web to
engage fans with such quirky online
games as "Fall Out Boy Trail," a play on
the primitive computer game "Oregon
Trail," and viral promotion campaigns like
Citizens for Our Betterment, which
promoted the band's latest album, "Folie a
Deux," under the guise of a political
organization. Wentz, who will be the
keynote interview at Billboard's Mobile
Entertainment Live conference Oct. 6 in
San Diego, spoke about his label, the
future of Fall Out Boy and why he lets his
son Twitter for him.

56 I BILLBOARD I OCTOBER 10, 2009

and you get their record and you can totally tell that their
music is uninspired and they just fell like they had to put out
a record. We have been grinding so much that we haven't had
the time to kind of figure out what we want to do creatively.

There have been reports that Fall Out Boy Is basically

done. That's not the case, right?
We put out a video ("What a Catch. Donnie"| that people
can interpret as the final thing or they can interpret it as a
celebration of what's going on or whatever it is.

We are going to stop doing Fall Out Boy when Fall Out
Boy stops being fun. I think that the world needs a break
from Fall Out Boy as much as Fall Out Boy needs a break
from the world. They need to embrace some other bands
out there and you can't always be shoving everything in
people's faces all the time. To that extent, it is calculated.

Maybe we will start recording again in two weeks; maybe
it will be three years. I don't really know. There is no plan
in motion at all and no one has said the "H" word [hiatus]
no matter how many limes people try to get us to say it.

But you won't disappear from view, since you are so
active on Twitter.

Yeah, although sometimes [toddler son] Bronx tweets for me.
I was on UberTwilter and |my wife] Ashlee [Simpson] came
in the room and asked if 1 could watch him and he just went
in on Baby Twitter. It was whatever numbers or letters he put
down went out as the tweet. I was like, "That's pretty cool."

As much fun as it is to have your son Twitter, you must
have a broader strategy for using it.
You use Twitter twocompletely, vastly different ways. Itcould
be the ultimate tool of narcissism. Yesterday I said, "I am
using Twitter in its most narcissist way possible. I am tweet-
ing in the mirror while I have another mirror set up so I can
read thcTweel forwards." It can be so narcissist and selfish,
but at the same time we used it to gel $1 million for an or-
ganization called Invisible Children by asking followers to
each contribute $1.

One of the greatest things about Twitter is pointing at
stufT. For instance, Music Mondays is awesome because
you are able to let people hear music that they wouldn't be
able to hear otherwise,

And I'm sure you used Music Mondays to introduce
your followers to bands on your label.
In terms of the label, right now Cobra Starship is really blow-
ing up. Wc are working hard with them. We are working hard
on a new Panic! at the Disco record. Wc have two bands wc
are looking to sign. Wc try to keep our label small. 1 1 was sup-
posed to be a vanity label and then all of a sudden Panic sells
like a million records and then Gym Class Heroes have a No.
I song. But at the same time we want to keep it like it is a gang.
We never really called it a label; we always called it a gang. It
is unfortunate because on the Billboard charts they refer to
us as a record label but I wish we could be referred to as a gang.

In addition to the label, you also have a number of
other ventures. How are those doing?

We have a bar in New York, a bar in Barcelona and a bar in
Chicago. I have a boutique for my clothing line and in the
back we have a hair salon that's by appointment only. It is just
a fun little clubhouse to hang out in when I am in Chicago.
These things have always been hobbies for me. I think peo-
ple think that a lot of what 1 do is more lucrative than it is.
but the truth is a lot of the things don't make money and we
are lucky when we break even. But it is not why we are doing
them — this is the time to push pop art. This is the time to
push pop music and bend it and make it weird. Because peo-
ple out there are doing it like Lady Gaga and Kanye West.
There are other people out there doing it and wc want to be
a part of that movement.

DANCE OF DAYS

The Decaydance Roster Is Pete Wentz's IPod Writ Large

THE ACADEMY IS. . .
Latest album:

"Fast Times at Barrington
High" (2008)
Sales: 85,000 copies
(all figures according to
Nielsen SoundScan)
The Academy Is . . . formed
in 2003 in the Chicago sub-
urbs, got signed by Pete
Wentz on the strength of its
debut EP in 2004 and head-
lined the Vans Warped tour
in 2006 — a rather quick up-
ward trajectory. Its emo-
punk debut. "Almost Here,"
sold 265,000 copies, while
follow-up "Santi" sold
132,000. Its latest album
peaked at No. 17 on the Bill-
board 200, and the single
"About a Girl' went to No.
88 on the Billboard Hot 100.
The Academy Is . . . released
an EP, "Lost in Pacific
Time," Sept. 22 and is lour-
ing in the fall.

THE CAB
Latest album:

"Whisper War" (2008)
Sales: 67,000

The Las Vegas band the
Cab got its big break al a
Cobra Starship show in
2007, where its members
met Panic! at the Disco

drummer Spencer Smith,
who brought the band to
Decaydance. The Cab's
first album, "Whisper
War,' was released in April
2008 and entered the Bill-
board 200 at No. 108. The
band just finished its first
national headlining tour,
titled What Happens in
Vegas, and is currently
writing its next album.

COBRA STARSHIP
Latest album:

"Hot Mess" (2009)
Sales: 80,000

The Cobras struck this
summer with their hit
"Good Girls Go Bad," which
peaked at No. 7 on the Hot
100 and featured guest
vocals from "Gossip Girl"
star Leighton Meester.
Formed in 2006 after the
breakup of frontman Gibe
Sparta's previous band Mid-
town, Cobra Starship re-
leased "While the City
Sleeps. We Rule the Streets"
in 2006. followed by the
Patrick Stump-produced
"Viva La Cobra! " a year later.
The glam-pop act is pro-
moting iLs latest release and
recently played the MTV
Video Music Awards.

FOUR YEAR STRONG
Latest album:

"Explains It All" (2009)
Sales: 10,000

One of the harder bands on
the Decaydance roster. Four
Year Strong owes more to
bands like Lifetime and Go-
rilla Biscuits than some of its
guylinered labelmates. After
releasing an album in 2007 on
I Surrender Records, the
group was courted and signed
by Wentz in February 2008.

GYM CLASS HEROES
Latest album: 'Ttie Quill"
(2008)

Sales: 108.000
Tlie rap-rock act carnc out of
the gate strong: Its first album,
"As Gruel as School Children , "
sold 540,000 copies, and the
album's single, "Cupid's
Chokehold." peaked at No. 4
on the Hot 100. However, its
latest album. "The Quilt," was
met with a more lukewarm re-
ception. The band is now writ-
ing a follow-up.

HEY MONDAY
Latest album: "Hold On
Tight' (2008)
Sales: 64.000

The only female-fronted band
on Decaydance, Hey Monday

is poised to be the next
Paramore. The upbeat pop-
rock act has toured exten-
sively and written plenty of
hooky, heart-wrenching
songs about breakups and fu-
tile crushes. The band is on
the Glamour Kills tour with
All Time Low. We the Kings
and the Friday Night Boys.

PANIC! AT THE DISCO
Latest album: "Pretty. Odd.'
(2008)

Sales: 400,000
Panic! at the Disco sent fans
into a panic recently when it
announced that guitarist Ryan
Ross and bassist Jon Walker
were leaving the band. The de-
partures raise new questions
about Panic's musical direc-
tion— while it shot to fame
with its glammy, theatrical
debut ("I Write Sins Not
Tragedies." which sold 1.8
million copies) , a more retro,
rootsy second album failed to
grab fans in the same way.
Ross and Walker have an-
nounced the formation of a
new band, the Young Veins,
while the remaining mem-
bers of Panic are working on
a follow-up album.

— Crystal Bell and
CoTiney Harding

BINARY STARS

Decaydance Pushes Digital Promotion Strategies

When Cobra Starship titled a song on its
recent album "Pete Wentz Is the Only
Reason We're Famous," it was only tialf-
kidding. During tt>e past five years, Wentz
and his imprint. Decaydance, have broken
and signed a number of prominent rock
acts, including Panic! at the Disco, Gym
Class Heroes and, most recently. Cobra
Starship. whose "Hot Mess" debuted at
No. 4 on the Billboard 200.

Wentz describes Decaydance as a
"gang," and Crush Management co-
founder Jonathan Daniel says the label
is "a family thing."

"The t^ands on the label all bring in
other bands and help them grow,"
Daniel says "Tho office is almost like a

commune. We have studios In the back
and people just hang out here."

Decaydance has taken a page from
the hip-hop playbook when It comes
to signing and promoting developing
artists. Established bands routinely
bring new acts to the label, take them

on tour and discuss them in interviews.
Fall Out Boy even put out a mixtape in
advance of its last album featuring sev-
eral Decaydance artists.

"The Decaydance logo on an album
really means 5on>ething," Daniel says. "If s
a strong, identifiable brand at this pcHnt."

The family aspect of the label is also
reflected in its structure. Decaydance is
run under the umbrella of Caish Manage-
ment, wtiich also manages all the acts on
the lat>e[. Decaydance originally had a
distribution deal with Fueled by Ramen
and went with it when Atlantic purchased
the label. Decaydance's three-year deal
with Fueled by Ramen/Atlantic recently
ondod, and even though Atlantic still dis-
tributes most of the acts, it has tried out
some new partners, signing a deal with
Columbia for the act Hey Monday.

Daniel Kruchkow. Crush's head of
digital strategy, says this close-knit ap-
proach allows the bands to put their
fans first. "Our acts have real conver-

sations with their fans, because they
realize they're nothing without them,"
he says. "Gabe [Saporta of Cobra Star-
ship] is online all day tor>g replying to his
fans. They use services like SayNow and
Livemode to leave voice-mails for fans
and set up live calls with them."

When it con>es to more amt>itious dig-
ital initiatives, like Fall Out Boy's version
of the "Oregon Trail" videogame,
Kruchkow says he lets artists take the
lead. "Pete blogged about It, the fans
love it, and we thought we might as well
do it," he says. "The return was huge; hun-
dreds of thousands of kids played >t"

Kruchkow and the bands also try to
pinpoint which digital platforms are
about to hit a tipping point. "I spend
lots of time reading tech blogs, and the
bands are very clued in to the different
services." he says. "It's important for a
band to actually like to use these plat-
forms; it feels forced and wrong if
they're not Into it" -CH

OCTOBER 10, 2009 I www.bmboard.blz I 57

Macy's salutes the 2009
Billboard Women in Music Honorees!

★**★

M u Iti-p I a ti n u m , m u Iti-ta le nted ! "

The Woman of the Year, Beyonce

Top sensation, break-out success!''

The Rising Star, Lady Gaga

^^Artistic vision, executive brilliance!"

The women who shape the industry

★mocys

Cni

SPECIAL FEATURE

For the^fth consecutive year, Billboard's Women in Music
feadjre pn our Power Players series recognizes female
w^tfutives who drive our business forward with vision,
dedVation and hard work.

But this year's list differs substantially from those we've
lacesented in previous years, since we set up a nomination
process that was more open and inclusive than ever.

This summer, we invited our readers worldwide to
submit nominations to Billboard. biz. We promoted the
nomination process in print, online and through e-mail.
Female executives in every industry sector were eligible.
More than 150 responded.

A team of Billboard editors then reviewed every
nomination, numerically ranking the nominees on their
achievements in the past 12 months, the measure of those
achievements and their leadership in the broader industry.

The nominees who didn't make this list are certainly
accomplished executives. But the selection of the 30
honorees featured here represents the collective ranking
and judgment of Billboard's editors.

As in the past, this list reads like a roster of the top 30 people
in the music business who happen to be women. But the
range of their expertise reflects the achievements of a much
greater number of women who are advancing our business.
We congratulate them all as we present this year's Women
in Music report. —Thorn Duffy

OCTOBER 10, 2009 I www.blllboard.biz I 59

Judy McGrath

Chalrman/CEO, MTV Networks

How do you make it to the top of Billboard's
Women in Music list? Bring the Beatles into the
digital age. The Sept. 9 launch of "The Beatles:
Rock Band" was a singular success story for MTV
Networks in 2009, and while figures haven't yet
been released, MTV expects the premium $250
bundle to be sold out by November. Most
significantly, the game developed on chairman/
.CEO Judy McGrath's watch may well mark an
lant watershed in widening the demo-
graphic appeal for videogames that are driven by music.
Meanwhile, the Sept. 13 MTV Video Music Awards— with a little
help from Kanye West— did more than enter the "I'm gonna let
you finish" construct into the lexicon.
It helped the show garner
million viewers across K
MTV2 and VHl, up 17% frc
2008, according to Nieisc
Media Research. On the da
of the awards, audience traf
fic to MTV.com jumped 20°/
over the previous year anc
increased the site's averag
daily traffic by 220%. Ar
during 2009 as a whole
VHl enjoyed a 12%
fic bump from tl
year prior, accordin
to Nielsen Med
Research, thanks to
the introduction of
nine new series.
"Music owns a big
piece of the cul-
tural conversa-
tion," McGrath
says, comment-
ing on the past
year. "The steady
drumbeat of the
MTV Awards, The
Beatles: Rock Band,'
followed by 'VHl
Divas' and 'Hip-
Hop Honors' gives
us a lot to love
about music today
and every day."

60 BILLBOARD ' OCTOBER 10. 2009

Julie Greenwald

Chairman/coo, Atlantic Records^

^^^^^ Promoted to chairman/COO of Atlantic F
-^^^^^^ in February, (uHe Greenwald has contin^TOher
jflu^B winning streak at the label. Atlantiy^^d 2008 ^
4> "^i^ album share J

bels and was the Brst label to
^^^^^^^K of its revenue came from digital sales, tnclud-
^^H^^^IH ing downloads and ringtones. (Flo Rida, who
set the record for the highest-selling digital single in 2008 with
"Low." broke his own mark in February with chart-topping dig-
ital sales of "Right Round.") Year to date for 2009. Atlantic's over-
all album market share, including current and catalc^ titles, is
7.5%, holding steady with where the label ended '08, according
to Nielsen SoundScan. The label this year has racked up 10 top
10 album debuts, including albums from Flo Rida, Rob Thomas,
Staind, Jay-Z, Trey Songz and Pleasure P. Atlantic has also been
a pioneer in the 360 business model, signing more than 50 acts
to multiple-rights deals. '1 am most proud of our artist roster,"
Greenwald says in reflecting on the past year. "We've continued
to develop new acts and reposition our bigger artists while en-
gaging in multiple- rights deals with almost 50% of our roster."

Jody Gerson

Co-presldent, Sony/ATV Music Publishing

As co-president of Sony/ATV, |ody Gerson a
cessfully mixes creative and business acumo
to propel the company to new peake. Sony/AT
won the coveted ASCAP pop publisher of tl
year award in April for the first time iu the com-
pany's history, in large part due to Gcrson's
leadership and signings, according to the com-
pany's director of operations Jimmy Asci. Moreover, Gerson's
leadership has helped Sony/ATV boost its market share in the
top 100 songs, as compiled by Nielsen BDS. During her first year
at Sony/ATV. Gerson hit with her first signing — Lady Gaga. She
has since signed Johnta Austin, Enrique Iglesias. Mike Posncr.
Stereo Skyline, Nikki |ean and 2AM Club, among others. She
also works closely with Sony/ATV artists like Akon. Shakira.
Wyclef Jean. Maxwell and Linda Perry. Gerson has also revamped
the West Coast creative department and the urban department
and oversees the film and TV department, led by senior VP Ron
Broilman. Gerson is on the board of Alicia Keys' Keep a Child
Alive organization, was recently honored by Teen Impact as a
person who has made a significant difference in the lives of
young people who have cancer or blood diseases and participates
in the Bandier Program for the Music and Entertainment In-
dustries at Syracuse University.

Kathy Willard

Executive VP/CFO. Live Nation

In iuT roll- as Live Nation cxecuj^e VP/C|

K.ilhy Wiiiard has worked to j
S'tO million in expected savings from the |
posed merger of Live Nation and Ticketnj
tcr. (The combined entity would be wo
billion iti total assets,) Since the merger an-
iKiuincriu-nt, Willard has spent countless
hou rs .1 nalyzing its impact, while working alongside lawyers,
U.S. government officials and executives at both companies,
aiming to close the deal by year's end. "This is obviously not
our typical acquisition." Willard says, citing Live Nation's J350
million purchase of House of Blues in 2006 as the company's
largest previous acquisition to date. "This is really pulling to-
gether a merger of equals." Another focus of Willard's work
this year was collaborating with Live Nation execs on their ag-
gressive approach to summer concert pricing and promotions,
a strategy conceived to counterbalance a tough economy. "1
worked alongside the division heads to understand their busi-
ness and what the implications are so they could look for ways
to cut costs when ticket sales aren't coming in like we wanted
to or look for other promotion opportunities," Willard says.
More than 800,000 tickets have been sold through Live Nation's
No Service Fee Wednesday summer program, she notes.

ILLUSTRATIONS BY JOSHUA GORCHOV

CONGRATULATE

*^ l_on being named

debut album, The Fame, certified Platinum in US
first artist in a decade to have first two singles off debut album reach #1

("Just Dance" and "Pol<er Face")
"LoveGame" and "Paparazzi" both Top 10 hits

joay gerso

WE ARE so PROUD OF BOTH OUR SZttVS

ony/ATV Music Publishing

Sony/AW

MUSIC PUBLISHIMQ

www.sonyafv.com

Cni

Sylvia Rhone

President, Universal l«iotown Records

Universal Motown Records presi-
dent Sylvia Rhone could have
earned her place on this list solely
for signing both of hip-hop's most
touted MCs of 2009: Kid Cudi and
Drake. Kid Cudi released his debut,
"Man on the Moon: The End of Day,"
last month, and it sold 104,00
copies in its first week, according
to Nielsen SoundScan. "We didn't
have a traditional hit single at
radio, but that wasn't central
to the success of our cam-
paign," Rhone says. As for
Drake, who was the sub-
ject of one of the biggest
bidding wars in recent
times, he will release his
debut, "Thank Me Later,"
in early 2010. The album
will feature collabora
tions with Kanye

West, Jay-Z and Lil Wayne, with
whom Drake is currently touring.
And speaking of Lil Wayne, the Uni-
versal Motown artist, who marked
the highest first-week sales last
year when his "Tha Carter III" album
sold 1 million copies, has the high-
est-grossing hip-hop tour of
the year— and the most lucrative
rap jaunt ever, according to Bill-
board Boxscore. Seventy-
eight Lil Wayne headlining
concerts in North America
from Dec. 14, 2008, to Sept.
6, 2009, grossed approxi-
mately $42 million and
drew nearly 804,000 fans.
Meanwhile, Rhone's deals
in the past year have
expanded Motown's
scope in A&R and
the digital arena.

Debra Lee

Cliairman/CEO, BET Networlts

In the past year Debra l.ee. chairnian/CEO of
BET Network-s. led hercompany toa numberof
notable accomplishments, including spt^arhead-
mga new programming strategy that led to the
launch of "Keyshia Cole: The Way II Is," -Sun-
day Best," "Brothers to Brutha" and "Tiny &
Toya." According to BET, "Tiny&Toya" just fin-
ished its first season as the No. 1 original series in the channel's
history. In the second quarter. BITT had its strongest three months
in the network's 29.year history, with viewership up 34% over the
same period of 2008. according to Nielsen Media Research. BET
also made a significant commitment to encourage viewers to vote
in the 2008 presidential election, airing programs that sought to

inform and educate its audience. The coverage i]
News specials to the company's first Inaugurall
President Barack Obama's arrival in WashingtJ
has overseen BET's new international distributio
in the United Kingdom early last year and in Afric^
as well as the launch of the company's new network, i
28. "This has been a huge year for BET," Lee says. "We've seen
the highest ratings in the history of the network, but clearly the
highlight was the BET Awards. It meant so much to all of us to
be there for our audience at that emotional time [ following the
death of Michael lackson). The number of viewers who tuned in
to see the show was a testament to Michael Jackson's far-reaching
and long-lasting influence and legacy."

as /

vision £

rchop ShcHHusk

Alexandra Patsavas

Owner, Chop Shop Music Supervision

Alexandra Patsavas. owner of Chop 5
^^^^^^^H Supervision, continued the year in Itertoleas
^^^B ihe music supervisor for "Grey's Analoniy,"
^jJ^k "Private Practice." "Chuck." "Gossip Giri."
^H^^^^l "Without a Trace," "Rescue Me." "Mu»b3rs."
^^^^^^^H "Supernatural" and "Mad Men,' as well as for
^^^B the upcoming film "'Die Twilight Saga: New
Moon." The soundtrack to the first film in the series. "Twilight" —
on her Chop Shop imprint at Atlantic Records — has sold 2.2 mil-
lion copies, according to Nielsen SoundScan, making it one of
the top-selling soundtracks of the past year, while boosting the
profile of bands like Paramore, Muse. MuteMath and Iron &
Wine. Patsavas' "Music from 'The OC " soundtrack series —
which consists of sbs collections — have sold more than 869,000
copies, according to SoundScan. Patsavas is a leader in making
the critical connection for viewers who want to buy the music
they hear on TV: most of her shows feature online music guides
and video blogs that detail what songs and artists were featured,
as well as giving behind-the-scenes insight as to why ihey were
chosen for that particular episode.

Amanda Marks

Executive VP/GM,
Universal Music Group Dlstributioi]

^^^^^^^^H Named executive VP/CM of Jl
^^PI^^^^H Group Distribution earlier tif

^r^^^^H Marks is at the forefront of cfTo^
^^^P^^^l the digital/physical divide. He?

^^,^^■11 UMGD artists and labels to move more seam-
^^^JF^m lessly between opportunities in the two distri-
WF • v*^ m bution channels. "My primary focus has been
in reorganizing the company so that on both the marketing and
sales sides we are one format-agnostic organization." Marks
says. She also has helpted create sales and marketing opportu-
nities through deals with companies like Echospin (an integrated
multiproduct e-commerce solution). ID Interactive (customiz-
able ringtones). Kyte (an online and mobile video platform for
live and on-demand content) and Deli (laptops now have the op-
tion of coming with either 50 or 100 song music bundles) that
boost the personalized marketing and sales services that UMGD
offers its artists and labels. She also has been leading the charge
for moredirect-to-fan sales initiatives. And UMGD is extending
its reach into nontraditional retailers where fans are already
shopping. UMG D outpaced the industry during the last year in
digital album sales and digital track sales, with the latter up 19.7%
at the midyear point, versus 9.9% for the industry excluding
UMGD. while digital albums are up 21.3%, against 18.3% for
the industry excluding UMGD.

Claudia Palmer

Executive VP/COO, Europe,
EMI Music Publishing

^^■g^^^ Claudia Palmer, executive VP/COO of E
Music Publishing, helped design a new org;
^■Si ^e^^B nizational structure for the company across
IV .^1 Europe, which accounts for about 4U% of its
^■hgB^H business. The result, she says, is "better serv-
^^KKS^^^L returns for our writers." Palmer also

Ir^f^^^^ helped lead the launch of new copyright and
royalty processing systems and also CORE (EMI Music Publish-
ing's creative content division) in Europe. EMI's move toa cen-
tralized administration function in Europe has saved millions
of dollars in costs, according to the company. She helped in-
crease profits in the region through new revenue streams and
achieved "double-digit growth" in EMI's production library busi-
ness, for which she also has assumed responsibility. "We've un-
dertaken a huge change-management program, impacting all
of our systems and processes, to drive efficiency on behalf of our
songwriters across the world,' she says. Palmer played a key role
in establishing CELAS, the European digital licensing organi-
zation that represents EMI Music Publi.shing repertoire, and
she works closely with collection societies throughout Europe.

BILLBOARD I OCTOBER 10, 2009

Cri

Julie Swidler W

Executive VP of business affairs/generai
counsei, Sony Music Entertainment

As Sony Music finiiTtairinu'iilexL't.uti\i' \ Pof
businessafrairs/^ciieraUnniisel, Jill ii-s.v idler
is the lop-taiikin^ U'yaloici iin\ p for \hv woi Id'?
st tond-iarypitlmusiccomDaiiv. Sliciiai pla'.i d
a role in some of Sony Music Entertainmenl's
biggest deals during the last year, including ne-
gotiations with Universal Music Group to form
the Vevo joint venture and the agreement between Columbia/Epic
Label Croup and Roc Nation/]ay-Z. She also assisted in Sony
Music's transition from a joint venture with BMG to full Sony
ownership last year. Swidler is a member of the general coun-
sel committeeof the Rl AA and part of the team of senior recorded-
tnusic executives involved in ongoing negotiations with music
publishers in talks concerning a broad array of rights and busi-
ness issues. Her philanthropic activities include involvement
with the TJ Martell Foundation and a position on the board of
the Music for Youth Foundation. "With the evolution of our busi-
ness, 1 have enjoyed being involved in some intriguing initia-
tives and deals over the past year,' Swidler says. "I am most
proud, however, of being a member of the Sony Music senior
executive team as we navigate through this extremely challeng-
ing time in the music business and continue to vigorously pur-
sue opportunities to strengthen our company. Mosl importantly,
we maintain our passion for our iconic artists as well the emerg-
ing and brand-new artists we are signing."

Marian Leighton Levy

Chairman, Rounder Records

Rounder Records chairman Marian Leighton
Levy oversaw the release of the successful
Robert Plant/Allison Krauss collaboiation
"Raising Sand," which won Grammy Awards
'^%t^ M furalbumandsongoflheyear.flnall.Rounder
this past year was nominated for 1 3 Grammys
in 12 categories.) Leighton Levy has also boosted
the company's global reach, signing Rounder's first interna-
tional distribution deal. She's now gearing up to celebrate the
label's 40th anniversary, which will be the subject of a PBS TV
special to be taped in October, Additionally, Leighton Levy tes-
tified before the Senate Judiciary Committee in early August, on
behalf of the record industry's support of the Performance Rights
Act. an issue that she has supported for the past two years. All
of this has led to sales increases: In 2008. Rounder's market
share was up 33% over 2007 while international business dou-
bted in 2008. compared with 2007. the company reports. "This
pant year has been an exciting one for me and for Rounder." she
says. "It is exciting to feel that momentum continue as we enter
our 40th year in the record business."

Marsha Vlasic

Senior VP of contemporarj
International Creative Man

, ^ Marsha Vlasic has!

■L of the top touring j

^Bb|^ ^ clients: Neil Younfi
^^F^ Folds. Elvis

^^^^^^ • Muse, Ozzy Osbourne and Regina Spektor.
^^^^E^j^l Vlastc's stature was secure as founder of her
Hi^HH^I own agency, the Marsha Vlasic Organiza-
tion. She has been a pioneer in music festival packaging, in-
cluding Ozzfest and H.O.R.D.E. Last September.
International Creative Management acquired Vlasic's com-
pany and named her senior VP of contemporary rock. She
recently expanded the division with the hire of Robin Tay-
lor, who added to the ICM roster such indie acts as the Shins.
Modest Mouse, Band of Horses, the Hold Steady and Wolf
Parade. Vlasic describes the growth and development of
Spektor. Muse. Cage the Elephant and Devcndra Banhart as
highlights of 2009, along with the newly forged partnership
with Taylor. She's also bullish on Moby's current tour and
Osbourne's upcoming recognition as a Legend of Live at the
Billboard Touring Conference in November.

Tammy Genovese i

CEO, Country Music Assn.

m fjfgfjg^ m As CEO of the CountryMu^ic Assn. Tammy
f Yl Genovese shepherds one of ilie industry's

most successful award show** as well as CMA
Music Fest. an annual Nashville e\ent that
drew an :i\i ra^e daily attendance ut 36.00(1
people in |une. a 7.2% increase in attendance
over 2008. "I have the awesome privilege of
working with a great team of staffand board members. We
work extremely hard to create an event that our artists enjoy
and love to play and that our fans can't live without," she says
of the event, which has donated more than $2.2 million to the
Metropolitan Nashville Public Schools system. 'It also helps
that our festival has earned a reputation for being affordable
and family-friendly, which bodes well for us in a sluggish econ-
omy . . . But at the end of the day. it is about our amazing artists
and their relationship with their fans." This year "CMA Music
Festival: Country's Night to Rock" expanded from a two- to a
three-hour ABC TV special. The 43rd annual CMA Awards
airs live Nov. 1 1 on ABC. Genovese in the past year also com-
missioned an extensive research study on the habits ofmusic
consumers. "This information has helped our stakeholders
understand the muliifaceted marketing approach necessary
to reach the various types of fans so we can not only sustain
but grow our business."

»xt<^

:7r

Cynthia Sext<

Executive VP of music services,
EMI Music, Worldwide

r^^^H As the music industry tidiiEiuouii awayfroin
™ albimi sales as a maifl| driver of ri'vpniie,Cvn-
ihia Sexton has ste^Hjuptosucct s.-tullygeii
erate new "cmmimHtlUlmmim EMI artists, aii
executive VP of music ser\'ices for EMI Music.
^ Worldwide. She was one of the leaders in the
negotiations to bring 'The Beatles: Rock Band-
to market, as well as drive the use ofmusic in other videogames
like "Grand Theft Auto" and "D| Hero." Other partnerships in-
clude deals with iPhone app developer Tapulous on games like
"Tap Tap Dance" and "Tap Tap Coldplay." EMI helped pioneer
the multiple-rights 360 deal strategy with Robbie Williams and
Korn. and now more than 90% of EMl's new artist deals in the
past year involve aspects beyond recordings. Brand partnerships
include companies like Fairmont Hotels. Guinness. Origins and
jCPenncy and a deal with lottery marketer Pollard to include
artists on instant-win tickets. Nonphysical sales, including dig-
ital, licensing and rights, represented more than 35% of EMI's
income in the fiscal year, compared with 20% of its income in
the previous year, the company reports. For Sexton, however, all
you need is love: "The biggest highlight of the year," she says,
"has been working with Apple Corps and MTV/Harmonix on
the launch of "The Beatles: Rock Band.' "

Brenda Romano / ^

President of promotion, f y""^^

Interscope Geffen A&M Records

It's no accident that -iongs tioni tlu' Black Eyed
Peas and Lady Ci jj.;.! havelx-en ubiquitous on the
radio in 2009. TTie mastermind behind their air-
play push \\d> lx-f?i Brenda Roni.ino. picsidenl
of promotion for Interscope CelTen A&M. Her
strategy is to secure airplay at multiple fonnats —
including top 40. rock, alternative, hot AC and
triple A — rt-sulting in Interscope Geffen A&M acts scaling ihc Bill-
board Hot 100, CHR/Top 40. Modem Rock and Rhythmic charts.
Thanks to (he back-to- back achievements of Lady Gaga's " Poker
Face.' then the Peas' "Boom Boom Pow* and "1 Gotta Feeling" at
the top of the Hot 100. Interscope set a new label record for re-
maining at No. 1 for 26 straight weeks as of the Oct. 3diart. "Uhas
been a very rewarding year, highlighted by Inlerscope Geffen A&M
holding the No. 1 spot for the longest nm in Billboard Hot 100 his-
tory with three conseaitive No. 1 s from the Black Eyed Peas and
Lady Gaga." Romano says. "I'm so grateful to have the chance to
work with so many talented artists and colleagues."

Amanda Ghosi

President, Epic Records

After a successful!
Amanda Ghost becl
Records in Februan
of her acts ascend t
charts, inclydwiy the Piay. :
Shakira. Matisyalui. Scjii Kingston and Howie
Day. Shakira's latest single, "Loba.'has hit No.
1 on Billboard's Hot Latin Songs chart, and Ghost has co-writ-
len and produced an upcoming track on Shakira's new album
"She Woir called "Gypsy." Earlier this year. Ghost was nomi-
nated for a Golden Globe Award for "Once in a Lifetime." a song
co-written for Bcyonc^ in the film "Cadillac Records." She also
co-wrote and co-produced three songs on Beyonc^'s third album,
"lAm. . .Sasha Fierce.'Among the artists forwhomshe'swrit-
ten and/or produced songs this year are James BlunI, Daniel
Merriweather and Beverly Knight, for her new album " Beauti-
ful Night." Ghost is even heard singing backup vocals on the
track "Colours' on the Prodigy's current platinum album "In-
vaders Must Die." "The last year has been extremely rewarding,
as 1 have been given theopportunity to contribute to all the artists
on Epic, encouraging their creativity, in order to gel the very best
results out of the album-making process," Ghost says, "I am very
proud of all the records we have produced this year and of the
extraordinary talent it took to make ihem so great."

-1

■adTEMI

Andria Vidler

President, EMI Music U.K. & Ireland

Andria Vidler — the first woman to leaoEM!
Music U.K. & Ireland — took up her nev\' role
at the start of September. But she's alreadv hit
the ground running, »ith the Sept 9 Beatles
V Day seeing the Fab Four sell iS4.000albums

%Vj>^ y , in the United Kingdom in 1 1 days, according
■'^^ V to EMI. But Vidler brings a wealth of market-
ing experience from previous roles. She was chief marketing
officer at Bauer Media, home to such mulltplaiform U.K. music
brands as Q magazine {recently chosen as one of Billboard's
top 10 Maximutn Exposure platforms in the United Kingdom).
Kerrang and Kiss. That experience should stand her in good
stead as she preps the Nov. 9 launch of Robbie Williams' come-
back album. "Video Killed the Reality Star" (Virgin), the last stu-
dio album in Williams' current EMI contract. Vidler describes
her new position as "the perfect mix of my former worlds. De-
veloping creative marketing and product plans that connect
with consumers and engage them in the power of music — it's
almost a combinafion of media owner and markering agency,"
she says. "There's one striking difference, however Ultimately,
music companies only get paid on results — a very healthy way
of doing business."

Lia Voiiacic-Friedman

ColumDia Tr

President of worldwide music,
Columbia Tristar Motion Pictures Groti

Among the highi^tos ot 200Jft
Friedman was o^^^peing t^K>undtrack|
"Quantum of Sol^^Kthe fam^
featured thMMtpHSHMaWay K

' White and Alicia Keys. She also signed "Amer-
ican Idol" runner-up Adam Lambert to do the
end-lille song, "Time for Miracles." for direc-
tor Roland Emmerich's upcoming disaster film, "2012." She
says. " Rob Cavallo produced this epic, sweeping track for Roland
Emmerich's film and wc are thrilled with Adam's performance."
In addition, she signed Miranda Cosgrove. star of the hit Dis-
ney Channel series "iCarly," to do a song for the animated film
"Cloudy With a Chance of Meatballs." Upcoming projects in-
clude working with Christina Aguilera on music for "Burlesque."
starring Cher. "When you are in a job hke this, each project you
work on is exciting and has its own DNA," she says. "Asking to
choose highlights is a bit difficult because I love working on all
of our movies. However, one of the mosl rewarding projects that
I've done is Michael Jackson's "This Is It.' It is an amazing piece
ofmusic history and I feci so excited to be a part of it."

64 I BILLBOARD I OCTOBER 10, 2009

Kara DioGuardi

Co-owner, Arthouse Entertainment;
VP of A&R, Warner Bros. Records
HMMH^H Everyone knows that Kara OioCnardi had
^^^^^^^1 an amazing 2009. Not only Uitl bin- debut as

ican IJo!.' appear on " Ihe VIca" jiid co-
H host "Live With Regis and Kelly," but she
^f^L jfl^ wrote a few songs that impacted the charts:
^^^b Jl Pink's "Sober." Kelly Clarkson's "i Do Not
Hook Up." Theory of a Deadman's "Not Meant to Be" and
Jesse james' "Wanted." But what gets her ranked on this list
is her evolution as a businesswoman. Beyond songwrtting.
she serves as VP of A&R at Warner Bros. Records, where her
signings include )ason Derulo. I-Yaz and David Hodges.
Moreover, DioGuardi also is the co-owner of Arthouse En-
tertainment, which has a roster that includes Eman Kiri-
akou, the writer/co-producer of "Crush" for David Archuleta,
and Casia Livingston, who wrote "Unusual You' for Britney
Spears. The success of Arthouse led to its partial sale in 2008
to Bug Music, which has also purchased DioGuardi's pub-
lishing company. K'Stuff Music, With Arthouse and Bug
Management. DioGuardi is branching out to create new busi-
ness opportunities. In development are ventures in apparel
and videogames, which use her personality and music as
branding tools.

Melissa L

Senior producer, *'

In the four years
producer Metis:
' show's flfncrta

Linda Ne

i^narl^

pretty mu

.iround. 1

Boyle, the Black Eyed Peas, )onas Brothers.
Miley Cyrus. Rascal Flatts, Taylor Swift, Katy
Perry. Bon \u\ i. Alicia Keys and No Doubt, among others, for
the show's Summer Concert Scries. She was also one of the
first to book Adele. Chris Brown. Coldplay. Dave Matthews
Band and Kings of Leon for the morning slot. lust ask Kings
of Leon about how powerful that can be: Their already hit
album shot up 21% in sales the following week. Lonner is
known for her innovative marketing ideas. She was the first
to offer "Today" concerts on iTunes and provide customized
promos on various NBC platforms, from taxi TVs to Today
Show.com. Lonner has also brokered deals for artist interviews
to appear on "Today" and in prime time, such as Meredith
Vieira's interview with Susan Boyle that appeared on "Today"
and "America's Got Talent." Lonner says, "The most reward-
ing part of the job is being able to introduce or highlight so
many talented, deserving musicians, whether it be from the
start of their career or at the height of their career. And we are
so appreciative of those artists who loyally return to the show
and become a member of the 'Today' family."

Kathy Spanberger %

President of the Anglo American region^
peermusic

Kathy Spanberger i*; pt-erimi.'iic's president's
the Anglo American region, and she overseesj
a team of 67iJiSixcouiitiic* (ilie United Stato
the United Kinjzdam. Mexko, Australia, Canada
and South Africa), The division "contributed
double-digit revenue growth in 2008." peermu-
sic chairman/CEO Ralph Peer says. Span-
bcrger's team celebrated the achievements ofTricky Stewart, who
was named writer of the year at the ASCAP Urban Awards; )ason
Ingram, who won Christian writer of the year honors from SESAC;
and )uanes, who took home Latin Grammy Awards for record,
song, album and video of the year. Key placements and hits re-
sulted from the work of such peermusic clients as wriier/pro-
ducer Dan james in the United States, who placed songs on the
"Hannah Montana" soundtrack and Ashley Tisdale's second
album; Adam Argyle in Australia, who had two hits performed
by Au-stralian "Idol" winner Wes Can and writer /producer Steve
Mac in the United Kingdom, who composed the No. 1 hit "Beat
Again" for ] LS. Spanberger also cites as a highlight "our new deal
with Sixth House Music, which gives us the prestige of having
Anahi ( from RBD) on our roster." Peer praises Spanberger's "on-
going effort to champion and nurture new composers, even in
this difficult environment. The work she does with new com-
posers is what our industry depends on for its future."

Executive VP of acquisitions and strategic
projects, Universal Music Publishing Group

Linda Nr;Mii,n tv. ir 1j, t i m|,. as rxn uiu VP
of ,Hv;iiisUiun'^ .iii'l -tkdi'giv. proi' ■ '■ ■ " ■ ni-
versal Music ruUiaiaiigCroiip. .
volved ihis past year in thr .11 ^.d's.: ...n
integration of numerous publishing catalogs,
including BMG Music Publishing, Rondor
Music International and Def Jam Music. She's
ills*) helped UMPG acquire catalogs containing the songs of
Jimmy Webb, Grace Jones and ludy Collins. She has signed
agreements relating to the works of Heart, the Bangles. George
Thorogood. Stephen Bishop, the Pixies and film composer
Mason Daring. Asked to cite highlights of the past year, she sin-
gles out the deal that allows Universal Music to represent the
Jimi Hendrix catalog for the world outside the United States
and an extension of UMPG 's worldwide representation of Miles
Davis' copyrights. "It is an honor and a privilege," she says, "to
represent the works of true icons who have influenced the music
we listen to for generations."

Rebeca Lepn

VP of Latin talent, AEG LIveJHldinvolce

^^^^^^^^H It's been a busy year for Rebeca Leon. VP of
^^^^^^^H Latin talent for A£C Livc/Guldcnvuice, who

has promotedthe U.S. tours for Ricardo Ar- J

it I

jona and \M&ia & Yaudei — so iiu lh<! biggei
Latin toitfs solely promoted by AEG Live.

Leon says the average ticket price for Wi.sin
& Yandel's tour is $45. underscoring her goal
to keep ticket prices affordable. Yet in a sign of the strength
of the Latin touring market, 80% of Wisin &. Yandel's VIP
packages have sold out as their tour begins, she reports. Mean-
while, AEG's new entertainment complex L.A. Live, which
includes the Staples Center, Nokia Theatre and Club Nokia,
has quickly become a sought-after venue for LaHn acts to per-
form. At the Nokia Theatre, 85% of AEG Live's Latin shows
have sold out in the past year. "We arc proving that downtown
L.A. is the new hot spot and place to go," Leon says. "It's re-
ally exciting to be a part of something that is changing the
face of Los Angeles."

Jennifer

Executive VP of
Sony Music Entertainmei

Sony Musi'
Sc)iaidl<
Accel p

an initiative that had been going on for
tv,o to four years prior to my arrival." she says.
"So gL'ttitig alt the (Sony] labels to sign off on
it was a big accomplishment, and it gives us a great start in re-
sponding to changes at brick-and-mortar retail.' While rolling
out Accel, Schaidler's sales team also kept ahead of the de-
mand at retail for Michael |ackson product, despite initial out-
ages in the wake of the singer's death in late June. Overall,
Sony Music's market share for the year to date has grown to
27.2%. according to Nielsen SoundScan, an increase of 12%
over the same period last year. As a former board member of
NARM. Schaidler stays involved in the retailing organization
and its task force on the future of physical formats.

Cara Lewis

Agent/VP, William Morris Endeavor Entertainment

When it comes to booking the hottest R&B and hip-hop acts, agent/VP Cara Lewis at
William Morris Endeavor Entertainment is at the top of her game. "Signing Mary J. Blige
as a client this year was the No. 1 high point," she says, noting her plans to expand
Bilge's presence throughout the entertainment business. "But watching Kid Cudi,
Asher Roth, Rihanna, Ne-Yo and others fill out club and theater tours or play mulf
tiple arenas or the Essence Festival, those are all highlights." Among Lewis' other
/ clients are Eminem, who on the recording side of his career had the strongest first-
week sales of 2009, selling 608,000 copies of "Relapse," according to Nielsen
SoundScan; Kanye West, who kicks off the Fame Kills tour in November with Lady
Gaga; Akon; and Lupe Fiasco. Lewis booked one of the highest-grossing hip-
hop tours of the past year when West's Glow in the Dark trek, which paired the
rapper with Fiasco and Rihanna, brought in more than $40 million, according
to Billboard Boxscore. "There's still the ability to continue to build and grow ca-
reers and fan bases— especially at a time when business is really tough out there,"
Lewis says. "It's just about maximizing an artist's potential."

66 I BILLBOARD I OCTOBER 10, 2009

Cni

TRACY MORGAN

EMINEM ♦JA RULE
LUDACRIS^MARYJ.BLIGE
METHOD MAN ♦REDMAN
PUBLIC ENEMY^KID ROCK
ONYX*CHRISROCK
THE ROOTS ♦RICK ROSS
WARREN G ♦ASHANTI

DMX^FABOLOUS
GYM CLASS HEROES

SITUESDCT13I

hiphop.vh1.cam

Billboant Research Can Answer Your Questions. Plus More:
Complete Arrsy il Research Packages for shiglei amVor albums
trom Hut 100, Billlionl ZOO. HiiB, Rap. Country. Eospel. Christin.
Qinct. latin. Rock. Adult Contemporar). itu. and Ctasaical
Chart I. Arlicle Copies

Chart History reports by Ailist / Title I Label / WrHai / Producer
Customized Recaps and Research available

IresearchI

TO ORDER CHART PACKAGES, GO TO WWW.BILLaOARD.COM/RESEARCH
FOR CUSTOMIZED RESEARCH, CONTACT RESEARCHeBlUBOARD COM OR 64e-654-4B33.

Alison Smith

Senior VP of performing rights, BMI

As BMI senior VP "t perhnming rights. Ali-
son Smith oversees BM I s royalty distribution
system, both foreipn and domestic, through
which in iKeoi g^iizadoti manajied nearly S790
million in flow-through in llir p.ist fiitui yMr,
Smith supervises royalty payment calculations
a nd also oversees B M I's TV and cable payment
system. She has led the development of new distribution method-
ologies and digital tools for BM I and manages the organization's
writer/publisher administration and research departments.
She's charged with creating efficient systems for the repertoire
and customer service for BMI'sarniiates. In talking about high-
lights from the past year. Smith cites "getting to know, and sign-
ing to BMI, the wonderfully talented and unique artist/composer
A.R. Rahman, watching him win [at] the Golden Globes and the
[Academy Awardsj. then [seeing] the world outside of India em-
brace him." Smith also is an active member of CISAC. the in-
ternational association of rights societies, and she says the CISAC
conference in Washington. D.C., reaffirmed for her that the so-
cieties will continue to "fight for the protection of the creators
whose contributions are such a part of the fabric of our society."

media, Atlar

Livia Torti

GM/Executlve VP <
media, Atlantic Records

In the pasty
as GM/e:
ative medj
companf

counts for more than half of total sales, count-
ing digital downloads, ringtones and more.
She played a key role in the development of
the label's Fanbase application, the creation of a digital media
lab at Atlantic and the opening of the label's in-house Studio
1290 for webcast performances. Tortella executive-produced
the 2008 "Twilight" soundtrack, which has sold 2.2 million
copies, according to Nielsen SoundScan, and she helped Kid
Rock achieve sales in excess of 3 million for "Rock N Roil
lesus" (despite the decision to forgo iTunes sales). This year.
Tortella has worked on developing the careers of Shinedown.
Death Cab for Cutie and Paramore. among others. Along with
chairman/coo Julie Grecnwald. she has helped Atlantic
achieve a year-lo-dale overall album market share, including
current and catalog titles, of 7.S%. according to SoundScan.
"I'm so proud of our team here at Atlantic Records," Tortella
says. "Together, we are focused on breaking new artists and
new ground. As the industry continues to change, artist de-
velopment is still king."

Marilyn Bergman

Former president/chairman, ASCAP

— . I Althoughshe -!< p|K ddnuri .IV pixstdenf I'rhaji-
man of ASCAP ui April after 15 years in that
role. Mai ilyu BLTKtn^in s achievenii-nts dur-
ing the past niunilib qualified Ik-i for this
M list. Shi- remains active on ASCAP's board of
" directors and also as a songwriter herself. (She
^^^^k=:^^H co-wrote "Trust Me" for the new Steven Soder-
bergh tilm of the same name.) During her tenure, ASCAP re-
ported a record level of collections for its members in 2008.
Bergman spearheaded an advocacy agenda for the rights of
songwriters and composers in Washington. D.C., meeting with
members of Congress to promote an understanding of the im-
portance of intellectual property rights and copyright protec-
tions. As president of the ASCAP Foundation. Bergman oversaw
the placement of the ASCAP collection at the Library of Con-
gress. Bergman says. "I am most proud of our Bill of Rights for
Songwriters and Composers — a grass-roots effort we initiated
to clarify the copyright law. As president of the ASCAP Foun-
dation. I am most proud of the Children Will Listen program,
which so far has provided close to 1 .000 inner<ity schoolchild-
ren with their very first experience at attending a first-class pro-
duction of a Broadway musical. "

Liana Farnliam

VP of marketing concerts/network integration,

Barely 12 months into her job at MSG Enter-
tainment. Liana Farnham recently expanded
her role with responsibility for MSG Media
properties MSG Network and Fuse. As a for-
mer label executive, Farnham's relationships
reach far and have helped her marketing teams
in New York, Chicago and Boston promote and
book MSG venues in those markets. On the network side, Farn-
ham helped foster the new Fuse Presents franchise, allowing
acts from Dave Matthews Band to ]ay-Z to partner with the
Fuse/MSGE multiplatform approach. When MSG reopened
the renovated Beacon Theatre in New York this year with Paul
Simon (and guest star Art Garfiinkel). Farnham helped pro-
duce a documentary on the concert. She was also involved in

MSG Entertainment^

the concept and development of Stej^^an's^^idencie^

New York, Chicago and Boston, dun^^hich the ac^
entire albums as well as select^s chosen bl" f^^Her ideal
request nights in each marl^HU|^^^uMrc^M'thousaj
of votes and directed fansflBHHHUH W?

been our mission to align and leverage all of MSC's interna]
assets, including Fuse, MSG Network and MSG Interactive, to
provide the artists that play our venues a broader, multiplat-
form marketing strategy on a scale that no other collection of
venues can offer," Farnham says. "By embracing these medi-
ums, my team has been able to create and apply digitally sawy
social-media strategies thai push forward both the live events
and linear television, bringing fans unique ways to experience
their favorite artists."

Marilyn Santiago

Programming/operations manager for Miami, Spanish Broadcasting System

A radio veteran who most recently ran her own media and tc
consultancy, Marilyn Santiago was recruited by Spanish Broadcal
ing System earlier this year to enhance the quality of the network's
Miami stations. Her new role makes her one of the most powerful fe-
male Latin programmers in the country. Highly respected thanks to
a longstanding syndicated show, Santiago has a reputation forj00-
gramming what she likes, as opposed to just label priorities. Although
it's still early days to see a ratings impact, Santiago has sought to
add more new artists to playlists while honing the identity of the two
stations she directly programs, WRMA (Romance 106.7 FM) Miami
and WCMQ (La Raza 106.3 FM) Miami. As the
"right hand" assistant to SBS executive VP
of programming Polito Vega, Santiago also
influences what goes on the air on SBS sta-
tions from New York to Puerto Rico. "I am
very marketing-oriented," Santiago says.
"I see beyond the programming itself and
I tackle the radio stations as competitive,
marketable product in themselves." Be-
yond programming, Santiago oversees
production, marketing and promotion for
both stations and works closely with
sales to "provide elements they can go
out and monetize." Santiago was a key
player in the two anniversary shows
honoring Vega at Madison Square
Garden last August. The shows fea-
tured an all-star cast, including En-
rique Iglesias, Juanes, Alejandro
Sanz and Paulina Rubio, and
grossed more than $1 million in
ticket sales, according to Bill-
board Boxscore.

Profiles written by Ayala Ben-Yehuda, Antony Brurto.
Ed Chrislman. Leila Cobo. Mariel Concepcion, Ann Donahue,
Thorn Dufy, Cortney Harding. Gail Mitchell. Andre Paint. Mitchelt
Peters, Deborah Evans Price, Mark Sutherland and Ray Waddell.

BILLBOARD I OCTOBER 10. 2009

Cni

rojectin§YourWorlc

The Logic Bolt L5

■ GSM Quad Band

■ Projector Phone™

■ Dual Sim Card

■ MP4 & 3GP Power Point. Excel viewers

■ Dual Camera, Digital and Web Cam

Projector

Logic

logicwireless.com

Cni

The

New
Era

Diverse Programming At
Billboard's Regional Mexican
Music Summit Looks To The Future
Of Latin's Top-Selling Genre

By Leila Cobo

Through good times and bad, regional Mexi-
can music has long been the foundation
of Latin music sales in the United States.

If anything, this has been particularly true
in recent years, when regional Mexican fans
have remained Latin music's driving force,
continuing to buy physical product at a time
when Latin music in general has yet to make
significant strides in the digital arena.

But the status quo is now poised for change
as regional Mexican music finally enters an
age of digital sales and promotion even in the
midst of dropping overall sales.

What happens now with the genre could
be a defining point for Latin music. Even
though regional Mexican is still a blip in the
overall digital arena it dominates, the Latin
musical landscape, and its future in new tech-
nology, formats and business models, will
greatly affect the current industry.

This year's Billboard Regional Mexican

Music Summit, titled "The New Era," looks at
new ways of developing talent, making and
promoting music, utilizing new technologies
and thinking outside the box.

"How do we maximize sales efforts? How
do we win in a competitive environment?
How do we achieve our ratings and sales
goals? How do we operate with a multimedia
platform? What is the most economical way
to operate during the recession?" asks jose
Santos, president of the radio consultancy
Santos Latin Media.

"What this conference will do is help us
understand where we are and where we are
headed. You will be able to talk to those that
arc facing the current challenges
and winning. You will be able _r
to get those questions an- j
swered and more."

There's no question
that the Latin music in
dustry in general and the :
gional Mexican industr)
particular are testing i
ways of doing business.

"We must continue to '
ative and fight for our s]
in the digital as well as [I
physical world." says
Fonovisa/Disa presi-
dent Gustavo Lopez, a
speaker at the confer-
ence, noting that digital
now represents 25% of
his labels' income, up
from 1% in 2007. But
the fight for space
goes beyond revenue
or sales.

Learning how to pi
the regional Mexican f
crucial for Latin musii

all. In the past year, sales of Latin music have
tumbled, according to Nielsen SoundScan,
with Latin album sales down by 35% com-
pared with the overall market. But in the first
quarter, shipments of regional Mexican prod-
uct stood at an astonishing 75% of all Latin
music, higher than it has ever been, accord-
ing to still-unpublished numbers obtained

time, there weren't
1 songs on iTunes'
and only 11 suchal-
?'s Top 100 Albums
clear, then, that find-
paths to properly pro-
market and sell
onai Mexican music
I new business arena
:rucial to the health
the industry.
This year's confer-
ence is geared toward
finding new busi-
ness models and
new avenues of
revenue. Each panel
has been pnagrammed
to include different
evels and types of
ilayers; there are

major concert promoters and club promoters,
radio network programmers and small-station
programmers, major and indie labels. In re-
gional Mexican music, each sector is vital to
the growth and stability of the genre.

In addition, those in the industry have noted
that their primary concern is finding and de-
veloping new talent. For this reason, the Re-
gional Mexican Music Summit opens with a
"Talent Development" panel that features high-
power executives like Lopez along with suc-
cess stories like singer/songwriter Espinoza
Paz, who topped Billboard's charts this year.

The intricacies of licensing — one of the
few areas of growth in the industry — are ex-
plained in "The Song, the Song, the Song," a
panel that traces the process from beginning
to end and features publishing companies,
digital experts and songwriters.

Image and promotion are also major focus
points, and media from TV to the Internet will
be featured on the "It's All About Media" panel.
Radio is a major player here with programmers
represented from across the country.

Artists-wise, the conference will feature a
host of stars, from Alejandro Fernandez to the
Rivera dynasty — )enni, Lupillo. Pedro. )uan.
Pedro ) r. and Gustavo — in addition to a roster
of marquee acts that are defining and redefin-
ing regional Mexican music. ••••

OCTOBER 10. 2009 | www.biltboard.biz I 71

ASCAP
SONG CAMP 2009

Miami, Florida • Monterrey, Mexico

Sesiones de colaboracion entre compositores

Agradecemos a todos
los participantes:

Adrian Reyes

Amaiiry Gutierrez

Carlos Marmo

Chris Rodriguez

C-Rod Music Studios

Daniel Betancourt

Danny Thomas

Eduardo Reyes

Elias Medina

Fernando Osorio

Gabriel Flores

Hulna Music Publishing

Jorge Luis PUoto

Jose Rolando Arai^jo GaJlegos

Julio Ramirez de Reik

Luis Murga

Manuel Ruiz

Maximo Aguirre

Monica Velez

Qulque Gallegos

Roque Javier Morales

Serca

Sony/ATV Publishing

Tito de Jesxis Rodriguez

Vial Music

Wendolee Ayala

Cristy "La Guera" Gonzalez

Yoel Henrlquez

Tupuedesser
el proximo!

llSCflP es [u meior opcion

Unere (1 RSCIIP lioij

ascapiatin».c«iii

Who's Who

At The
Summit

Conference Panels Among
The Best In The Business

By Ayala Ben-Yehuda

Billboard's Regional Mexican Music Summit, which takes place Oct. 8-9
in Los Angeles, will unite the best in the business under one roof to dis-
cuss the genre's most pressing issues. From successful artists and song-
writers revealing what makes them tick creatively to touring, TV, radio
and digital experts breaking down the business by dollars and cents,
conference panels offer something for everyone. 4* Here are capsule
profiles of selected panelists confirmed at press time.

Mauricio Alatorre Gonzalez is the produc-
tion and programming director forTeleRitmo/Mul-
timedios Television. He also coordinates the branding
and graphic image of Milenio Television. He is a vet-
eran of branding and promotions of TV programs
as well as postproduction.

Felix Castillo is the president of Frontera Visual,
an agency that provides public relations, marketing
and media production services for artists and labels.
Frontera Visual's clients have included Disa Records,
Sony Music, Twiins Enterprises, Universal Music
Latino and Tequila Cardona.

El Compa Chuy hit No. 4 on Billboard's Hot
Latin Songs chart with the corrido"El Katch," from
his Gypsy Records/Sony album "El Nifio Del Oro."
He will join fellow corridos artists on the "Brave
New Groups" panel.

Abel De Luna rose from farm worker to a career
in politics and government before founding Luna
Music, Luna Publishing and Luna Management. He
then founded the radio chain Luna Communica-
tions, which includes La Maquina Musical, La Va-
quera and Radio Telcila, where he is CEO/chairman.

Gloria Espar^a is the author of Cristian Castro's
hit song "El Culpable Soy Yo." which hit No. 9 on
the Hot Latin Songs chart. The Oaxaca-born
singer/songwriter is the president of ECB Music
Group, a production house, publisher and label.

Eddie Fernandez is the senior VP for Latin
America at Universal Music Publishing Group.
UM PC's roster includes Wisin & Yandel, Kike San-
tandcr, Caf6 Tacvba, A.B. Quintanilla III, the cata-
logs of Gloria and Emilio Estefan jr., Gustavo
Santaolalla and Hector "El Father".

Gabriel Flores was a recording artist as the leader
of La Busqueda. a group on EMI, before his song-
writing career took off in 2003. His many hits in-
clude "Quedate Callada" sung by |orge Luis Cabrera
and "Hasta El Dia De Hoy" by Los Dareycs De La
Sierra. He is preparing to release a solo album, "La
Voz Del Amor," on his Vial Music label.

John Frias is the CEO of Frias Entertainment &
Marketing Group, which produces more than 200con-
certs per year in partnership with brands like Corona,
Budweiser, Toyota, Verizon Wireless, Diageo and Pepsi.

Televisa executive producer Ruben Galindo's re-
cent productions include "Bailando Por Un Suefto"
and "Buscando A La Nueva Banda Timbiriche."
Galindo has years of experience producing novelas,
talk shows, film and news.

Texas native Julle Garza is the PD at WYMY
Raleigh, N.C. She is also an on-air personality at the
Curtis Media Group station, where she has worked
since 2005. Garza is a graduate of the University of
Texas at Austin with a degree in radio. TV and film.

Hugo Gonzalez owns Hip Latin Music, which
administers Marco Antonio SoHs' publishing cata-
log in Mexico. Gonzalez is also founder/general di-
rector of the label Signos Music. His former positions
include associate director at SESAC Latina and cre-
ative manager of Univision Music Publishing.

Eduardo Leon is Liberman Broadcasting VP of
programming, overseeing all Liberman radio sta-
tions in the United Slates. He has programmed sta-
tions in the Los Angeles. Fresno, Bakersfield. Dallas,
Houston and Chicago markets. He is also the founder
of the consultancy Radio Ideas.

Loren Medina was a label manager at Sony
Music Latin before launching the online market-
ing and publicity company Digital Girl earlier this
year. Along with her partner in the company. Rocio
Gutierrez, Medina has marketed acts like Da'Zoo
andCalle 13.

Luis Carlos Monroy has written songs for Mi-
jares. Emilio Navaira. Pesado, Alejandro Fernandez
("Que Voy A Hacer Con Mi Amor") and Pedro Fer-
nandez ("Dime Mi Amor"}, among others. The BMI-
affiliated writer will perform his work at the "How
I Wrote Thai Song" panel.

Bandamax executive producer VlCtOt Manuel
Moreno Valadez has worked at Televisa Net-
works for 23 years. He assumed leadership of Ban-
damax's production team in early 2009 and has
overseen imaging campaigns and content for the
regional Mexican entertainment channel.

La Nueva Rebelion was founded in 2007 by
norteno veteran Esteban Sagaste, formerly of Los
Uaneros De Guamuchil. La Nueva Rebelibn's latest
corridos album. "La Lightning." was released on
Disa earlier this year.

Since joining BMI in 1997. BMI assistant VP of
Latin music Delia Orjuela has signed and worked
with acts including juanes, Los Tucanes De Tijuana,

Gustavo

Rivera and Los Tigres Del Norte.

The Mazatlan, Mexico-based BMI songwriter Ho-
racio Palencia's songs have been recorded by La
ArroUadora Banda El Limon ("DeTi Exclusivo," "Y
Que Quede Claro," "Ya Es Muy Tarde"), Los Hura-
canes Del Norte. Banda el Recodo, Cuisillos and
many others.

Espinoza Paz is one of the most sought-after
regional Mexican songwriters. El Coyote, Jenni
Rivera and Cuisillos have recorded his songs, but
so has a new generation of such male soloists as
El Potro De Sinaloa. Paz himself has achieved a
No. 1 on Top Latin Albums with "Yo No Canto,
Pero Lo Intentamos."

Javier Rivera is the president of Mexico Mu
sical, a management and booking agency. He has
more than 50 years of experience as a business-
man and has promoted shows in Mexico and the
United States. He has worked with K-Paz De La
Sierra. La Numero 1 Banda |erez, Brazeros Mu-
sical, and others.

CesarRodrlguezwasa booking agent and radio
promoter for Viva Music before founding Discos
CBR, the booking company Hispano America En-
tertainment and the publisher EBR Music Publish-
ing. His label roster includes Banda La Unica De
Jerez and Lucho De Santiago. He also books Alerta
3, Banda La Unica De Jerez and K'rolina.

Composer/producer Toby Sandoval is behind
countless hits, including Sergio Vega's "Quien Es
Usted" (with Erika Vidrio) and Los Primes De Du-
rango's "Fuego En Tu Pie!" {with Adrian Pier-
agostino). Sandoval, a former bandleader for
Paulina Rubio, is signed to Universal Music Pub-
lishing and BMI.

Jose A. Santos is founder/president of Santos
Latin Media, a media consultancy based in South-
em CaUfomia. His experience includes stints as OM ,
GM and PD of Latin stations nationwide. Santos
consults on programming, sales, marketing and pro
motions in formats from regional Mexican to Span-
ish adult hits.

Roberto Tapia's most recent Fonovisa release
is "El Nino De La Tuna," in which he duets with
Larry Hernandez, his co-panelist at Billboard's
Regional Mexican Music Summit. The singer/
songwriter of corridos and romantic songs is also
a musical arranger who traverses banda and
nortefto and whose songs have been in demand
by other artists.

Ado I f O Va I en Z U e la and his brother Omar form
the production team Twiins Enterprises have pro-
duced for many acts, including Jenni Rivera. El
Chapo De Sinaloa. Banda Machos and Akwid, and
are the go-to producers for regional Mexican rembces
of pop and urban songs.

Joseph Vargas is the PD at KS|1-FM San An-
gelo, Texas, and the founder ofPuroParty.net, a Web
site dedicated to the regional Mexican scene. He's
also the creator of the internationally syndicated
radio show "La Hora Chida."

Erika Vidrio is heard on the radio as an on-air per-
sonality for Entravision's La Tricolor network, and
her words are heard in songs by El Chapo De Sinaloa
("Maldito Licor"), Conjunlo Primavera ("Senti") and
Sergio Vega ("Quien Es Usted," with Toby Sandoval).
She's preparing her first album.

From top: MAURICIO
ALATORRE GONZALEZ, EL
COMPA CHUY, GLORIA
ESPAAa. JULIE GARZA,
HUGO GONZALEZ, DELIA
ORJUELA, ROBERTO
TAPIA and ERIKA VIDRIO

OCTOBER 10, 2009 | www.billboard.biz I 73

Front
And
Center

Showcases Highlight Top Acts
At Regional Mexican Music Summit

By Ayala Ben- Yehuda

A Billboard showcase is a powerful platform for an up-and-coming
artist to show what he or she can do in front of industry decision-mak-
ers. Here's an introduction to some of those performing at showcases
and parties at this year's Billboard Regional Mexican Music Summit.

LILLIAN Y C AN ABRAVA is ^ nine-puce
group, founded in 2007. that blends Colom-
bian and Mexican sounds. Led by New York-
born sinfier/sonj;writer Lillian Ham. the group
incorporates trumpet, saxophone and trom-
bone. A former singer with mariachi and trop-
ical groups. Ham has shared the stage with
Banda Machos and Leo Dan.

IVAN distinguished himself as the first run-
ner-up in the Tclefutura/Univision Puerto
Rico TV contest "Objetivo Fama." For his
forthcoming pop-grupero album on Fonovisa.
"Fantasia." Ivan worked with legendary
arranger/producer Homcro Patron and pro-
duction team the Twiins.

JA2MIN LOPEZ released her self-titled
debut of duranguense covers in June. She grew
up in Texas, singing at nightclubs on both sides
of the Iwrder and sharing the stage with LosTi-
gresdel Nortoand Alacranes Musical. She's man-
aged by Pedro Avila and is a new Fonovisa
Records artist, as well as host of MTV Tr3s' re-
gional Mexican program "ReMexa."

EL POTRO DE SINALOA'Slaiestcor

ridos album, "IZl Cargamento Del Diablo." was
released on Fonovisa in August. Popular as a
corridos and romantic artist, his hits include
"Fl Vaso Derrama" and "Chuy Y Mauricio." He
will perform at Fonovisa's 25tii anniversary
celebration Oct. 8. continued on >>p76

Clockwise from left: JAZMIN LOPEZ, EL POTRO
DE SINALOA and LOS HALCONES DE SAN LUIS

BILLBOARD OCTOBER \Q, 2009

Copyrighted materif

^^cCie Co hace mejor

□ISTRIBUIDORA INDEPENDIENTE #1 DE MU5ICA LATINA

The Select-O-Hits Faimly of Labels

<0 ■

w.selectohits.com

« a dCMgn by btah* franklin at straM l«

Para mas informacidn contacte al
Laura Alabodi o John Phillips al 901 .388.1 1 9cM
o simplemente envienos un e-mail
lalabodi@selectohits.com - jpOselectohits.coirJ

Cni

PROMOTIONS

Presenta

Loryana

El Diamante Del Norte

A la Venta Ya

Contrataciones
Maria Luisa Medina

(614)327-2053
MALU5555@aol.com

Loryana.com

HERMANOS HERRERA

from >>p74

CONJUNTO AZABACHE has released
at least a dozen albums, the latest being
"Una Nueva Pasion." The norteno group's
members are from Chihuahua. Mexico, but
are based in the Los Angeles area, from
which ihey tour frequently on both sides of
the border.

LOS HALCONES DE SAN LUIS are

a nortefio band from San Luis Potosi founded
by the Niflo family in 1985. The Frontera
Music act has released at least 14 albums
since 1989. The band will perform during the
Oct. 8 happy hour.

Sony Music Latin artist/TV personality
OLIVER OCHOA released his debut
album. "Una Vez Mas," in May. Ochoa has
written songs recorded by La Banda El Recodo,
Valentin Elizalde, La ArroUadora Banda El
Lim6n and El Coyote y Su Banda Tierra Santa,
among others.

Los Angeles-based singer/songwriter CESAR
BR I Z U ELA'S debut banda album on Morena
Music is "Corazon Y Alma." produced by Fer-
nando Cavazos. Brizuela has played LA.'s Fiesta
Broadway and Descarga at City Walk, and he came
in second in the 2006 Los Compositores song-
writing competition.

HERMANOS HERRERA is made up of
five brothers and a sister who play norteno, son
huasteco, son jarocho and other regional Mexi-
can styles. The Sonbros Records act has shared
the stage with Banda El Recodo, Los Tigres del
Norte, Julieta Venegas and other major acts.

SANTOS DIABLITO. aka Bruno Danzza.
co-wrote Edith Marquez's single "Me Voy"
with Armando Avila. His songs have bren
recorded by Jenni Rivera, Banda El Recodo
and Valentin Elizalde and have been pluced
in telenovelas including "Verano De Amor"
and "Atrevete A Sofiar."

Eclectic LA. group LA SANTA CECILIA

has played festivals and museums and )i:is Ii;k1
its music featured in the Showtiini- series
"Weeds." The group traverses cunibia, bossa
nova, bolero and tango, with Afro-Cubati per-
cussion and jazz trumpet.

MARIO QUINTERO is lead vocalist/song
writer for Los Tucanes de Tijuana, whose hits
include "Secuestro De Amor," "El Tucanazo."
"Es Verdad," "Desde Que Te Amo," "El Amor
Sonado," "|ugo A La Vida," "El Sinverguenza"
and "EI Virus Del Amor." He will make a spe-
cial appearance at BMI's "Noche Mexicana"
showcase Oct. 7.

Ohio-born singer LORYANA EL DIA-
MANTE DEL NORTE has sung lor du
Queen of England in English, but she began her
Spanish-language career after meeting song-
writer Maria Luisa Medina. Loryana will perform
at the happy hour Oct. 8.

LOS CADETES DE LINARES are Icons
of the norteflo genre, with more than three
decades on Discos Ramex. Los Cadetes, who have
two top 10s on Billboard's Top Regional Mexi-
can Albums chart, released their album " Dos Vi-
cios" last year. ....

Subscribe Today!

BillbMltd

CALL 1-800-658-8372 or 847-559-7531

76 I BrULBOARD I OCTOBER lO, 2009

WW".

|e R i j 1 z

Parii PcdidoB y Conlrjliu iunm; Tel. (3_10)'722- 7IH

Billboai

The Definitive
j ,n - Music Industry

DIRECTORIES Resources

Musician's Guide, 32nd Edition

Complete directory of music industry contacts. More
than 6,000 updated contacts: It's everything the

2009 international Audarena Guide

Complete data on over 3,500 venues worldwide
comprising 6,000+ individual facilities, including

2009 international Buyers Guide

Jam-Packed with over 1 1 ,000 listings of key
personnel and other information about every major

ORDER TC

Online at www.oidefbiUboard.com or call
800-562-2706 (U.S.) or 81 8-487-4582

Genre
Giant

Fonovisa President
Gustavo Lopez Discusses
The Changing Regional
Mexican Business And l-lis
Label's Central Role
By Leila Cobo

For more than two decades, Fonovisa
Records has defined the regional
Mexican marketplace in the United
States and Mexico. Today, as part of
Universal Music Latin Entertain-
ment, Fonovisa and its sister label
Disa Records have a dominant pres-
ence on Billboard's charts. This week,
10 titles in the top 20 of the Top Latin
Albums chart are Fonovisa/Disa
releases, as are 15 out of 20 titles on
the Regional Mexican Albums list.
Both labels are headed by Gustavo
Lopez, who previously launched
Machete, Universal's urban Latin
label, and also headed up Universal's
Latin distribution business. Lopez,
bom in Puerto Rico but raised in Cal-
ifornia, grew up surrounded by
regional Mexican music when he
worked for his brother's record store
in North Hills, Calif

You were most recently head of Machete,
an urban Latin label. What's the biggest
difference between that and running a re-
gional Mexican label?

The main difference is that when I ran Machete
most of the product breaking out internation-
ally seemed to be Puerto Rican. On the regional
Mexican side you have pockets of areas; you
have movements coming out of Chicago like
pasito duranguense. Or movements starting
out in Guadalajara. Mazatlan and even Mexico
City. There are different areas where the buzz
is starting and you need to definitely expand
your horizons in that arena and spot the dif-
ferent trends: You have to have a much wider
view of the market.

How do you do that?

You have to make sure your A&R staff is very ac-
tive. But at the end of the day I don't see a differ-
ence ( from other genres]. In order to know what's
happening you have to be in the clubs, in the
streets, in the events, you have to know what's
happening online. And people have a miscon-
ception that regional Mexican only appeals to
older consumers. But when you go to the shows ,
the youth is very active.

You were appointed to this lob when Uni-
versal purchased Fonovisa and Disa. What
was your first order of action?

The company was in a very weak digital posi-
tion. The digital concept had not been exploited.
The artists were not aware of what opportuni-
ties were available to them from an online stand-
point and how to generate revenue. And then,
the company was for sale for a long time, and
during that time a lot of the artists did not ex-

tend their deals with the company, or they'd
done aibum-by-album deals, so we've been ne-
gotiating a lot of contracts. We recently redid
[those for] Los Tigres [del Norte], Arrolladora
Banda El Limon. El Chapo. Fifteen months later,
we are still in renegotiating mode.

How do you face the challenge of having so
many groups and their sales not where they
used to be?

With the shrinking of the market and the econ-
omy, we've let go of some companies wlicrc the
product was flowing through us. So. we've meas-
ured realistically how many albums we can re-
lease in a year, and we've cut back our releases
by 50%. We've reduced the roster somewhal. but
our core roster of artists is pretty much intact.

How many acts are on your roster?

We have more or less 90 acts on our roster.
Sounds like a lot. but we cover such a large range
of subgenres within regional Mexican, and it so
happens that we are leaders in all of them
whether in Mexico or the U.S.

What kind of artist are you signing?

We're focused on finding acts that are driving
the youth movement. We also are looking for es
tablished artists that are open to change and
where the relationship has a two-way benefit.

Most labels are asking artists for a percent-
age of ancillary income, Including touring.
Are you doing that?

just about every single new contract has
some sort of non-recording activity language
where we seek revenues from other areas. We' re
not a management company but we do piay a
very important part in the development of on r
artists and we want to participate. We talk to
the artists and management about the bene-
fits of a closer relationship that goes beyond
music sales. You'd be surprised at how open
artists are to work with us in thai area.

How is your digital business doing, and where
do you want to see it?

Digital and new media is probably making up
25% of our income, versus 1% in 2007. Tradi-
tional physical sales still account for 65% of our
income and another 10% is from other incomes
like sponsorships, tie-ins. opportunities we bring |
to [artists] where we take a piece like any agency
would. We're also trying to grow our licensing
business. But the digital market has yet to ex-
plode. One of our bi^est challenges is the fact
that there are a large number of latinos on pre-
paid phones and users have Hmitations on doing
their purchases. • ■■

78 i BILLBOARD I OCTOBER, 10 2009

NOVEMBER 12-13, 2DD9 • THE ROOSEVELT HOTEL • NEW YORK CITY

Doi^/OMES^ nielsen

MEDIAandMONEY

NAVIGATING CHANGE:
SOLUTIONS AT A CHALLENGING TIME

Now in its 3rd year, this conference unites the most important - — '
forward-thinking leaders to examine the evolving media and entertainment
landscape, and reveal new business opportunities for 2010.

CONFIRMED SPEAKERS INCLUDE:

MILES BECKETT

Otici E..(rCLrtivp Of «:er
Eqal

LEN BERMAN
l.«n8«rTnanSports.com

BONIN BOUGH
Glowl O'Wio' o* Digital

and Sixml MeOra

P*pnCo

MtCHAEL BURNS

RIO CARAEFF

GORDON CROVITZ

TERRY DENSON

VP, Ct'ilMil bl-Jldiy

Variioti Comm.

USA OONOHUE
StarcomUSA

ED ERHARDT

Marisetiog and S«hM
ESPN

scon HONOUR
Tha Ooras Group

JOSH MARSHALL

Editor & PubJi^or
Talking Polrrti Mwno

JAMIE MCCOURT
Chie< Enetutive OtKei
Lm Ai>g«(ei Dodgvrs

SCOTT O NEIL

ALAN PATRICOF

Mjfisyiriy [>rB<.leir
Orvytrah LLC

JIMI^ PTTARO

Vice Prciideol. Modia
tWMMl

JEFF PRtCE

Chio' EjKKutf^ OHic.
TunaCors

VI K RANT RAINA

Boston Vantures

CHRISTOPHER RUSSO

JOSHUA SAPAN HERB 5CANNELL

Rainbow MMtia Co FourxJc

KARA DIOGUARDI

KIRK MCDONALD

Pr««jonl. Dtgnal
Twn« Inc. Digital

Ths S'hsr Group

IAN SCHAFER

CEO & FtXiixlei
D*«p Focm

DANIEL SCHEINMAN

SVP & Gcr«fal Maragor
Cko M>Jlt Sotmion*

STEVE TISCH

ChaifTnan. EvP &
C<vOw>*i

New Yoffc OMnts

CHRISTDPHaA.H.VOUJ«ia ROYCE YUDtCOFF

Git-bj M«Jifl and Enl
Booz ft Company

NETWORK WITH TODAY'S TOP DEALMAKERS.

BILLBOARD SPECIAL RATE $1400 • REGISTER BY NOVEMBER 11 • USE PROMO CODE: BBAD
REGISTER TODAY! SPACE 15 LIMITED

WWW.MEDIAANDMnNEYCnNFERENCE.CDM

REGISTRATION: Usa Kntner 646.654.4M3 • SPONSORSHIPS: Kim Griffiths «4«.654.47ie • THE ROOSEVELT HOTEL 888.833.3969 Discounted Rate S299/night

GOLD SPONSORS

DOaZ&CO. The Salter Group CISCO

CONFERENCE SPONSOR

¥SNLKagan ,nv.s1«lm

THE WAU STREET JOURNAL

IN ASSOCIATIDN WITH!

MarketV/atch

Dow Jones LBO Wire Dow Jones Private Equity Analyst

Billboard

Cni

DANCE PARTY USA

DJ Tiesto sets his
sights on the States

SOUTHERN MEN

Georgia's Cartel gets a
second chance

DEAD OR ALIVE

Chester Bennington
overcomes his demons

ON FIRE

Newcomer Jason
Derulo is a fast riser

IT'S HIS THING

Luke Bryan remains
country to the core

BY MARIEL CONCEPTION |

Attention
Overload

Will Wale Take Go-Go Mainstream?

Washington, D.C.. MC Wale seems poised to make the leap to
mainstream success. He's already built up a wealth of hipster
cred, making mixtapcs inspired by "Seinfeld" with Fader-approved
DJ Nick Catchdubs and playing parties at wine bars packed with
the young and the cool. But Wale could have a more complicated
journey to mainstream success.

It's not for lack of effort. Ust month Wale (bom Wale Folarin)
performed as part of the house band for the MTV Video Music
Awards in New York, and he recently confirmed he will be join-
ing Jay-Z, N*E*R*D and |. Cole for a stateside college tour this
fall. In the last few months, he also appeared in an ad for the ap-
parel line LRG and a commercial for Nike, inspired by his own
"Nike Boots" song.

Now, Wale will be releasing his debut album, "Attention
Deficit," Nov. 3 on Allido/Interscope Records. The album boasts
appearances from Lady Gaga. Jazmine Sullivan, Gucci Mane
and Bun B and production from Cool and Dre, Green Lantern.
Scyence. longtime collaborator D.C. 's Best Kept Secret and men-
tor/Allido label head Mark Ronson.

So far, however, the major embrace hasn't translated into
sales. Wale was best-known and acclaimed for incorporating
go-go music, a local style that's little used outside D.C. But none
of the singles released have been go-go tracks, and the new
album's first single. "Chillin'." featuring Gaga, entered the Bill-
board Hot 100 at No. 99, where it remained for only a week be-
fore falling off. The second single, "World Tour," has yet to crack
the charts.

Wale's manager Rich Kleiman says the records didn't get a re-
action not because they didn't have the go-go sound Wale's known
for, but because of a lack of radio support.

"Go-go is something Wale is heavily influenced by, but not
something he is goinR to force on people. Still, the same way
he introduced them to go-go, he wants to introduce to his fans
all of the other sounds he's been influenced by," he says, adding
that core fans shouldn't feel neglected. "Although 1 wish radio
would have embraced the track in a bigger way — and we were
disappointed it didn't get to the place on the charts we thought
it would — we just wanted to put out the track that felt right now."

Wale agrees, stating the music he makes — whether go-go or
not — is all part of his element. "I just make music I feel com-
fortable making, whether it's parly music or offensive at times —
whatever reflects what I'm feeling." he says.

Wale got his start passing out mixtapes in D.C. He was dis-
covered by Ronson in 2007, and a few months after that, he signed

'Wale's the kind of artist
that does what he wants
when he wants to. That's
why the album is titled

that way— it's like a
focused confusion or an
orf^anized mess.'

-RICH KLEIMAN, WALE'S MANAGER

with Ronson's Allido Records. He went on a U.K. tour with his
label chief and "shortly after in 2008, 1 got signed to Interscope."
he says.

Despite the lack of chart heat, Interscope is going ahead with
the release of his album and launching a number of marketing

initiatives. To roll out " Deficit," Wale will introduce in the fall an
online video series that "follows his life on a day-to-day basis,"
marketing director Andrew Flad says. Wale also appears in 2K
Sports' "NBA IKW videogame, available Oct. 6, as a playable
character. Flad adds that Wale and his team are working out a
deal for the new "DJ Hero" game that also launches this fall.

In addition to the |ay-Z tour, Wale, who recently took the stage
for the VH 1 Hip-Hop Honors in New York, will perform as-yet-
unannounced one-oti dates tliroughout tlie country starting in the
coming weeks and will release a follow-up single. "Let It Loose"
featuring Pharrell. which Kleiman says will give him the momen-
tum he needs until the album's release.

"Wale's the kind of artist that does what he wants when he
wants to. That's why the album is titled that way — it's like a fo-
cused confusion or an organized mess," Kleiman says. "Peo-
ple usually think, 'What's good for the brand?' But he isn't that
type of artist. He realized he was ready to work witli mainstream
producers and artists but will never lose the backbone of who
he is. And although he wants to be a star, he won't sacrifice his
fans for it." ••••

OCTOBER 10. 2009 I www.billboard.b;^ ^

JilJZZ_

»>MADONNA
BREAKS U.K.
CHART RECORDS

Madonna matched Elvis
Presley's U.K. record for a
solo artist when her
"Celebration" best-of
(Warner Bros.) debuted at
No. 1. Madonna and Elvis,
with 11 U.K. No. Is each, are
now tied for second tje-
hind the Beatles, who
have 15. According to U.K.
Chart Co. data, Madonna
has also spent more
weeks at No. 1 in the
market (29) than any
other female solo artist.

>>>GENESIS
RELEASES LIVE SET

As the Rock and Roll Hall
of Fame vote draws near,
first-time nominee
Genesis has released a io-
dise boxed set titled
"Genesis Live 1973-2007."
Collecting a trophy at the
Hall of Fame induction
would create the potential
for a reunion of the Peter
Gabriel 1970-75 lineup,
with Phil Collins on drums,
that's been rumored for
the past five years. Collins
is reported to have a back
condition that would
prevent him from playing,
however, making any
reunion "a long shot,"
keyboardist Tony Banks
says. Genesis is also
planning a 2010 boxed set
compiling the group's
concert videos with some
previously unreleased
material as well as "home
video" footage shot by
Collins during the making
of 1983's "Genesis" album.

SPRINGSTEEN
TO PLAY CLASSIC
ALBUMS

Bruce Springsteen & the E
Street Band will perform
an entire album from their
catalog each night of their
five-show run this month
at Giants Stadium in East
Rutherford, N.J. Two
nights will feature "Born to
Run," another two will
have "Born in the U.S.A.,"
and the last of the five will
be "Darkness on the Edge
of Town." The group Is in
the midst of a fall tour that
wraps Nov. 22 in Buffalo,
N.Y. In addition to the
Giants Stadium shows, a
"Born to Run" gig is set for
Nov. 18 in Nashville. The
band will also appear Oct.
29 at New York's Madison
Square Garden as part of
the Rock and Roll Hall of
Fame's 25th-anniversary
concert.

Reporting by Gary Graff,
David J. Prince and Paul
Sexton.

BY KERRI MASON

Kaleidoscopic
Visions

DJ Tiesto Tries To Break
Through Stateside

Dutch producer/DI Tiesto is already ahead of
many of his contemporaries: He has corporate
sponsors. a Cratnmy Award nomination, a tour-
ing market tliat spans five continents and sales
of more than S 18.000 albums domestically, ac-
cordin(4 to Nit'lsen SoundScan. But even though
he's achieved success that usually eludes elec-
tronic artists, Tiesto has an even loftier goal in
mind — cracking the North American main-
stream. While his U.S. sales are nothing to scoff
at, tliey're small potaloi^ next lo his global sales —
2.5 million-plus, according to his management.

"Tiesto as an electronic artist may be seen as
established; however, we all know how hard it
has been for electronic artists to get the respect
they deserve in the mainstream music world,
particularly in North America." says Michael
Cohen. Tiesto's co-manager at AM Only, his
worldwide hooking agency. "Considering he
has played stadium shows in Europe, includ-
ing a recent headlining show in London's Vic-
toria Park for 25.(M>() people, there is still a long
way to go for all of us in terms of replicating
those achievements in North America."

Tiesto is hoping to achieve that success with
"Kaleidoscope" lUllra). his (ourth studio album.
It will be released Oct. 6 in the United States
on Ultra and Oct. 5 elsewhere by Musical Free-
dom, a collaboration between Tiesto's manage-
ment company. Complete Control, and I'lAS.
While it fealurescollalwrations with big names
in art rock (|6nsi Birgisson from Sigur Ros).
indie rock (Kele Okereke from Bloc Party) and

even pop (Nelly Furtado. praising late-night
part>'ing on "Who Wants to Be Alone"), the col-
lection never loses its essential Tiesto-ness:
massive synth riffs, uplifting melodies and
high drama.

For Ultra, the diversity of the collaborators
means targeting a number of audiences. "We're
connecting the music and message of 'Kalei-
doscope' with the indie audience from Pitch-
fork to modern rock radio." Ultra president
Patrick Moxey says. The lal>e! is also leverag-
ing its large fan database with sales and Google
Analytics data to focus the digital marketing
campaign in key areas. "We're well aware that
Tiesto needs special attention in Miami, for ex-
ample, and we have a stepped micro-market-
ing campaign in that cit)' to activate his fan base
for street date," Moxey says. In-stores are sched-
uled for HMV in Toronto and Amoeba in Los
Angeles, and Ultra has successfully sold the
album in all of its U.S. retail accounts, includ-
ing major chains for all 35 U.S. tour stops.

Tiesto, who turned 40 this year, will play
a few large venues for the first lime on the
tour, which kicked off Sept. 24 in New York:
Tsongas Arena in Boston (capacity: 7,S0O);
Arrow Hall in Toronto (9,000); UCF Arena
in Orlando. Fla. (10,000); Cohen Stadium in
El Paso, Texas (U, 000); and two shows at the
Big Four Building in Calgary. Alberta (4.000).

"His touring profile has grown steadily and
consistently, moving from sold-out club shows
to sold-out theater shows lo sold-oul arenas
now in some major markets," Cohen says. "As
the size of venue has growTt the ability to bring
in Tiesto's signature production has grown
with it, and I think that's the key lo his contin-
ued success: investing in the live show." The
Tiesto experience includes lasers, pyrotcch-
iiit.s, floor- lo-cei ling video screens and an eye-
popping tuslomized D) booth.

Heineken is onboard to sponsor some of the
major-market shows. Tiesto is also working
with Nokia in the Netherlands on a "perform-
ance and content partnership" and with
Smirnoff and Manchester United Football Club
on an Asia Pacific campaign. His long
relationship with Armani Ex-
change will continue as well.

"In North America, we have
done about all that an artist and
brand could hope to achieve to-
gether, including a tour spon-
sorship, exclusive record
release, clothing line and prod-
uct endorsement." says josh
Neuman of Complete Control.
Tiesto's worldwide management
company. "We have started doing
additional campaigns together in
the U.K., China, Dubai and arc ex-
ploring other territories to work on for
2010."

Additional reportingby Richard Smirke
in Manchester. England.

BURSTING
THE 'BUBBLE'

Wlnd-Up Bets On Cartel's Comeback

In the spring of 2007, Cony-
ers, Ga., act Cartel seemed like
it was on the right track: Its
debut had been upstreamed
from indie the Militia Croup
to Epic and was selling briskly,
and when it was presented
with the opportunity to star in
an MTV show, "Band in the

Bubble," the group figured i!
would be a great next step.

Alas, that wasn't the cast-
The MTV program didn'i
achieve its intended result; tht
album recorded in the bubble
"Cartel." stiffed, selling Ics
than 100,000 copies, accord
ing to Nielsen SoundScan

>>>T TIME AGAIN

Two-and-a-half years after
releasing his Mercury Prize-
nominated debut, "Panic
Prevention." London-based
singer/songwriter Jamie T—
real name Jamie Treays— is
back, hitting No, 2 on the
United Kingdom's Official
Charts Co (OCC) list with his
second studio set, "Kings &
Queens" (Virgin).

The 11-track album was re-
leased Sept. 7 In Europe and
entered the U.K. chart a week
later; it also reached the top
20 on the Australian Record-
ing Industry Assn. albums
chart. It makes its U.S. bow
Oct. 6 on Astralwerks. "Panic
Prevention" peaked at No. 4
on the U.K. chart and has
racked up global sales of

250,000, according to the art
ist's London-based manager
Jonathan Dickins.

Dickrns calls the new set a
progression from "Panic Pre-
vention," being eclectic in the
music it refers to "but believ-
able in everywhere it goes."

The new set mixes love-
lorn acoustic ballads, feisty
punk rock and dancehall
rhythms with the artist's dis-
tinctly British, fast-paced MC
vocal style.

Its U.K. arrival was preceded
by the four-track EPs "Sticks
'N' Stones" and "Chaka De-
mus," which both cracked the
OCC top 30. Each EP's title
track appears on the album,
while a third EP is set to be re-
leased in November following
a 14-date U.K. tour beginning

82 BILLBOARD OCTOBER 10, 2009

( rlic band's first album.

Chroma." sold 250.000.) Car-
tel was released from its con-
tract with Epic and found itself
on the market.

But the band got a second

haiKo. courtesy of Wind-up
Records president Ed Vetri.
riie label will release its new
:»Ibum, "Cycles." Oct. 20, as
part of a "270" deal with the
band. Under the terms of the

grecnient, Wind-up has the
rights to collect revenue from
ilbimi sales, merchandise and

ouriiig. For Vetri, who says
IC S been keeping track of the
band since 2004, this was the
perfec t opportunity.

"Our lawyer had discussed
it with one of the A&R guys at
Wind-up," Cartel manager
Chris Black says, "They were
the first people to know directly
that we were free agents and
they were on it after that. They
wanted it right there and then."

Vetri says his first goal was
to give Cartel the time and
space to make the record he
thinks it could have made all
along. Both of its earlier al-
bums were recorded in less
than a month, and Vetri says
he believed Cartel could cre-
ate an album that would
make fans forget its reality
TV foray if the band was al-
lowed to go slow.

"I think [lead singer] Will
[Pugh] needed time to find
himself again and support to
write great songs, which he ul-
timately did." Vetri says. "It
was a long process: they were
in the studio for about a year."

Pugh says. "They put us in
their studio, gave us tlie time
and allowed us to produce our
own record. Listening to the
record now, it's the most fo-
cused, well-organized and best
representation of our band ttiat
we've had so far."

Like the group's last two re-
leases, "Cycles" has plenty of
hooks but they're tighter and
more sophisticated, a by-
product of the band's ability to

take time and refine its work.
The bass-heavy track "Deep
South" pays tribute to the
group's Southern pride. ("Go
and get my bones/Bring them
to the Deep South/Some-
where they can thaw out.") The
closing song " Retrograde" con-
tains sweeping vocals and big
pop-punk instrumentation,
while slower, ballad-type songs
("Only You," "It Still Re-
mains") show the band's emo-
tional depth.

Cartel reconnected with fans
while in the studio by posting
on Twitter, MySpaceand Face-
book. The band also did a quick
tour with All Ti me Low and We
the Kings as the recording
process was winding down. It's
planning to hit the road this fall
to tour in support of "Cycles"
with This Providence, the Sum-
mer Set, Bigger Lights and the
Dares. Other marketing plans
include giveaways and we-
bisodes through the group's so-
cial networking sites and an
appearance on Fearless TV Oct.
26. The first single, "Let's Go."
is being serviced to rock radio.

Vetri has high expectations
for the group. "Will has an ab-
solutely amazing voice." he
says. "Once we can get the
songs out there and his live per-
formance grows, that's when
we'll ultimately bring them to
a platinum-plus record." ••••

MUSICL,

Oct. 1, booked by ITB. U.S.
dates through Highroad Tour-
ng are scheduled for Decem-
ber. Jamie T is published by Inv
agem Music— ff/c/iarrf Smirke

>>>BLUE LAKES

With Scottish pop-rock act
Deacon Blue on Indefinite
hiatus, singer/chief songwriter
Ricky Ross and vocalist Lorraine
Macintosh decided the time
was right for a new venture.

The pair, married for 19
years, are founding members
of Deacon Blue, which en-
joyed five U.K. top five albums
between 1989 and 1994 in-
cluding the chart-toppers
"When the World Knows Your
Name" (CBS. 1989) and "Our
Town— The Greatest Hits" (Co-
lumbia, 1994).

They opted to record their
first work as Macintosh Ross
in Los Angeles with Daniel
Lanois' regular production
partner Mark Howard, and the
resulting album, "The Great
Lakes" (Cooking Vinyl), adds
an element of Americana to
their Celtic roots.

'We wanted to detach [this
record] from some of the his-

tory of the band, which is one
of the reasons it was recorded
in America," says Cooking
Vinyl's London-based director
of business development Joe
Cokell. 'There are some great
Nashville [session] players on
the record, which will broaden
its appeal."

The act is signed worldwide
to Cooking Vinyl, which re-
leased the album Sept. 28 In
Europe. Cokell expects a U.S.
release "once we've been bultt
a platform in the U.K. and Eu-
rope." Macintosh Ross will
play U.K. shows in November,
booked by Asgard. Ross is
published by Warner/Chap-
pell; Macintosh is copyright
control. —Steve Adams

>>>CLEAN LIVING

After just four studio albums
since forming in 1978, New
Zealand alt-rock act the Clean
recently released a new set.
"Pitchfork described them as
the 'Halley's Comet of indie
rock,' which is a pretty good
description." says Ben Howe,
label manager at the act's cur-
rent home, Auckland-based
Arch Hill Recordings.

The latest sighting comes
with "Mister Pop," released
Sept. 7 in New Zealand and
Sept. 8 in the United States on
Merge; Morr Music issued the
album Sept. 14 in Europe. Pub-
lishing is with Mushroom Music.

The Clean was the most
influential act to emerge
from the New Zealand indie
label Flying Nun. It scored a
few domestic hits and was
name-checked by bands like
Yo La Tengo. Guided by Voices
and Pavement. The band
split in 1983 but reformed in
1988 and has reconvened
every four to five years since,
while the members continue
solo careers.

The new album, Howe says,
has "still got plenty of their
old Instrumental freakouts,"
but as befits its title, it's
slightly poppierthan previ-
ous outings.

The Clean last toured in
2007-08, tjut new dates havent
been booked yet 'There's a lot
of demand for tf>em to tour and
they probably will at some
stage," Howe says. "But they
tend to do things In their own
time." —John Ferguson

QUESTION'S

with CHESTER BENNINGTON

by EVAN C. JONES

As the lead singer of the multimillion-selling band Linkin Park, Chester Bennington helped
define the rap-metal sound of the early '90s. But as his career was ascending, his life was
falling apart: Bennington was heavily involved in drugs and spent some nights wondering
whether he would make it to the next day. Luckily, he survived and used the turmoil to in-
spire his new project, Dead by Sunrise. Bennington and his bandmates— Orgy members
Amir Derakh and Ryan Shuck— will release "Out of Ashes" Oct. 13 on Warner Bros.

Can you explain the meaning behind
the band's name?

"Dead by Sunrise" really sums up the kind of
lifestyle I was leading when we began working
on the record. I was partying a lot; I was drink-
ing heavily; I was using a lot of illegal sub-
stances, and it wasn't fun. It got to the point
where it was really out of control, so the name
of the band comes from that feeling of literally
not knowing if you're going to make it to the
next day.

2 How Is Dead by Sunrise different from
Linkin Park?

The main difference between them is that
Linkin Park was known for taking a more metal
approach and incorporating lots of hip-hop
beats behind that. Dead by Sunrise has a lot
of grungy, punky. straightforward rock ele-
ments mixed with an alternative rock, melodic
sensibility, as well as some electro-alternative
pop stuff.

3 You also did some production work on
the new album. What lessons did you learn
being on the other side of the board?

Being involved with all aspects of the process
opened up a lot of creativity within me. and I
started writing songs like a madman. I was
wTiting eight to 1 0 songs a year before. I had a
lot of ideas but really not that many great songs,
and they came in spurts. Whereas now, I could
write probably 1 00 songs a year. It's really kick-

started a lot of energy in me thai was lying dor-
mant for a little while.

4 What kind of tour plans do you have?

The idea now is to go out and really start play-
ing small shows. That could mean playing in
front of a couple hundred people. My goal is
to really build a fan base the grass-roots way:
Go out and hit the road and play small shows
and get fans who just want to hear us play.

5 What promotion are you doing for the
new album? Are you targeting Linkin Park
fans or a different crowd?

I don't know if Linkin Park fans wiW like Dead
by Sunrise. Some people may actually like Dead
by Sunrise and not like Orgy or Linkin Park. I
do have an advantage in the fact that Linkin
Park is huge, and there are lots of people who
are fans of mine, and fans of Linkin Park, and
they're going to come see it because it's tied to

Linkin Park, and that's all they care about. But

I'm not relying on that atone.

8 You've worked with a wide range of
artists. Is there anyone else you'd like to
collaborate with in the future?

If there was somebody I had to choose right
now, it would be Chris Cornell. And Slash
and I have been kicking around the idea of
working on a song together for quite some
time; we just can never seem to connect at
the right time. ••••

OCTOBER 10. 2009 I www.blllboard.biz I 83

ALBUMS

BEBEL GILBERTO

All In One
Producers: various
Verve

Release Date: Sept. 29
Desptte Bebel Gilberto's
Brazilian musical bloodlines
(her father is Jo3o Gilberto
and her mother is Mtucha).
she didn't achieve wide-
spread notoriety until she left
the South American country,
Her 2000 international debut
release, "Tanto Tempo," pro-
duced in London, put Gil-
berto on the world music
map. Her latest album and
Verve debut. "All in One." is
something of a return to
Brazil, conceptually speak-
ing. Collaborating with artists
like Daniel Jobim, Did! Gut-
man and Carlinhos Brown.
Gilberto offers a Euro/Brazil
mix of tunes. The set features
several strongly tropical num-
bers, like the gentle "Cancao
de Amor" and a fine cover of
her father's original bossa
nova classic "Bim Bom." Her
rendition of Stevie Wonder's
"The Real Thing," on the other
hand, is insubstantial com-
pared with simpler efforts, in-
cluding the dark colors of
"Secret," the lovely ballad
"Port Antonio" and her spir-
ited cover of the Carmen Mi-

randa nugget "Chica Chica
Boom Chic."— PW

PATTY LOVELESS
Mountain Soul II
Producer: Emory Gordy Jr.
Saguaro Road
■ Release Date: Sept. 29
Patty Loveless has an innate
soulfulness that can't be
taught, bought or won on a
reality show. That's one of the
reasons— along with sterling
musicianship and inspired
song selection— why her new
album, "Mountain Soul II. ' is a
must-have for fans of Love-
less and roots music alike.
When she sings, "There's no
place so lonely as being half
over you" on the track "Half
Over You." listeners feel the
same belief in her lyrics as
they did when listening to
Vince Gill sing "Never knew
lonely till I met you" 20 years
ago on the song "Never Knew
Lonely." The stark tune "Dia-
mond in My Crown," which
finds Loveless accompanied
by Emmylou Harris and a
pump organ, is as pure and
aurally fulfilling. Meanwhile,
the gospel trio of "Working
on a Building" (with Del and
Ronnie McCoury). "Friends in
Gloryland" (featuring Gill and
Rebecca Lynn Howard) and

MICHAEL BUBLE

Crazy Love
Producers: venous
143/Reprise
Release Date: Oct. 9
There's always been a bit of crazy
in the way Canadian crooner Michael Buble has struc-
tured his repertoire, love songs and otherwise; he has
the standards down, but he's certainly not trapped in
the Great American Songbook. The curvebails on
Bubl^'s fourth studio release, "Crazy Love," give the
album some additional cheek, whether it's the finger-
snapping take on the Eagles' "Heartache Tonight," the
samba -flavored groove of Ron Sexsmith's "Whatever
It Takes" or Dinah Washington and Brook Benton's
"Baby (You've Got What It Takes)," a slinky RSB romp
with Sharon Jones & the Dap-Kings. He also holds his
own on a treatment of the Ella Fitzgerald staple "Cry
Me a River" (which sounds like a potential James
Bond movie theme) and the Van Morrison-written title
track. Meanwhile, the single "Haven't Met You Yet"—
one of two Buble writing credits on the album— is a
Merseybeat pastiche that seems about to break into
"All You Need Is Love" at any minute. "Crazy Love" is
another step in Buble's creation of his own kind of
songbook, and there's nothing necessarily crazy
about that.— GG

WLlfStANOfD

TOKIO HOTEL

Humanoid
Producers: various
Ch errytree/lnierscope
Release Date: Oct 6
It's probably unwise to assume
that "Darkside of the Sun." the
second track from the German band Tokio Hotel's sec-
ond international set, "Humanoid," references the
famous Pink Floyd album with which it almost shares
a title. After all. little about Tokio Hotel suggests the
group's young members feel any connection to the
classic rock canon. Led by elaborate-haired frontman
Bill Kaulitz, the band looks to Depeche Mode the way
guitar groups regard Led Zeppelin. With its whirring
synth riffs ("Noise"), pumping arena-emo grooves
("Pain of Love") and liberal use of Auto-Tune ("Hey
You"). "Humanoid" is no less appealingly shiny than
its 2007 stateside debut. "Scream." But with the ex-
ception of the song 'Automatic," an instantly catchy
chunk of bubble-grunge perfection, it does have few-
er killer melodies, which allows more of your brain to
focus on Kaulitz's lyrics. That's a dubious advantage:
The song "Dogs Unleashed" sounds an awful lot like
he's singing, "We are dogs in heat."—

-J

"(We Are All) Children of
Abraham" provides the al-
bum's spiritual center.— KT

AVETT BROTHERS
I and Love and You
Producer: Rick Rubin
Americar) Recordings
Release Date: Sept. 29
On past albums, the Avett
Brothers' greatest attribute
has been their ability to lure
comfortable yet elegant fire-
place melodies from just a
handful of guitars and one
DMA strand. But higher stakes
are called for on their major-
label debut, "I and Love and
You"— and the brothers have
responded with nothing less
than a game-changer. The
North Carolina-based band
has smartly obliterated and
redrawn its folk-punk/
grunge-roots history, first de-
claring Its relocation to Brook-
lyn on the glowing title track,
and then swinging for the
fences with a finger-patnted
rave-up ("Kick Drum Heart").
Meanwhile, the song "Heart
Full of Doubt, Road Full of
Promise" is a swelling epic
With a title to match, and "The
Perfect Space" is an Elton
John-like piano ballad. Pack-
ed front to back with lyrical
treats and lovely sonic
touches (thanks to producer
Rick Rubin), "I and Love and

You'* may be one of the major
labels' best pieces of news
this fall.-JV

ALICE IN CHAINS

Black Gives Way to Blue
Producers: Nick
Raskulinecz. Alice in Chains
Virgin Records
Release Date: Sept. 29
Alice in Chains singer Layne
Staley is gone but hardly for-
gotten—at least not as an in-
tegral component of the
band's murky, melodic bram i
of hard rock. The quartet re-
turns M years after its last
new studio album (and seven
years after Staley's death),
with an 11-track set that
sounds like it could well have
been recorded in the same
session as the 1995 "Alice in
Chains." New singer William
DuVall's voice boasts the
same kind of cadence and
weight as Staley's. and more
importantly his vocal blend
with guitarist Jerry Cantrell
ensures that that integral
harmonic trademark remains
intact. So does Alice in
Chains' dark countenance,
from the twisting opening of
the song "All Secrets Known"
to the sinewy groove of the
first single, "Check My Brain."
The droning "Private Hell"
takes the listener into a
trance-like state, while the
album-closing title track is a

salute to Staley thai features
Elton John on piano.— 6G

7 WORLDS COLLIDE

The Sun Came Out
Producers: various
Sony Music

Release Date: Sept 29
7 Worlds Collide's new dou-
ble-disc album. "The Sun
Came Out," is the answer to
a question few had probably

thought to ask: What would
happen if members of
Crowded House, the Smiths.
Radiohead. Wilco. assorted
family members and other
guests spent three weeks in
a recording studio? The re-
sult should have been a mis-
begotten mess. Instead, with
Neil Finn serving as host and
co-producer, "The Sun Came
Out" turns out to be an in-

ROSANNE CASH

The List

Producers: John Leventhal. Rick
DePofi

__ Manhattan Records

^ ^ ^ ^^^^ Release Date: Ocf. 6

Grieving the loss of a loved one may yield a harvest
of creativity. In Rosanne Cash's case, the 2003 death
of her father, Johnny Cash, inspired the heartfelt
originals on her 2006 release "Black Cadillac." The
late country legend's memory also largely informs
Cash's new album, "The List"— sublime renderings
of tunes her dad considered essential American
gems. Cash not only infuses love into her delivery
on the collection but also proves herself a supreme
song stylist. Guest vocalists contribute gracefully to
these country classics, highlighted by Bruce
Springsteen singing into the marrow of the midtem-
po track "Sea of Heartbreak" and Elvis Costello
spicing up "Heartaches by the Number." But the
spotlight is rightfully on Cash, who sails gently
through "Miss the Mississippi and You" while dell-
ciously strolling through Hank Snow's "I'm Movin'
On." She ends the acoustic affair with a heartrend-
ing interpretation of the Carter Family's "Bury Me
Under the Weeping Willow." -DO

84 I BILLBOARD I OCTOBER 10, 2009

j HE BILLBOAR

^RIEVIIEWS-

SINGLES

spired exercise inartistic col-
aboration and pop songcraft.
Johnny Marr sounds rejuve-
lated as he takes the mic on
'Too Blue." the beautiful
album opener he co-wrote
with Jeff Tweedy. Radio-
lead's Phil Selway and Finn's
;on EIroy make surprisingly
strong solo bows. KT Tunstall
shines on tv;o standout
tracks. 'Black Silk Ribbon"
;wtth Bic Runga) and "Hazel
Black." And Finn serves up
the breezy pop charmer "Lit-
tle by Little" with his wife,
Sharon. Here's hoping the en-
tire collective reconvenes for
another go-around.— /.H

ELECTRONIC

BASEMENT JAXX

Scars

Producers: Felix Buxton,

Simon Ratcliffe
Ultra/XL

Rcleas* Data: Sept 22
If Basement Jaxx has a flaw,
it's the group's tendency to
overdo: too many of the cra-
ziest sounds you've ever heard
happening at once, at too high
a volume, surrounding one de-
fenseless vocal line. But the
U.K. production duo has found
a happy medium between
total sonic freedom and pop-
wise efficiency on its fifth
album. "Scars." The release is
a study of balanced brilliance,
a junkyard carnival of found
sounds and international in-
fluences. The irresistible start-
stop title track features a Kelis
vocal over a gothic choir,
chopped into syncopated bits.
The song "Twerk" recalls Base-
ment Jaxx's jump-up mix of
N'E'R'D's -She Wants to
Move," while the track "Saga"
takes Santigold into ska terri-
tory—with a cartoon-like
ghoulishness, a la Scooby-
Doo. Crooner Sam Sparro
leads the album standout

"Feelings Gone" with a faith-
fully soulful vocal over a
kinetic dance rhythm that
would make Annie Lennox
proud. But by closing the
song with unadorned strings, ^<
Basement Jaxx seems to be
finding feeling in its new
efficlency,-#fM

VARIOUS ARTISTS
Music Insplrad by Mor«
Than a Game
Producers: various
Harvey Mason Music/Zone
4/Streamtine Media/Geffen
Release Date: Sept. 29
The soundtrack to the sports
documentary "More Than a
Game." a comtng-of-age
story about friendship and
loyally among five young
basketball players in the face
of adversity, is much like the
film: inspiring, with a star-
studded lineup. Most of the
songs exude a sense of mo-
tivation, including Mary J.
Blige's heartfelt "Stronger"
and Jay-Z's nostalgic "His-
tory." Other tracks, like Rich
Boy s braggadocios on "Top
of the World" and the encour-
aging "If You Dream." help lift
the story of the fab five (led
by future NBA superstar Le-
Bron James), whose high
school team went on to win
its national championship.
The album's standout track
—and the one that captures
most of the film's emo-
tion—is the ambitious "For-
ever," featuring Drake. Lil
Wayne, Kanye West and
Eminem. Over the double-
speed drums and horn-
laden production, Drake
harmonizes, "It may not
mean nothing to y'all/But
understand nothing was
done for me/So I don't plan
on stopping at all/1 want
this shit forever."— MC

m4(i4k'i»x;««jEi4»]ii^

EDITED BY MITCHELL PETERS
(ALBUMS) AND MONICA
HERRERA (SINGLES)

CONTRIBUTORS: Crystal Bell.
Ayala Ben-Yehuda. Manel
Concepcion. Gary Graff. Ronald
Hart. Louis Hau. Monica Hemra.
Kern Mason. Dan Ouellette: Kelsey
Paine. Ken Tuckef. Phdip Van
VIeck. Jeff Vrabel. Mikael Wood

CRI'nCS' CHOICE *: A new

release, regardless of chart
potential, highly recommended
for musical merit

PtCK >: A new release predicted
to hit the too half of the chart in
the correspondirig format

All alboms commorcidlly available
tn the United States are eligible.
SefxJ album review copies to
Mitchell Peters at Billboard, 5055
Wilshire Blvd., Seventh Floor, Los
Angeles. CA 90036 and singles
review copies to Montca He'rera
at Billtx>ard. 770 Broadway.
Seventh FkJor. t>*ew York. NY.
10003, or to the writers in the
appropriate bureaus

JULIAN

CASABLANCAS

11th Dimension (4:02)
Producer: Jason Lader
Writer. J. Casablancas
Publisher: Julian
Casablancas Publishing
(ASCAP)
RCA/Cult

Unabashedly retro, Casio-
blyle keyboards kick off the
first single from Strokes
frontman Julian Casablan-
cas' anticipated soto debut
album, "Phrazes for the
Young." Although those first
notes sound like they should
be playing during the open-
ing credits of a cheesy B-
movie from the '80s. Strokes
fans can set aside their worst
fears, because Casablancas
proves that he isn't one to
dive headfirst into synth-pop
without a sense of irony. On
"11th Dimension." the singer
redirects kitschy pop into
the arena of "Achtung Ba-
by"-era U2. implementing a
Teutonic boogie under his
smooth, monotone croon.
He sings, "I just nod. I've
never been so good at shak-
ing hands," but with this
ultra-catchy, pop-rock gem,
Casablancas shows that he
can get hipsters shaking on
the dancefloor— /?H

KE$HA
TiK ToK (3-^2)

Producers: Lukasz "Dr. Luke"
Gottwald. Benny Blanco

Writers: K. Sebert.
L Gottwald. B. Levin
Publishers: various
RCA

After lending her vocals to
Flo Rida's "Right Round,"
KeSha offers her own fun and
frivolous ode to a wild night
out. "TiK ToK" finds the 22-
year-old singing teasingly
about excess pleasures, from
drinking ("Ain't got a care in
the world but I got plenty of
beer") to men ("We kick 'em
to the curb unless they look
like Mick Jagger"), In case
that weren't enough, KeSha
also alludes to brushing her
teeth with a bottle of Jack
Daniel's and name-drops
Diddy, who provides a quick
cameo for good measure.
The song is a love letter to
DJs everywhere, with hand
claps that build to a cres-
cendo of pure, infectious
dance-pop, KeSha's debut
album is due in late 2009, and
with this first solo effort, the
singer reveals a knack for get-
ting the party started.—

JASON CASTRO
Let's Just Fall In Love
Again (3:28)
Producer: Eric Ivan Rosse
Writer: S. McConnell
Publisher W.B.M. Music
(SESAC)
Atlantic

With this year's top "Ameri-
can Idol" finalists nearing the
release of their solo debuts,
it might be easy to forget
that season seven's Jason

ALEJANDRO SANZ
FEATURING ALICIA KEYS
Looking for Paradise (4:34)
Producers: Alicia Keys. Tommy
Torres

Writers: A. Sanx. A. Keys. K. Dean.
T Torres

Publisher Gazul Productions
Warner/Chappell Music Spain

The raspy urgency of Alejandro Sanz's voice has
acted as a lovely complement to female belters in the
past. The Spanish singer lent heft to Shakira's 2005
hit, "La Tortura," and this time around, his duet part-
ner Is Alicia Keys, whose voice also suits his nicely.
Kudos to Sanz and Keys for stepping out of their com-
fort zones and going back and forth In each other's
languages. It's refreshing to hear them stretch like
that, when they could've simply stuck with Spanish or
English. Not that there's much more risk-taking to be
found in "Looking for Paradise.' The hook consists
largely of Keys reprising her "uh-oh, uh-oh" chants
from "No One." Like a cool drink of water on a sum-
mer day, the song's breezy acoustic guitar riffs and
earnest lyrics about looking for human connection are
pleasant, but their taste is easily forgotten.—

Castro is also putting out his
own on Nov, 17. Luckily, his
first single is strong enough
to redirect some attention
toward him. It's a sprightly
folk-pop number that remi-
nisces about the puppy-love
stage of a relationship, as
Castro asks his girlfriend to
revisit that idyllic phase and
even pokes fun at its inher-
ent silliness. "We'll fall dis-

gustingly fast, and we'll stop
hanging out with friends/
And they'll be so offended,"
he sings. Those familiar with
his goofy, somewhat hap-
hazard nature on "Idol" will
be happy to know that Cas-
tro has stepped up his vocal
game considerably on his
solo material, without losing
the carefree spirit that made
him such a fan favorite.— MH

JOHN MAYER

Who Says (2:55)

Producers: John Mayer. Steve Jordan
Writer: J. Mayer

Publishers: Sony/ATV Tunes. Specific
Harm Music (ASCAP)
Columbia

John Mayer's debut single off his forthcoming "Battle
Studies" album finds the singer/songwriter asking a
rather daring question; "Who says I can't get stoned?"
This is clearly a departure for the artist, from both his
radio-friendly singles and heartthrob image. "Who Says"
balances Mayer's signature velvety tone with a more
stripped-down, folk-inspired arrangement. The lyrics are
about yearning for the freedom to define and redefine
himself by, among other things, traveling solo, turning off
his telephone and pursuing old flames. Mayer may not be
speaking in grandiose terms about changing the world or
marveling over a woman's beauty, but maybe that's the
point. As the singer himself puts it, "Who says I can't be
free, from all of the things that I used to be?"— C6

OCTOBER 10. 2009

www.billboard.bl2 j 85

Cni

BY JASON LIPSHUTZ

RISING STAR

Jason Derulo's 'Whatcha Say' Ignites Beluga Heights/Warner Bros. Venture

On the strength of powerful storytelling and the
clever use of sampling, "Whatcha Say," the debut
single from singer/songwriter Jason Derulo, is
burning up mainstream radio. The song has

crat ked tlie upper tier of the Billboard Hot 1 (K),
currently sitting at No. 5: it's also No. 2 on Hot
Digital Songs with 775.000 copies sold, accord-
ing to Nielsen SoundScan. While the track's cho-
rus puts an electro-pop spin on a sample of
Imogen Heap's 2005 song "Hide and Seek."
Denilo displays vocal skills that have pegged him
as an exciting new artist to watch,

"The sample was just magical, and the song
itself is so real." the 20-year-old Derulo says. "I've
been singing and dancing sitice I was 5 years
old. So to see everyone's reactions and hear them
singing along is incredible."

Before Derulo established himself as a solo
artist, the Miami native spent his youth study-
ing opera, theater and ballet, as well as differ-
ent musical genres. He wrote his first song
when he was 8 years old. After attending per-
forming arts schools and honing his talents as
a singer and dancer, Derulo won the grand prize
on the 2006 season finale of the TV show
"Showtime at the Apollo."

Although Derulo's abilities as a performer
were still developing, his understanding of song
structure helped him become a polished writer
and land a deal at Rondor Music Publishing. "As
soon as I heard his music. I was a fan," says Ron-

dor senior VP Kevin Hall, who signed Derulo.
"We're always looking for songwriters who can
cut through everything around them, and I felt
like his material had that lasting quality."

Despite the opportunity to write tracks for
artists like Lil Wayne. Pitbull and Cassie, Derulo
was intent on becoming a solo performer. "It
was killing me." he says. "I had a huge attach-
ment to the songs I was writing, but I had to
give them up to make a quick buck. Being in
music, I was just hoping something would hap-
pen, that somebody would notice me."

Among those who noticed the would-be artist
were producer/label executive |.R. Rotem and
"American Idol" judge/Warner Bros, senior VP
of A&R Kara DioGuardi. Rotem, the multiplat-
inum producer responsible for hits like Sean
Kingston's "Beautiful Girls" and Rihanna's
"S.O.S.." realized
Derulo's poten-
tial after the two
recorded six
songs together on
the night of their
first meeting. Rotem
signed Derulo to his Bel
uga Heights imprint through
Warner Bros. Records and also signed
on to produce the artist's debut album.

The use of the "Hide and Seek" sample for
the chorus of "Whatcha Say" may have been

a collective decision between Derulo and
Rotem. But the singer's brother, who called
Derulo right after his girlfriend left him, in-
spired the song's heartbroken lyrics. "He told
me, ■ I f she gave nie another chance, I d lie the
man she needed me lo be.' " Derulo says. "Peo-
ple experience something like this every sin-
gle day. The song goes through feelings thai
arc common in a lot of relationships,
and I think that's why people are
connecting to it."

Now Derulo's brother is en-
gaged to the same woman, and
"Whatcha Say" has clocked more
than 12 million listens on My- ^
Space. Derulo will likely release
another single by year's end as well
as appear as himself in MTV Films
"Turn the Beat Around" early next
year. He will also spend the fall
performing club dates across "^"^
the United States.

While the release of his debut album isn't e»
pected until first -quarter 2010, Derulo has writ
ten and recorded hundreds of songs for it. H(
says the release will be well worth the wait.

"I really don't feel any pressure to follow up
■Whatcha Say" because that song is just an ap-
petizer for the album," he says. "After working
so hard and spending every night in the studic
until 6 in the morning, it's exciting to see i|
1 come to fruition. 1 can't wait for th<
world to hear more."

Hot debut: JASON DERULO

KINGS OF MULTIPLE FORMATS

The Kings of Leon continue their multiformat march. The RCA quar-
tet's "Use Somebody" rises 3-1 on Billboard's Mainstream Top 40 chart.
In addition to hitting No. 1 on Alternative, Triple A and Adult Top 40.
the song becomes the first track to top all four tallies since 2004-05 when
^ Green Day's "Boulevard ofBrokeri Dreams" ruled tliosc lists. Only two

other groups before Green Day and Kings of Leon have achieved this feat
since 1996, when all four airplay charts first co-existed (Alternative
launched in 1988, Mainstream Top 40 in 1992 and Triple A and Adult
Top 40 in 1996): the Goo Goo Dolls' "Slide" (1998-99) and Sugar Ray's

"Every Morning" (1999). — Gary Trust

10/11/08

I Mutson
Billboard Hot 100
1 (No.8i)

C'J

6/20/09

8/8/09

9/12/09 1

9/19/09

10/10/09

Re-enters Hot 100

Reaches No. 1

Reaches top 40 on Hot UO

' Reaches No. 1 on Triple A,

Peaks at No. 4 1

Readies

(No. 100)

on Alternative

(S2-19) after performance

peaks at No. 2 on Hot

on Hot 100

No. 1 on

No.lwi

at HIV Movie Awards

Digital Songs

Adult

Halnstream

Top 40

BY KEN TUCKER |

Still Doing
His Thing

Luke Bryan To Headline Own Tour
As Second Capitol Album Bows

lisiti^star Luke Bryan isn't afraid of er/songwriter says. "As long as you've
sophomore slump. "When you stop got 100 songs written, the pressure's

^Titinji songs, that's when you back off. 1 just focus on making sure I've
ourseU into a corner," the sing- got the songs and go from there."

Bryan's 2007 album "I'll Stay Me"
spawned two top 10 airplay singles,
including the top five "All My Friends
Say," and has sold 262,000 copies, ac-
cording to Nielsen SoundScan. His
second album, "Doin" My Thing"
(Capitol Nashville), is due Oct. 6.

The first single "Do I," which
speaks to the challenges of maintain-
ing a marital relationship, is No. 17
on Billboard's Hot Country Songs
chart after 17 weeks on the chart.
Bryan co-wrote the song with Lady
Antebellum's Charles Kelley and
Dave Haywood-

Joel Burke. PD at country KYGO
Denver, says the song has "powerful,
compelling and relatable lyrics. There
was immediate reaction when we
started playing it, and it has since
proven to be one of our biggest songs
over the past six weeks."

The album also includes a cover of
OneRepublic's "Apologize." Bryan re-
calls doing the song "on a whim one
night in Athens. Ga. The crowd just
flipped out, so we kept doing it."

How a song plays in front of con-
cert crowds helped Bryan shape his
new album. "I'm more sure about
who I am and know what songs I'm

going to like to perform on the road
day in and day out," he says. "There
are songs on my first album that I've
never performed live. Any song that's
on this new album is a song that I
could do live and be proud doing it. "

Bryan, who has toured as an open-
ing act for Kenny Chesney and Brooks
& Dunn, will headline his own
monlhlong lour beginning Oct. 30 in
Jacksonville. Fla. The new duo Fast
Ryde will open the shows. His pro-
ducer jeff Stevens' son, [ody, is part
of the duo. "To see the look on their
faces when I asked them to come out
was worth it all," Bryan says. "They
are fired up."

The singer will also kick off his
Farm Tour Oct. 5 at a plantation out-
side of Statesboro, Ga. It's an oppor-
tunity for Bryan — who grew up on
a rural Georgia peanut farm — ^to give
back to charity organizations in local
farming communities. He envisions
eventually performing a series of
shows across the country annually.

"We hope to build it to the point
where we can dedicate a portion of
each year to the Farm Tour and do 20
shows. " he says. " 1 1 would be our own
little festival."

A SOUTHERN
HOMECOMING

Reunited," the new album by the Galther Vocal
3and released Sept. 6 through Gaither Music
roup/EMI Christian Music Distribution, signals
3oth a homecoming for band members Mark
.owry, David Phelps and Michael English and a
tew chapter in the life of the veteran Southern
gospel group.

"It's like hearing these songs for the first time,"
band founder Bill Gaither says. "[My wife] Glo-
ria and I were smiling as we listened. You always
envision great singers singing your material, and
these are great singers."

Lowry, Phelps and English rejoined Gaither arvd
Wes Hampton to record a collection of beloved
hits written by the Gaithers. The album features
such classics as "Because He Lives" and "He
Touched Me." The result: "Reunited" this week en-
ters Billboard's Top Christian Albums chart at No.
3 and the Billboard 200 at No. 67.

Besides veterans Lowry, Phelps and English,
previous band members include Christian music
luminaries Larnelte Harris, RussTaff, Steve Green
and Guy Penrod. After Penrod and Marshall Hall
left last year, Gaither decided to revamp the group.

"We could have found young guys coming up
as we've done in the past," says Gaither, whose
Gaither Music Group empire includes the success-
ful "Homecoming" series of CD/DVDs, concert
tours, record labels and publishing. "But I talked
to [Lowry, Phelps and English] and they totd me,

'It was fun; vre were just tired and wanted a break.'
When they came back, it was magic."

The revamped lineup spurred a broader mar-
keting approach for the new album. "With the
additions of Mark, Michael and David, the band
had larger, mass-market appeal," says Paul
Sizelove, VP of sales and marketing for Gaither
Music Group. To tap into that appeal, the com-
pany launched retail campaigns with Wal-Mart,
Amazon and iTunes. The CBA— the trade associ-
ation for Christian retail— also worked the project
through key positioning at many national and in-
dependent accounts.

TV also helped spur sales with advertising on
networks like GAC, RFD, INSP, Daystarand Gospel

Music Channel. A strong presale campaign on
Gaither.com was supplemented by a feature in
the Gaither Catalog Collection that was sent to
the Oalther mailing list.

Lowry, Phelps and English will continue to
record and perform solo. However, the Gaither
Vocal Band will be their priority. "My 13 years
with the Gaithers the first time was wonderful,
and I'm thrilled to be back," says Lowry, who ex-
ited In 2001. "I'm singing with David and Michael
again, probably my two favorite singers. Then
Wes Hampton is blowing me out of the water
every night. He's amazing. But standing there
again with a legend [like Gaither], how much fun
could that be?" —Deborah Evans Price

Happy feelings: STEVIE WONDER,
FRANKIE BEVERLY and ANTHONY
BEVERLY (from left)

SALUTING
A LEGEND

What do Mary J. Blige. Joe, Muslq
Soulchild and the Clark Sisters have
in common? They're among the
stars saluting the legendary group
Maze on "Silky Soul Music ... An
All-Star Tribute to Maze Featuring
Frankie Beverly."

Rounding out the impressive lineup
reinterpreting such Maze classics as
"Before I Let Go" and "Back in Stride"
are Mint Condition, Kem, Ledist, Ra-
heem DeVaughn, Kevon Edmonds,
Avant, J. Moss and Kierra Sheard. Pro-
duced through Brantera Music Group,
the 10-song CD was released Sept.
29. Since its digital release Aug. 25,
the project has sold 6,000 copies, ac-
cording to Nielsen SoundScan.

Grammy Award nominee Rex
Rideout produced nine of the tracks,
while Grammy-winning modern
gospel guru Donald Lawrence
helmed the Clark Sisters' contribu-
tion, "I Wanna Thank You." Leading
the project's charge Is the first sin-
gle, "Can't Get Over You," covered
by Joe. The song Is No. 27 on Bill-
board's Adult R&B chart.

"Frankie Beverly is a beloved R&B
original," Rideout says, "and straying
too far from that would have been
sacrilege. So we kept close to the
original sound and let the artists' in-
terpretations bring fresh, new per-
spectives to his work."

"This tribute has really touched my
father," adds Anthony Beverly, who
heads Brantera Music Group and
served as an executive producer on
the album. "This project gives him
and Maze their just due."

Maze got its break In the early *70s
as the t>acking t>and for Marvin Gaye.
Signed to Capitol and later Warner
Bros., the group racked up 30 hit sin-
gles and 12 albums. The tribute CD,
in fact, borrows part of its title from
Maze's 1989 Warner Bros, album.

To drive awareness about the
album, Frankie and Anthony have
appeared on syndicated radio shows
hosted by Steve Harvey, Tom Joyner
and Michael Baisden. A video of the
Joe single is being serviced to out-
lets as Brantera gears up to promote
the Clark Sisters' track at gospel
radio. Also in the wings: Bonus
footage of the participating acts dis-
cussing the album and Maze's en-
during influence will be part of a spe-
cial CD/DVD edition. —Gail Mitchell

www.billboard.bjz | 87

OopyiiytUua matuiii-i

CONNECT WITH THE MUSIC INDUSTRY'S MOST IMPORTANT DECISION MAKERS

MARKETPLACE

For ad placement in print and online call Jeff Serrette 800-223-7524/jserrette(a!billboard.corn i

WANTED TO BUY

Immediate Payment

American Royal Arts, celebrating 24 years in
lousiness, is looking to purchase music memorabilia .

RIAA'S
Set Lists
Autographs
IHemorabilia

Concert Awards
Concert-Used instruments
Signed Contracts
Original Posters

Contact Jerry Gladstone 561-869-0600

AMERICAN ROYAL ARTS

SIGNEDR0CK.COM * entertainment fine ART * since 1986
jgladstone@annericanroyalarts.com

BUSINESS ■ DUPLICATION/
OPPORTUNITIES ■ REPLICATION

T-SHIRTS

BtlGKSTtlGe

FASH I on

Worldwide Distributors of Licensed:
ROCK & NOV ELTY T-SHIRTS,
STICKERS, PATCHES, FLAGS & MORE!

Check out our website catalog:

www.baeksfage-fashion.eom

or call for a free price list /h er (dealers only):

800-644-ROCK

(ouLsidc Ihi- U.S. - 92,S-44.1-01IKI)

BILLBOARD CLASSIFIEDS
www.blllboard.com

for more Info call:
800-223-7524

Nothing But Beauty Records is
now looking for sponsors &
distribution deal for its artist

A.W. Irving's debut album
"SEXSOUSIOUS" & featuring
old school pioneer Kurtis Blow
& any other new artist male &
female or groups who are
looking for record deal.
Please contact:
thev@victorthegreat.com
Nothing But Beauty also
donates to the animal
society & the homeless. You
can go to amazon.com or cdba-
by.net or Itunes click in
"Sexsolisious" for request
www.rnyspace.com/starbuilder5
no calls please
(only the serious apply)

CRYSTALCLEARi

REAL ESTATE

New Luxury LA
Apartments

Ossm. TK iDl-.R Jon 'S M iRKl.l,

S,500 sQtr HiL OJH Spa, CEUiSRTn'
Tju/xer Ossmi, IsnNm- Pool,

GtlARD C fTEP Ca*,L\(VNm'

Stakhnc S2,500

ONLY 2Kio;

$999! $99!

NuniwiiMin

MASTERING

«'W\i'.PAi.\/./.oWt-:.'i'p*0(>i).(:o.M
Cau.: (888) 482-9084

MUSIC
MERCHANDISE

tangerjneMASTERING.com
Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

BUY DIRECT AND SAVE!

While olhef people are raising their pnces, ««
are slashing ours. CD's. LP's. Books. Cassettes
as low as 50 cents Youi choice from IhB most
extensive listings available.

For free catalog call (609) 89&4000.
Fax (60S) B«H>247 or write
Scorpio Music, Inc.
P.O.Sox A Tranlon, N.J. 08691-0020
•fnall: scorplomus#aol.com

Billboard Classifieds

DUPLICATION
REPLICATION
VINYL PRESSING
CD ROM SERVICES
DVD SERVICES

FOR SALE
PROMOTION &
MARKETING SERVICES
MUSIC DISTRIBUTORS

AUCTIONS
RECORDING STUDIOS

REAL ESTATE
INVESTORS WANTED
STORES FOR SALE
EQUIPMENT FOR SALE
STORE SUPPLIES
FIXTURES
CD STORAGE
CABINETS
DISPLAY UNITS
PUBLICITY PHOTOS

INTERNET/WEBSITE
SERVICES

BUSINESS SERVICES
MUSIC INSTRUCTION
BUSINESS
OPPORTUNITIES

COMPUTER/SOFTWARE
MUSIC MERCHANDISE
T-SHIRTS
EMPLOYMENT SERVICES

PROFESSIONAL
SERVICES
DJ SERVICES
FINANCIAL SERVICES
LEGAL SERVICES
ROYALTY AUDITING
TAX PREPARATION
BANKRUPTCY SALE
COLLECTABLE
PUBLICATIONS

TALENT
SONGWRITERS
SONGS FOR SALE
DEALERS WANTED

RETAILERS WANTED
WANTED TO BUY
CONCERT INFO
VENUES
NOTICES/
ANNOUNCEMENTS
VIDEO
MUSIC VIDEO
POSITION WANTED
LISTENING STATIONS
FOR LEASE
DISTRIBUTION
NEEDED
EDUCATION
OPPORTUNITY
HELP WANTED
MASTERING
AUDIO SUPPLIES
ROYALTY PAYMENT

PRINTING
MUSIC PRODUCTION

METAMUSIC
STAGE HYPNOTIST

orrelltf: B0D-223-7&2^ or jserrettd

88 ; BILLBOARD I OCTOBER 10. 2009

Cni

A WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

bvvy of n«w r«l«BMS It

ling lo crash into the top 10
n*xt wetk'i Billboard 200.
(ding tha pack ar« Marlah
ay's "Memoirs of an
lerfect Angel' and "Brand
« Eyat" by Paramore
ova), both of which are
ng for No. 1 with perhaps
nany at 160.000-170,000

Mtry the Cabia Guy extends
record as the artist with
most No. li on Top
nedy Albums as "Tailgate
ty" becomes his sixth
r1-topper on the list. His
y of No. Is Is double the
•I earned by fiis nearest
npetltor, Dane Cook.

vpair o( rock bands t>oast
achievements on the
board 200. Three Days
>ca (above) and Brand Now
h notch their hlghest-
irtlng albums. Three Days
fce also earns Its best sales
»k. starting at No. 3 with
000 sold.

PearlJam's Back On Top; Holidays Are Coming

Has it really been 13 years since
P«arl Jam was last at No. 1 on the

Billboard 200?

The veteran band bows atop the
chart with its not-quite retailer-
exclusive "Backspacer," selling 189,000

"bverThe
Counter

KEITH
CAULHELD

copies, according to Nielsen Sound-
Scan. It's the group's fourth chart-
topper and first since 1996. That's
when "No Code" landed in the pent-
house with 367.000 sold. Between
"Code" and "Backspacer." the band
placed four other sets within the top
10. Pearl jam's last studio album, its
2006 self-titled ) Records set, debuted
and peaked at No. 2 with 279,000.
The new album — its first not re-

leased on a major label — is sold exclu-
sively in the United States through Tar-
gel. iTunes, Pearl Jam's Web site and
independent retailers. It arrived ofT-
cycleon Sunday, Sept. 20.

While SoundScan's
tracking week runs
Monday through Sun-
day, not all the mer-
chants (hat report lo
SoundScan supply data
reflecting the same time
frame. Target's report-
ing week is Sunday to
Saturday. SoundScan
also synched up Pearl jam's first-day
sales from iTunes. the band's Web site
and the indie stores with Target's re-
porting week.

"Back spacer" is Pearl Jam's 30th
charting album on the Billboard 200.
That sum includes nine studio sets, a
greatest-hits package, a B-sides com-
pilation and 19 live releases.

•US THE SEASON: It may only be Oc-
tober, but this week Billboard's Top
Holiday Albums chart returns to the
magazine (page 92) and Billboard. biz.

The tally lists the week's best-
selling seasonal releases, including
traditional Christmas albums as well
as Hanukkah and Kwanzaa sets. The

holiday chart will be compiled by
Nielsen SoundScan until lanuary 2010.

The annual parade of holiday al-
liums bfgins Oct. 6 with "Now That's
What 1 Call a Country
Christmas." It's fol-
lowed Oct. 13 by Sugar-
land's "Gold and Green,'
David Archuleta's
"Christmas From the
Heart" and Bob Dylan's
"Christmas in the Heart."

Further down the road,
Andrea Bocellt's "My
Christmas." cut Nov, 3,
seems to be the biggest of the holiday
crowd, though I'll reserve guesses on
whether it'll do Josh Groban "Noel"-
like numbers.

The holiday chart also houses quasi-
holiday sets like Enya's 2008 release
"And Winter Came . . .' {which leads
this week's chart) and Sting's "If on
a Winter's Night" (due Oct. 27). The
latter features folk songs, lullabies
and carols.

WITH 'FRIENDS' LIKE THESE:
Joshua Bell's "At Home With Friends,"
released Sept. 29. might be the most
covert holiday album of the season.

The collection, which gives listen-
ers an impression of what it might be

like to hang out with the violinist and
his friends at his house, features guest
stars like Sting, Josh Groban, Chris
Botti and Kristin Chenoweth. As
for the material, it has a little bit of
everything — from "My Funny Valen-
tine" to "Eleanor Rigby." but no holi-
day songs.

While the set's track list proves the
release isn't a holiday album, who
wouldn't want the sweet sounds of Bell
and Sting drifting through their living
room this holiday season?

Tlie album's cover art even punches
up the "at home" vibe. It sports a re-
laxed-looking Bell, dapper in a sport
coat. Behind him are glowing candles
in an appropriately blurry background
along with a pair of women, one of
whom is holding a beverage. Think
wine bar chic.

Perhaps not so coincidentally, two
retailer-exclusive versions of "At
Home With Friends' exist, and each
comes with a Christmas bonus track.
Barnes & Noble's CD features "White
Christmas" with Botti, while iTunes"
version boasts "O Holy Night" with
Chenoweth.

Unlike Sting's "Winter's Night" —
which essentially is a holiday /Christ-
mas album — Bell's set is ineligible for
the Top Holiday Albums chart.

Market Watch

Weekly Unit Sales

Dioui maui

UKMS UBIH' lUOS

TniiWKk

5,931.000 l.'15'l.OOO 19.267.000

lasiM

6.431.000 1.447.000 19.875.000

Change

-7.8% 0.5X -3.1%

6.460.000 UJl.OOO 18.830.000

ChM9e

-a.2K 18.IK 2.3%

A Weekly National Music Sales Report

Year-To-Date

Weekly Album Sales cM iiion umts)

2oas

20M

5.9

mif

OVERALL UNIT SALES

Mtans

297.866.000

256,556.000

-13,9%

Digital IndQ

795.793.000

884.173,000

111%

StortSlaglH

1.270.000

1,354,000

6 6%

lotal

1,094,929,000 1,142,083,000

4.3%

mmwm

377.445,300

344,973.300

■8,6%

MaiTAL TRACKS SALES

TMilil

F M A M

S O N D

SALES BY ALBUM FORMAT

a 249.225.000 199,240.000

Dljital 47259.000 55.452,000

Viiyl 1.273.000 1.818.000

niKl 105.000 45.000

■20,1%
17.3%
423%
■57,1%

niclscn

SoundScan

Distributors' Market Share:

08/31/09-09/27/09
• UMG •SonyBMG •WMG 4 Indies J EMI

Total Albums

Currant Albums

Go to www,billboard,biz for complete chart data I 89

Cni

ARTIST

-.ti <HihT !i HUMER OlSTMUIINe l*UL IPfUCC)

Title

£»

WFFK

ARTIST

tT 1 NUUMR / OttTIUWrTINC LABEL (PRKE)

Title

s sl

S CI

R1 PEARL JAM

Backspacer

CHEV6LLE

,11 flB;

Sct'Fi Crimes

■
■

JAY-Z

The Blueprint 3

■

l-.l

CHRIS YOUNG

■:; iUH ii3 Ml

The Man I Want To Be

■

THREE DAYS GRACE

Life Starts Now

■
■

Itaninq wilti
n.OOO. it's ttie
irjet's seioni 'n:i

-15

TAYLOR SWIFT

Taylor Swifl

■

2 3

WHITNEY HOUSTON

1 Look To You

■

HAWK NELSON

Live Life LoudI

MILEY CYRUS

The Time Ot Our Uves (EP)

■

0 album H:-, ■
am* with .Li. ; .
'Onllf ¥oij. " which

KEITH URBAN

Defying Gravity

BRAND NEW

Daisy

Sir

BROTHER ALI

FIVE FINGER DEATH PUNCH

War )s The Answer

iebuled and
geaked at K«. S.
Over on loii Jan
Mtwnis. It's tui
Ith vtsit to the

GREEN DAY

• !■- ,10 48.

Zlsl Century Breakdown

•

HARRY CONNICK. JR.

Your Songs

SUGARLAND

1 Mry iMlin tiJ Hi

Love On The Inside

■

6 -

. , ,K....uoT««o,«*i„««,99., SoF^QonetEP,

■

Sir

SOUNDTRACK

Disney; Phtneas Afx) Pert)

MUSE

The Resistance

penthouse.

RASCAL FLATTS

Unstoppable

■

DAVID CROWDER BAND

SOUNDTRACK

ISUS)

Hannah Montana 3

Church Music

DAVID GRAY

iHlTniCIMf^CEHSIRFfllUMl

Draw The Line

SOUNDTRACK

'.Ti.«NTictiS3!r'Mi<ta9e)i«

Twilight

TAYLOR SWIFT

Fearless

FABOLOUS

' 'uaua9i*.«uiK|t]9ai"*

l^so'e Way ^Soundtrach)

□

KINGS OF LEON

Onry By The Night

\nv Amazon's

JASON MRAZ ^ ^ yjf, ^^e Dance We Steal Things

■

i«

il'jl'iV^U MONSTERS OF FOLK
Wl.ljM .If sg,

Monsltn Of Folk

15 j stote pushed l!'-

JUSTIN MOORE

Justin Moore

■
■

■JS

THE BLACK EYED PEAS

TheE.N.D,

■

iiK Diiig ii'i' 1 1' ,
wee4l eaily, lii«

■!r-,

PHOENIX

Wolfgang Amadeus Phoenix

■

KID CUDI

. i-MuaTOMDniu-iAmo

kllwm nam vaults
jp Itie Its! In its

rr-. ■*et-h

BRAD PAISLEY

American Saturday Night

n ZAC BROWN BAND

ac (13 9ti Foundation

■

KENNY CHESNEY

M<*i31}C--«H I' ! Ml

Grealesi Hits II

TlV^v..vw,«vM«.m.com>z.*.«G,>s«,.* The Boy Who Knew Too Much

iSiA<fO,iN'[»icai'[ [I'Jtw iM 9S| *

No Line On The Horizon

1
■

LADY GAGA

■ ■■ ■ -.,1.1 1 L^'^'TRlt'NtlKSCOK ailUP

■«i.nl«, The Fame

■

UNCLE KflACKER

Happy Hour

■
■

TREY S0NG2

i.niiG HIMl

Ready

LARRY THE CABLE GUY

Tailgate Party

■
■

SOUNDTRACK

Hannah Montana: The Movie

■

6«

THEORY OF A DEADMAN

Scars & Souvenirs

e|
■

BROOKS & DUNN

#19 ... And Then Some

□

DEMt LOVATO

Here We Go Again

■

COLBIE CAILLAT

Breakthrough

he newest config-

NEW BOYZ

Skinny Jeanz And A Mic

iratlon at the

Ml ,■. , , : , iiUv!. lU 9(11

■

PPl VARIOUS ARTISTS

UJ M" .il';S0NVMU$»Ctlll9B<

NOW 31

Now" senes

NEIL DIAMOND

■■ri(!i £«.iOHVMUBK: (1*98 CRmHi -t

Hot August Night/NYC

■

□

JASON ALDEAN

WkJe Open

M Sports dante mim
H i>IHi>lIOOhl',slfDn]

SOUNDTRACK

ifi9a>

Wizards Of Waverly Place

■
■

MAXWELL

rnii mil. BUM? SONY UUSiC <M Ml "f

BLACKsummers' night

tKUes at in^
IWeistpKlr.::
SladtEyeH hiy

LMFAO

■ ',',!,.! .■■P.- , ,.. B- .-Bii mriBscoPi ct?si2.iii* itSMi

Patty Rock

■

□

DAUGHTRY

Leave This Town

THE FRAY

The Fray

•■

•a

Fun ho use

am
m

■

(atv Perry, Udv
Saqaand PitlwB. 11

KELLY CLARKSON

All 1 Ever Wanted

■

LIL BOOSIE

SupefBad: The Return Of Boosie Sad Azz

■

sows trim U.OOO.

LOS TIGRES DEL NORTE

La Qranja

VARIOUS ARTISTS

Now That's What 1 Call Club Hits

CHILDREN OF BODOM

■niniMi (1B9BI

Skalolons In The Closet

GEORGE STRAIT

Twang

^ 1

JOHN FOGERTY THE BLUE RIDQE RANGERS

" '■iMeiv&in«i

RIdee Again

LADY ANTEBELLUM

Lady Antebsilum

■

ACE FREHLEY

Anomaly

SKILLET

Awake

43 .

PHISH

Jay

. ''iAHT*S19m7,'*CllJJ«l

irter IIh (ilm m-

OWL CITY

■ ■ ■niii- :''JUi*H«SG<109ai

Ocean Eyes

niered m U.S. ine-

RODRIGO Y GABRIELA ,,

■ ■ ..[-"PtTH*

MEGADETH

■ -.i '5^1

Endgame

mm aters sept, lis
H cotnoanlan album

SUGAHLAND

UVE On The Inside

SEAN KINGSTON

Tomorrow

ipped up Ihe Irst

MICHAEL JACKSON

The Definilive Collectwn

L - . ..'V SQWUUStC lit Ml

REBA

, J -,v .M9tt :*

Keep On Loving You

with a

ntreas*. ll>e film's

HOLLYWOOD UNDEAD

Swan Songs

NICKELBACK

Dark Horse

PILLAR

Conlesstons

RAEKWON

Only Built 4 Cutun Linx .. Pt. II

K JON

1 Get Around

VARIOUS ARTISTS

■Mi .M WSICltBMi

NOW That's What 1 Call Country Vof. 2

Niugnlon.itf'Iea-
^1 tuiMl on ihe s«l.

THE BLACK DAHLIA MURDER

Deflorate

DARIUS RUCKER

Lsam To Live

■

*^ i Ilw soundtiack to

VOLCANO CHOIR

Unmap

126 t2S

OPPI SOUNDTRACK

Fmm

BEYONCE

'-■ - ■ : r. r ,-.i:uJtAiJ IMSr.SUNf wu-jiC m Ml

1 Am...Suha Fierce

■

the animated
S Dtuwv Channel

SICK PUPPIES

Trt-Polar

EMINEM B«l>ot.

- ■■Tism-HihiEiscraPS ot;MJ"i(u iii 9>i nwi»(i»»

JEREMIH

Uirn ;C"LLTf Kf J^W I>130Bi* IDJHG 11? *!l

Jeremih

MARK KNOPFLER

Get Lucky

.000 (optes am)
tarts at No. Ion

□

BILLY CURRINGTON

URIe Bit Of Everything

DAVE MATTHEWS BAND

Big Whiskey And The GrooGrux King

■

op Kid Audio. Ilw

PORCUPINE TREE

The Irtcidenl

PITBULL

1 iTi^inuG i<) Wi

Rebelutton

mm set intiioes tne
H ^OK't Itwflie son<).

NOISETTES

■ iv>i ilO Ml

WUd Young Hearts

^■

BOYS LIKE GIRLS

Love Drunk

H "Today Is fionruKe

KIOZ BOP KIDS

Kid2 Bop t6

SHINEDOWN

The Sound 0( Madrwss (J|

Inring for Soup.

IDS

□

ROB THOMAS

'K'f-.fv. UiAHTiC Sl'Ht'ftO (18 Mt «b

Cfadlesong

THE BILLBOARD 200 ARTIST INDEX

X.»'}. ;r-. BAStMfV!.l*XX 173 THE 8L«CK CHOMS

^■■n^BHI fftucfscA BAiiismu miucumaftis

lunu 11 nciN IM 1 1 ann^ in

CDLBIE MUAt W
KiFAY ChtMLV M
C>IEVILLE SI
CMCMIfOOT 11»
CHUROIOFBODOU tl
mCCMjnCH 1M
KELUrCUnKSCH TV
mMSUAMP .. .144
COUJPUtr . m

HMAVCONMQLJL . t

[micmiMSiiiw..ii
M.u'a«RHfiiaii...JB

M«.EvaiKIS s
DRIM g

cajroRO iw

MCWCLHUWITIt
SKMICMI ... 171
hcnuv Tt
tatimxt u

tUMMU T0»
OMVORAT 11
GnEENOiy S7
GMOLYttUn 197

WHKHaSON 54
HOGENHUP 101
KHDHLStn 134
HOUMIOOOUWEAD .60
HWlOH SOCinv it2

havivmouser 1U

fMlVifv MCUSION *

JUKVJtMttIM tO»
JONAS SROTKRS 114
GEORGEJOKS . 133

ttWVKEflH 196

mam ir
iaiBHiPnD& «9
■westfiiON, .14

UMKHNOPAEIl 46

DUUUIOUU 19?

tllTM TT
OBtUWID n
UMANDTICFT tU

AUlMUm TOO

ttWTcyoHKevs. v%

AVfDTun* m

otERxsanmrr t7a

BE>QNCE **

TWKPIMK IM
SHiV TUfNT IDT
TIC aiiCK QAHIA
UUXMH 91

SOiflKEGWLS 49

gnwNEw 6

LfKOUtSMWSTlR 166

BnooKSsoii>M n

BWmCRMJ . . 56
ZACHfKWNBAMQ 18

DMFOGtLURG lir

leLLYFumwo no

Own«flMXALBJUlOtsr>
KMYCMCU 193
GAlS -.X

t&MQjmifJSSL 113
UCMAH JACKSOH S:

mow to*
tiL wmc ica

WAV UAnY 140
WATSYAKJ 126

(HhibunwnMC 4T
uKomi It

aoecMJUl 111

j*y-: J, 132
jfnfUH OS

sEMmnsnw Jir
rjOM JO

MtGiaCTH ,»
MOUI 1U

90 t Go to www.billboard.biz for cotnplete chart data Data for week of OCTOBER 10, 2009 i CHARTS LEGEND on Page 95

ALt> OAIA

OHPILED BY

liclscn
oundScan

So |S AHTIST

5S M"^ 111 &'luuBtRlDISIRISUIING LABEL IffltCEl

Title

101

TRICK DADDY

.- :■ ■ ' 117 1)5,1

Finally Famous: Born A Thug. Still A Thug

102

101

911

JAMEY JOHNSON

■ • ■, ■ L[ nti?3,-'.uwi:,s (13 9ai

Thai LonoKome Song

•

103

m l-IL WAYNE ,,,

U '1 1 .LSM uoio«..it«ij-iJ»»Gii3Mi Tha Carter HI

■

104

41 ffl '''"^

Im -iil'Ki.l 'ji'i^ii4- A'AnNtHHHOS ( 1 8 99 CO/DVD)

Artwork

105

EVERY TIME 1 DIE

New Junk Aesthetic

102

77 D

GLORIANA Gloriana
EMai.iM H:PHI5E rt*RSEH 9R0S (NASHVlLlEl SUTBOWW (13 98| UlOnana

KW 1 1

BILLY TALENT

flOADRU»INEH 6175(7 tI39ai

ill

10B

64 Q

IMOGEN HEAP

Wtr.APitnriii 'HCi yitOiWMG (11 98)

Ellipse

109

»0'-.M,?''*.i-.Vi:,

Lady Love

110

. m NELLY FURTADO „, „,

111

S3 1]

THE BLACK CROWES

Before The Frost.. .Until The Freeze

THEY MIGHT BE GIANTS ^ „™„ q^i=„^«

.■H. .-, ,i i 1 -. A^jOLSNEYdflBacnWDtt Here Comes Science

113

43 Q INSANE CLOWN POSSE

Bang! Pow! Boom!

114

79 Q JONAS BROTHERS

Lines, Vines And Trying Times

115

69 Q

ARCTIC MONKEYS

Humbug

116

112

101 Q ™^ ELEPHANT

Cage The Elephant

DAN FOGELBERG

Love In Time

118

PETE YORN S, SCARLETT JOHANSSON g^^^^

119

lljj

CHICKENFOOT

. ■ ■ 1 3 96;.

Chickenfoot

•

120

- ^

SHADOWS FALL

i'.I'^Ht.ACKrJtOUSTRrES'TEflRE1 SZOrOS* ILG (14 9Eli

^ Retribution

121

74 Rl CHRISETTE MICHELE

ill Dff JAM0T!79r'IDJWC|13M) '4

Epiphany

JEFFREE STAR

pcpsiai '-m ft-i

Beauty Killer

123

120

"•n;^^';^^'?* ...i,.«,

The Last

124

Q THOUSAND FOOT KRUTCH

Welcome To The Masquerade

125

119

106 Q JORDIN SPARKS

Battlefield

128

109

u Pf MATISYAHU

" lifl ,IDLB rii^ iTii: ;'.-':7(i.S0Mif musk: ill 98l

Ughi

127

111 H COLOPLAY

Vrva La Vida or Death And All His Friends

■

MATT MAHER

Alh/e Again

129

R KRS-ONE & BUCKSHOT

Survival Skills

130

100

g. ff LEOISI

M vtHrtfOMCMrot7e"lvail3 88>*

Turn Me Loose

131

121

S7 H

1 BOB DYLAN

COLUMBIA' LEGACY 429*2;SaHV MUSIC |7 9B|

Playlisi: The Very Best Of Bob Dylan '70s

132

106

30 1

1 JAY-Z

n---- ' FELL* D^F JAW OijnSIOJMC (19981

The Blueprint: Collector's Edition

133

1(U

.f^ GEORGE JONES A Collection Of My Best Recolleclion
■■il SPtPflLMARMISOIMsattUMnH 981

134

108

KERI HILSON

, Ml I'll tV !m J iiJirK^vCiit DiMOft'lGA |I3 98|

In A Perfect World...

135

122

ion M HALESTORM

Halestorm

BID

1 GIRLS

lAHlASV inASl'LArt 010,1 RUE PAMTMR SOUNDS (tt

.fii Album

137

110

7S n WILLIE NELSON

mm S)ll^NGRI-LABLUEKaU6714r<SL0<W 9SI

American Classic

®.

.» 1

1 THE BIQ PINK

4A[> 291B* BEGGARS GROUP (14 981

A Brief History Ot Love

139

131

92 Q

VICKIE WINANS

How 1 Got Over

140

■17

THRICE

Beggars

■

141

124

tooH

1 NEEDTOBREATHE

1 AiiANitc 3i9:a; *& (i3 ga.

The Outsiders

142

113

104 FS VARrOUS ARTISTS ^0^. -q

^^1'-^^*' ^Vi iUHV MUS*C.:OMM0IZ6S-<,'UME (18 981

143

117

«i n SOUNDTRACK

III in. )iW ^■t;.l;v■.v',«^r:^ paos (13 991

ibOO) Days Of Summer

144

125

106 |]

1 COBRA STARSHIP

1 lifi 1'. ! : ..I.' 1 'iliitiVRAMES|l3S8)

Hot Moss

I KSM

1 Lii^'.ivii .Ml ui:i:a5i w*a oisney («3 98i

Read Between TheLi nos

14«

1 16

114 Q PERRY

Ono Ot The Boys

■

147

139

139 Q VARIOUS ARTISTS WOW H1I& 2009 30 Of The Year's Top Christian Artists And Hits

•

148

135

,35 Q SILVERSUN PICKUPS

Swoon

14S

129

n MARY MARY

1*4 y_ ,-^^,|„a,j 780jj.. SONY MUSIC <H 981 •

The Sound

ISO

130

112 |]

I MODEST MOUSE

1 [I'll, td.'ir '^n;' MusiL (9 Dsi

No One's First. And You're NokI (EP)

ITFl

first \Jum got ttie
album Sept. 1. ther
the CD was exdu-
Uvdy avallabk
through Amazon
SepL 8, and finaflv
on Sept. 22 it w nl
to all retailers. This
wwk it retunts to
the (hart with a
124S jump.

IhK IS the third
soundtrath in th«
"Halo" videogamE
series to chart.lt
follows 2O04's
"Halo 2" (Mo. 162)
and 20O7's "Halo
r (No. 200). Thi^
new set also enter;
the Top Scundtracl(s
chart al No. IS.

A Sept. 22 reissue of
the album with a
DVD ot a concert
from Nadrid twosls
the set with a $6':
increase.

THIS 1

§1 !iis

ARTIST

■UPniDt & MUKH J OcSinieUTING LA9£L (PRiCEl

Title

1S1

10?

SEAN PAUL

.■1 »r./,T : 5?onj: »g iia 9Hi

Imperial Blaze

■

10*

136

MGMT

CliimMsij vjst' -.nFiV MllStC (9 U)

Oracular Spectacular

187

170 0

MAT KEARNEY

'.iiL' !■■(' 1'.: V SONY MUSK (11 981

CHy 01 Black & White

■

160

148 j 7

ERIC CHURCH

. line.- (12981

Carolina

■

114

58 Q

YO LA TENGO

Popular Songs

■

162

GAITHER VOCAL BAND

-"[:■ V i:-.ir: cqiiMf nan lU 9s»

Reunited

■

128

85 Q

8ARL0WGIRL

Love & War

■

VERTICAL HORIZON

Burning The Days

■

108

141

ALAN JACKSON

■ ■ ■ H jMN |I1 98)

Good Time

•i

100

152

119

ALL TIME LOW

Nothing Personal

■

175

Hi.

SOUNDTRACK

' 11 1 i.-'.' ■■■Ii 4 lie 9fl>

Jennifer's Body

■

DESPISED ICON

Ml ■.■11 ■ . ■. ■',■-381

Day Of Mourning

■

103

137

RASCAL FLATTS

i. --..iT 1 . 1 1 331

Greatest Hits Volume 1

184

113

LOVE AND THEFT

■ .. : " ' 1 sm

World Widp Onnn

LINCOLN BREWSTER

I'.- , '.• v.i^ir. |H}S6. ♦

Today Is Tno D:i>

100

150

138 ;

RISE AGAINST

I' , .'■^.Liji*f Oii'Wf'lOA (13 BSt

Appeal To Reason

■

19 Q

SAOSIN

1 . s'! -F 98}

In Search Of Solid Ground

■

100

123

TWISTA

Category F5

■

10B

132

99 Q

THIRD EYE BLIND

Ursa Ma|or

■

LA ROUX

.VDUH .:>t;fliVTH[E.1frf RiCll'lT Ut3:^Ui( liiA I1D 98)

La Roux

IS-l 149 Q

MICHAEL FRANTI « SPEARHEAD

FrT' BH-i 'A'.M B»i')OF.-tr.I)i,r't 1 -fi 9U| *

All Rebel Ro ^1

INFECTED MUSHROOM

The Legend Of The Black Shawarma

III.

BASEMENT JAXX

Scars

174

136

REGINA SPEKTOR

Far

■

lif

SEA WOLF

-■.■.I ■ r,JS' (IS 961

White Water, White Bloom

■

170

WtLCO

--I'..!' S1660B*'WARWR 8R0S 118 98*

Wilco (The Album)

■

177

155

143 Q

KELUE PICKLER

'{I BHA7J81VSMN 111 9Bi ♦

Kellie Pickler

■

DIERKS BENTLEY

r.,- MB98I

Feel That Fire

■

SOUNDTRACK

..-■M'S STUOiaSlMilIHING El» 1081 (IS9HI

Halo 3: COST

■

LUIS MIGUEL

■r\i 521318 (12 W)

No Culf

»M A La Noche: Club Remixes

101

134

SELAH

You Deliver Me

■

182

HONOR SOCIETY

Fashionably Late

■

103

148 137 UJ

RANDY HOUSER

t s v'n:.ii T". 11. ■Mf'-.a |1D as.

Anything Goes

■

179 187 Q

COLT FORD

Ride Through The Country

■

109

146 to Q

WISIN & YANDEL

La Revolucion

■

173 1 77

FRANCESCA BATTISTELLI

My Paper Heart

■

EARNEST PUGH

■ 1 ■ ' .■ '."iL .13 SlHi

UVE: Rain On Us

■

100

169

150 j' '

PHILLIPS. CRAIG & DEAN

.•■ : 113 98)

Fearless

■

100

138

106 Q

INGRID MICHAELSON

[jUivHSM lMTO»N0132I7.'Uli

R& 0396,

Everybody

■

100

145

129 y

CHARLIE WILSON

F MIJ&I[ Ml ;i3H> JL& 113 9Bl

Uncle Charlie

■

101

165

153 Q

GEORGE STRAIT

MCA NASHVILLE 0IOM6.UMGN (13 98)

Troubadour

DIANA KRALL

■ ; [If.; *i

Ouiet Nights

■

KANY GARCIA

■■ .1. .-.iir, 112.98)

Boleto De Entrada

■

1S4

166

THIRD DAY

-.: iliH<3|179B)

Revelation

100

149

123 2

SOUNDTRACK

Mamma Mial

ISO

157

TOBY KEITH

l:^'1mllJME(19 98l

35 Biggest Hits

1S7

17?

GRIZZLY BEAR

■ ■ ■ '15 9Bt

Veckatimesl

■

MUTEMATH

■T ■ = - rtAHHSR BROS ('398)

Armistice

■

197

174 [Vi

FRANK SINATRA

- 1 ■ ■J V.-.ut.lH 8H0S 118 981

Nothing But The Best

aoo

180

146

BRITT NICOLE

The Lost Get Found

■

MGADUICHAELSCW IBS

0«IS£TTf MKXELf

121

(ifflrtOftREATHe

BRAD FVUSLfY 67

LUSMIGUa

ISO

WUIENaSON

,137

PEARL JAM , 1

MKA

NEWBOYZ

KATVPEHHY 146

UOOEST HOUSE

ISO

NKXaBACK

PHILLIPS CAAJG & OtAH

MONSTERS OF FOLK

,15

BRnriwcou

. 20O

IflH

JUSmMOOta

NOtSEms

PHISH M

JASON MRAZ

PHOENB 66

UUSE

«U.IPKXtEH Ur

UUTEhUTH

196

owLCirv

PILLW 69

PITBUU

PORCUPMETREE
EARNEST PUOH

V SAOSm
187 SEAN PAUL
SEAWOLf
_ SELAH
40 SHADOWS FAU

JOHDINSPWe

1B7 REONA SPEKTOR

ISI JEf FREE STAR..

Vi GEORGE STRAIT 32.191 HAMiAKUQNIWiA THE

131 SUGARLAND . M.SG MO'A

120 TAYLOfiSWIFT 13.53 JBMFFa^BIDOV

125 fAME
J74 KAIO 3 OOST

122 HAMiAl> VOKTAItA i 61 THEY UCMT K QIAriT^

Life HbWSDaWRIE W

TtfORYOFAOEMMW 72 TREYSCmU 21 VERTICAL NOHBOTt

TftKXOAOOV 101 VOLCANO CHOIR

112 T>WSTA 166

WfMWOM

RfcSCALFUTTS 60.163 SHWEDOWN

REttA 38 SICK PUPPIES 94 M VT'l-'l-.S.T'T^

RISE AGAMSr IW SILVERSUN PKKUPS 14S (SCO) OAVS Of SUMMER

MAWIAAMlAi
IWlKStlt
WARDS OF WAVERLV

?<l OARUSRUCXER.

34 Omt PmUS AND

TMMOOAV
161 THRO EYE BUNO
m ROB THOMAS tOQ V2

62 TWUSAND FOOT KRUTCH LWai KlUCKEH

121 KBTH URBAN

76 TMRHDATSGMa "
THRICE

WOW HITS 2O09 30 W
T«nARSTOP
CHRISTIAN ARTISTS
AND HITS 14

M0W30 1

t-n NOW 31

?0 WnVTHAI^WHATIUU. CHARLIE WUON

S5 ClUBKITS.. 31 VK^CSWitUtS

THEUSED 104 NOWTHXrSWHAIICALL WISM&YANOEL

COUMTRTVOLJ 41

VOUTENGO
KTEVOmiSCAn.ETI
JOHANSSON 118
CHRIS YOUNG V

Data for week of OCTOBER 10, 2009 i For chart reprints call 646.654.4633

Go to www.blllboard.biz for complete chart data I 91

□

TOP POP CATALX>G

1 ii

WEEKS
ON CHI

ARTIST Tllle

I'." -iri' ■. M - 1 '1 ^.'.linWG LABEl iWtCEl

■jn MICHAEL JACKSON Numsei Ones

■

339

THE BEATLES

■ ■ II . (18 98)

Aotjpv Roafl

♦

THE BEATLES

,i. ■ . .. HI. ,[IM>

Sgt Pepper's Lonely Hearts Club Band

♦

THE BEATLES

,if . . ,! .• 1 . .'1

The Beatles

♦

THE BEATLES

,-t , . • ,■ - In, (18 9S,

Rubber Soul

MICHAEL JACKSON

S"l' . . (,■ - . - LjNY MU^(C

The Essential Michael Jackson

19 98(

THE BEATLES

Ji. ( (,.<:■■ ;i IiiL (im,

Revolver

■

MICHAEL JACKSON

I ■'! 1 ■ '.-ONV MUSIC

Tnrdler

(17 98,

♦

THE BEATLES

:-( ■ , i:'49t)i

Past Masters

THE BEATLES

1 1- -.-II. (ia 96s

Help! fSoundtraclif

THE BEATLES

■■■( -illiUlBB«t

Magical Mystery Tour (Soundtrack)

THE BEATLES

:-(lL (18 96)

A Hard Day's Nigtit (Soundlrackl

THE BEATLES

-(■L(I698I

Let It Be (Soundlrackj

THE BEATLES

--''yii i.i^'CUL II8 98I

Please Please Me

THE BEATLES

tr[ ( c ^^t.'CC C«P(rrjl (189BI

With The Beatles

THE BEATLES

1 . ttP(((JL 1(5 91(1

Beatles For Sale

■

HOT SHOI
OltVT

MUSE

lA 1- '.11 ■ i\ tn7r]- -AARNER RR

Absoltition

OS tuet)

•

:>TiiT

ORIGINAL BROADWAY CAST RECORDING Jersey Boys

■

ADELE

(12 981

•

. 20

125

MICHAEL JACKSON

Bad

111 9B(

THE BEATLES 1

Jl . ( ■ 1 ;.■■( 'Ill ■(( 1(6 IMHi

♦

MICHAEL JACKSON

[P)C LfG*CV 6C07r SOMV MUSIC

DanrjeiDus

111 9B)

JOURNEY

tl(luWR(t lE[.»f:Y 6'j8B9'S0NV M

Journey's Giealest Hits

USIC 03 9B( +

THE BEATLES

Yellow Submarine (Soundtrack)

MICHAEL JACKSON

Off The Wall

■

KINGS OF LEON

Because 01 The Times

BOS MARLEr «XD THE WWERS

l(Wi) riiBesiaWMailevilmUheWakis

! ) '.B B 'IB) ♦

CREEDENCE CLEARWATER REVIVAL ChiDmcle The 20 GfealesI H)s

GUNS N ROSES

Greatest Hits

' ao

MUSE

Black Holes And Revelations

•

MICHAEL JACKSON

mi .•,.|,(( ,111,. li(r.(i, .•(•(„:

Gieatest Hits History - Volume t

•

MERCYME

mo COLUMBIA 1?sn.S0NY MUSIC

AR That Is Within Me

(13 98) 1*.

ABBA Gold - Gcc8lvst litis

1 1 11 I 1 1 . I' ll' IJMt (IH9&IIZ M)

112

CASTING CROWNS Casting CiDwos

■ ■ 1 .1 II I 1 ^[UhlON .1798)

ITl'iVm OllfilNAl BROMWW CAST RECmOMS VWCkM

[ifiTmiH (.( : A enOAOWAV NIBSfTMCCA 118 «8)

PEARL JAM

■ (It LK.ACy .i!(6ii,' SONV MUSIC

Ten

(19 96) ♦

LINKIN PARK Minutes To Mmnidht

..(ALHiVf ..HOP WARNER enOS (18981 +

JACKSON 5

l,(: l(J98(

The Utbmale Collection

JACKSON s '. ['..! DIJaclaanJ 2Qn Ctrtuy Haslere n» Wknnun Colledcr

I , i.i, li).1l (998)

•

lie

PARAMORE

RIOT'

981

3fl

NICKELBACK

■ifii!.^, ..HER 618300 1I8 98)

Al TTie HigH Reasons

PINK

..). 1 !ii-.(:D;ou)3AiiB9a) *

I'm Not Dead

149

DAUGHTRY

Daughtiy

LED ZEPPELIN Moineisl1(|l
1 ■ ;iC AIIANIIC (1998) +

TOBYMAC

(portable sounds)

•

KINGS OF LEON

Aha Shake Heartbre<3k

KID ROCK

■iji :'i.i^ A-LAft'(i. ."..(];.ifi" *o .

Rock U Roll Jesus

B ilBI

WHITNEY HOUSTON

tT) ( IS . ;r-7.- i(wf, -r, 9g)

Whitney: The Greatest Hits

PINK FLOYD

■ .1. -II 981

Dark Side Ot The Moon

♦

111

THE BEATLES

Love

five Finger Death PurKh's second album. "W» h ttie Answer."
sidrls at No. 9 on Tup Mglal JUbHB and at No. 7 on (lie Biliboaid
200. On the latter taUy, with 44.000 sold, the atbum gives the
band its tiest weeh ever. The act's debut set, "The Way ol tti€ ^ !
peaked al No. 107 on Ifte Billboard 200 more than a year ago
Howevn. on ttte Heatseekers (hart-wtwe new and devHcpitiij
artisls rank-Ihe album peaked at No. 1 and spent a wtiopping 82 weeks on the tally.

TOP DIGITAL^

i§

si is

ARTIST

iwm'. . Lnsiftieuii'jG label
d PEARL JAM

Title si ^
Backspacer ,

JAV-Z

The Blueprint 2

2||

THREE DAYS GRACE

Life Starts Now

3 H

DAVID GRAY

IMI VlitCER SIRttt

Draw The L\m

12 H

MIKA The Boy Who Knew Too Much

1. ■ .' ; . ■, . ■. .-J'-.i^Xl RtPUSLiC UWHU *

19 H

DAVID CROWDER BAND

Church Music

11 H

MONSTERS OF FOLK

Monsters Ot FolK

19 H

BRAND NEW

:" (WTia;-.copf m*

Daisy

6 H|

FIVE FINGER DEATH PUNCH

War Is The Answer

7 H

MUSE

1 ■ (■ ■.■ 1 WAHNIR itHDS *

The Resistance

10 H

KID CUDI Man On The Moon: The End 01 Day

utii '■' VI art. G 0 0 D u»ivE nsu uoiown lumn

17 H

KINGS OF LEON

Only By Trw Nigiil

14 H

HARRY CONNICK, JR.

. SONY MUSIC

Ybuf Songs

8 H

LADY GAGA

■.ir<[AUiivr KONllVE.CMERRYTRtE.INlEfiSCOPt

The Fame

IGA

20 H

14 M

OWL CITY

UNIVERSAL REPUBLIC UURG

Ocean Eyes

lEW

MUSE

U .W MEDIA .'WARNIR BROS

Absolution

19 H

THE BLACK EYED PEAS

The E.N D.

IS H

HEW

HAWK NELSON

Live Lite Loudi

54 ■

DRAKE So Far Gone (EP)

H UQhEV. UWVIHSAL MOTOWN 'UUUfi

' 1

TAYLOR SWIFT

Fearless

13 K

SOUNDTRACK

Fame

43 H

WHITNEY HOUSTON

1 Look To You

4 H

PHOENIX WoDgang Amadeus Plroenix

ii"i''-Miii fiiASsrimi

<s H

16 17

PINK

FunhDuse

2t H

SEAN KINGSTON

aEiUGA HEtCHTS.EPIC .SOMr UUSIC

Tomoirow

37 H

TOP INTERNET

si ii

ARTIST

IMPHtNT CHSIfllSUlma LABtL

Title

iii

Rl PEARL JAM

■BflU0S«tVARENCH 92:i-

Backspacer

IBRAND NEW

■ "I'l 1 ■■■ I''.-' ' ■ ■■■.-!. ililEftSCOfE 1)1335; I6A

Daisy

THREE DAYS GRACE

Lire Slarly Nuw

WHITNEY HOUSTON

1 Look To Vou

HARRY CONNICK. JR.

Your Songs

>■

1 2

MUSE

The Resistance

-M

MARK KNOPFLER

• ■ -1 " .'..irher BROS

Get Lucky

«■

DAN FOGELSERQ

' 1 1 Oom U13J64'UME

Love in Time

ii.|

JAY-Z

•,(■.- riN ^msse.AG •

The Blueptmt 3

THE BEATLES

Abbey Road

- ♦

FIVE FINGER DEATH PUNCH

Wat Is The Answer

MONSTERS OF FOLK

Mofislflit. Or T'lik

lEW

DAVID GRAY

.■.>.■.:- .TREET

Draw The Line;

12 ■

THE BEATLES

The Beatles

-■

■

THE BEATLES Sgt Pepper's Lonely Hearts Club Band

-■

THEY MIGHT BE GIANTS

Here Comes Scierce

112 1

!.!,■( ■ . ■ ■ ; ■ .( WAlI DISHEV ♦

KRS-ONE & BUCKSHOT

Survival Skills

129 ^

PORCUPINE TREE

The tncirtent

97 m

THE BEATLES

Revolver

THE BEATLES

Rubber ^oul

- B

TAYLOR SWIFT

feaile^s

THE BEATLES Let t! Be (Sounflltack)

-■

MEGADETH

EnOgame

PETER, PAUL&MARY The Very Best 01 P:!tF.r Pi,. M.ir;

BROTHER ALt IJ

fi>nUiiAi'iiiS crj

Go to www.billboard.biz for complete chart data

EXCLUSIVE CHART!
FROM BILLBOARD

(^ILIKE PROFILES:

VL' MOST ADDED ^

3s si

TITLE

*r,T(S1 (IMPBINtXABtL)

1 i(( KMl GOTTA FEELING

BC3 mr eiiUK trtoPEAS .iMin:.C('^i .

POKER FACE

UDY ClIGA riilAMLINE XONUVE CHenRVIRELIfllEnSCOPE)

I'M YOURS

iRSON MiUZ ..U.AIITK; RRPI

SINGLE LADIES (PUT A RING ON IT)

BIIQNCt ('.■(i'..((.. rt'UIILD COLUMi[(.l|

UPRISING

MUSI .-t( CM ( iVAWWtH HHO:. ■

THRILLER

MICHUt JACMSON .F:'(.: IK.AC'^

IF 1 WERE A BOY

eETOHCE .r.. ■ :r ...:.r( [> co;uMa(A(

LOVE STORY

lAYlOn SWIFT (K.r. UACIKlin

BILLIE JEAN

UICHAEL JACKSON (tP(C lEGACVi

BEAT IT

mClUEl JACKSON (EP(C lECACr)

PAPARAZZI

LAOr GJUM (SIREAMIIFIE KONL(VE.CHEHnVlnEE MTERSCOPEI

HALO

BErntCt (M1.(SIL' WOULD COLUWRIA)

HUN THIS TOWN

JAT J HlHAKItA A KAMTE NUT (ROC NA1I(W|

IN THE END

IINHIN PARK '.'.'.11 HE II C^iri., .

ABUSADORA

WISIN A YAMOEL .'; ■ '-I ' t Ki K

ii Is

1 H

WMks inoBI puitiWMd HnmiritLlta-IM
TITLE dutal music w«l)sit«MrtW*nMenslv«eauloffl
^fiiisl (1MPRIWI..LA8E11 oTiongA AvaHAM lo p(^r. i»uy. and Mfmn (it4m|

KM DOWN

B^S JAY SEAN EEATURING LA WITHE (CASH UONTY/imiVEnSAL REPUBLICl

OBSESSED

MARIAH CAilEY il . -l(J . MUbi

RUN THIS TOWN

JAY7 RIHANNA A KANYE WEST (ROC NAKOm

YOU BELONG WITH ME

lAYtOH SW(EI (■(.. -iNtl

1 GOTTA FEELING

IME HIACK EYEIl PEAS '..lUSCOPE.

USE SOMEBODY

K(NGS OF ItUN I'l .

GOOD GIRLS GO BAD

COHRA 5IAKSHP FEJIT IIIGHIM ESnSt |DtCAVI»FNXmf LED BY RAMEI^'AILJENTK^TIRE

SHE WOLF

SHAKIRA . !.'(. ..KIMC. (tTPl FPI(:(

•

KNOCK YOU DOWN

KEH( HIUUN 1LA(UK(NG HAHYI WfST A NE-YO . LIO$LEY'70NE AINTERSCOPEl

BREAK UP

F^ARIO FEATURING GUCCi FAANE A SEAN aARIIfTI 13RD STREET J WG)

BOOM BOOM POW

THE BLAEA ETEG PEAS .M.l i AM IMERSCOPE (

LOVEGAME

lADY GAGA [R£AML(IJE KONLIVt CHERRYERELINEEHSCOPt)

BIG GREEN TRACTOR

JASOK AlOEAH .hCd'.FK id;....

THROW IT IN THE BAG

FAflOIGUS FEATURING THE-DREAFA i|.t;.ERI SiaRM'DEI JAIAWJUGl

EMPIRE STATE OF MIND

TITLE

AR11ST ILK'PIFII , D15TR1HUTINC LABEL)

KIand winter CAME...
B9a E«YA (RipnwiumiH nusi

NIGHTMARE REVISITED

VARdluK ARKSIS (WALT OtSNTVI

IIM BURTON S THE NIQHTMARE BEFORE CHRISTMAS: SPECIAL EDITIOI

SOGRGIRAr-K ... . 1 ■.- .

RING CHRISTMAS BELLS

MYiMK.uinriiKuuitno .iiHuuwH«WMAiiTOWiTitunMBn,ui..u:NTufiit>::T :>*:»

CHRIST IS COME

RIG GAPOY WEAVE " i . -lJI WUHI) GURS WARNER BKUb |

YO YO MA i FRIENDS: SONGS OF JOY 1 PEACE

YO YO MA i':.7NY CLAGSlCAL SONY MASTERW0RK5)

NOEL

JDSM GRGflAk B,fPH( /(liC(K( ('(-■(( ,

THE CHRISTMAS COLLECTION

11 D1V0 ■ .III. ..i.,,.

DECEMBER

GEORGE WdFSIGFl . .■, l(( . , . I.' ' ,i.

CHRISTMAS TRADITION IMUSIC FDR BRASS AND ORGAN

CANAGIAN BRASS FEAIUKRG ER(C ROBERISGN n 'tMN.:, ;>.1>'

A MERRY CHRISTMAS!

STAR KEHTOM '

154

A CHARLIE BROWN CHRISTMAS (SOUNDTRACK)

VIHCE CUARAIGI 1R(0 1 ■ '

PEACE ON EARTH

CASKHG CROWNS ... . .

WHAT A NIGHT' A CHRISTMAS ALBUM

HARRY CONNR:r. JR ii n. '.d ..'

CHRISTMAS WITH WEEZER (EP)

(FfEEEEH iL.LiC IR(l4bCvFt iGJ..

Data for week of OCTOBER 10. 2009!

dscn

)S SoutldScan

4 HEATSEEKERS ALBUMS

iiii

ARTIST

Title

ARTIST Title ^

A LJCilBleiLLY TALENT

III

Robbie Furze and

,"*SON JENNINGS ^^ Blood Ol Man ^

JEFFREE STAR

' 'li' . ■ '-Vji rLG (1* 981

Beauty KIKer

■1

Mllo (orddl make
up this ad. whj(h

DAVID GARRETT p ^

>.'.'. T.. . 1 >'. .M- .'.a c>ir;'TnuE PANIHfR SOUNDS |U9B|

Album

bows witti its
debut album, the

tm
1

°"EN No«L»a.es^

TLJC Dl^ DIU^

1 nc 0\\3 ririK

i.'.;- Hi ■ ''fi, iPOUPfUSB)

A Brl«t Hbtorv Of Love

pair will open for

"*^ER H AWTHORNE ^ s^„^ Arran,.nMin«

.15 ?

KSM

BilEIlIH :»isiiEvsouND oiusss.'WAa nsMEv iis H)

ReadSetweenTheUnes

Muse on ttie U.K.
leg of its lour

hvninnlna Hnv A

''.^^ '^i**'',?3Up<6iii< iu9>i ■■■ N»'"™lly: *" Almost A Cappella CollBctkm

DESPISED ICON

Day Of Mourning

■i

JOSH WILSON Lit. Is Not A Snapshot (EP)

1 ■ ; .r59fli

LA ROUX

i-.- :F)TFRSrfieiOU3*».'teA|10M)

La Roux

....,«. BROS No«lsNotFor.«r

al 3

INFECTED MUSHROOM

The Legend Of The Black Shawarma

BASEMENT JAXX

Scars

SAFETYSUIT uleLeftToOo

SEA WOLF

While Water. Wtiile Bloom

9 I

3 44

RANDY HOUSER

i: 'M ili'rL99 |l09ai

Anything Goes

fitheflrnitluit-

: „ . Necropollt

6 31

COLT FORD

Ride Through The Country

ing »[ on rteai-
seekers for the

ALEXANDRIA 5,,^

■■. .1 JL '-.'J ■ le 93i

GUY CLARK

' 1 ili 9er

Somedays The Song Writes You

eie(trDni(/pop duo.
whkh sees its ialest
enler with nearfy

PETER WHITE Good Da»

a-. 31006'CONCOfl!) 116 Mi v*w« way

KJ-52

■■, it 1 9ai

Five Two Television

Time TO Dl.

39 7

YIM YAMES

Tribute To (EP)

1,000 topies sold

EDWARD SHARPE i THE MAGNETIC ZEROES , ,„ c,„™ o.j_-

1 U

TRAILER CHOIR

Ofl Tha Hillbilly Hook (EP)

DYING FETUS^ o,^,^^ 0,^,.^

1 M OK YOU RE OK

Presents...

RAIN MACHINE Rain MaOlin.

II 57

THE AIRBORNE TOXIC EVENT

Ttie Airborne Toxic Event

3 ""^"^^ Here Waits Thy Doom

SONATA ARCTICA

Days Of Grays

SIDEWALK PROPHETS tk..» e.mnl. T„HK.

.H.rsT«DROCuBBMT«BF«;v.«RWR!»os ,5 98) Those Simple TnHlw

WHY?

AIJl ,UN go- lU 9tt|

Eskimo Snow

iKMlmsdw

rt TO.2- caLumi«M2 9«) No More stones Are 1iHdTo<Hj(rm Sony HieyWashKlAwBu.

SKINDREO

BliUR 8H0S JQ032 |B 9S»

Shark Biles And Dog Rghts

'TDIEf TODAY, LKMItyB

Nnr

DEADMAUS

■ ' . ; . ■ ANO PRESS ZU4,TJL?IW(!S9e)

For Lack Of A Better Name

and was loi 99
lenls. No surpftsc
Uhh that it fumps

TERCER CIELO G««e Comuh. Su.no, ExtraordlnKloi ■

8 5

THE XX

'■L(y.flHSGR0UPlM9Bl

ADELITAS WAY _ Ad.llta. V«.y ■

•i ?3

MATT & KIM

■■■ ■ ■■ . ^^rL MM" (11 98»

Grand

«ittliaU]%
iKiease.

Cun. YOMT n»ich« 1

25 12

WOMEN OF FAITH WORSHIP TEAM

MVHHH S&7i?i iXiTVPRO-CURB (t3 9fii

A Grand New Day

■

!;?olc «'™ 900SJ ,1.9.1 Shout The Truth |||

/t HEATSEEKERS SONGS

REGIONAL HEATSEEKERS ^ ALBUMS

■H

TITLE

ARTIST IIUPRWT t PflOMOTttN lUEU

KM REPI^Y

' BQ3IV4Z ,IIUE tS MONfV/BFLUCA HEIGHIS'RtPRtSf ,

LA LA LA

LHfMO |P*Rrv HDCK'rtlll 1 AUiCHfflRTTHEf.miERSCnPE;

DO 1

IU«[ BRYHH i: ■■■-ir :, 'i,,: i .

LOVE YOUR LOVE THE MOST

ER-C CHURCH i. .-.^'Ii . '.n li .

RUNAWAY

LOVE ANQ TMCn ICAROLWOOOI

I M IN MIAMI TRICK

LMFSO II - ".ii> iM'ERSCOfJI

BOOTS ON

HANDY HOUSER , tHSAL SOUTH)

FALLING DOWN

SEiIHA r,OMET S THE SCtU |HOI;YWO-OD)

RED LIGHT

OAYID HAIl r/[A 'i-iHlilLLEl

SHOTS

IMFAO EEAIURMG III JOM (RAHTV ROCK. WILL 1 AM'CKtRA¥TltE£;lNTERSCOPE|

1901

PHOEHU i nYAUTEIGLASSROTEl

5 STAR CHICK

TO COTTI .P.UO GRauNOS'J RMGl

YOU RE GOING DOWN

CITY ON OUR KNEES

I08TMAC Hj.iEEH01tT.EMl CMGl

JARS

CHI WEllE .1 .'If.,

ON THE OCEAN

AJQN 1 -1 1 .,^E UNIVERSAL RERUacC)

AIN T NO REST fOK THE WICKEb

CAGE THE fLEPMAUT ,05P jrrt-iLOl

SAVIOR

RISE AGAINST itlGC iNrfflSCOPfl

CAN T LIVE WITHOUT YOU

CHARLIE WILSON : yuf.lC JIYE JLGl

PANIC SWITCH

5ILVEHSUN PICKUPS "V, ,;.JH:,i;.,

WHEN LOVE TAKES OVER

nAU,0 GUETTA FEATURING AELLY RDWlJtND iGUM. ASTRJUTMERILS'CAPITOLl

EIGHT SECOND RIDE

JAKE OWEN ii' .

TE IRA MEJOR SIN Ml
JOAN SEBASTIAN I'TJ Mli , ::.

■

EL AMOR

TITO f I BAAIBmO- i !: II ■, 11

BAREFOOT AND CRAZY

JACK INGRAM lEliGUAOIiNEi

Billy Talent III
Billy Talent

MOUNTAIN

Billy Talent III

Billy Talent

MID ATLANTIC i

Break Through The Silence

Monty Are /

NORTH EAST

White Water, White Bloom

Sea Wolf

PROGRESS REPORT

Ride Through The Country

Colt Ford

Ride Through The Country

Colt Ford

SOUTH CENTRAL SOUTH ATLANTIC

Carmen Reece, "Right Here"

The London-born singer is racing toward the top of the Hot Dance
Airplay and Hot Dance Club Songs charts as her first Billboard hit
flies 12-2 and 14-10, respectively, on the tallies.

{

Infected Mushroom

The Legend Ot The BiacM Shawa/ma

The Greencerda

Fascination

Mason Jennings

Blood or Man

Billy Talent

III

The Big Pink

A Brivf Hisiory Of Lov9

Trailer Choir

on The Htllbltty Hook (BP)

Randy Houser

Anything Goes

Guy Clark

Somedays The Song Writes Vbu

KSM

ReadBe tw6en TheUn»a

HiH

Jelfree Star

Beauty Kilter

EAST NORTH CENTRAL

■ Billy Talent

■ Girls
1 AOMjm

■ JvKrMStar

■ Beauty Ki»et

The Big Pink

A Bnef History Of Love

KSM

ReadBetwBenTheUma

Randy Houser

Arryf/lirig Goc.'i

Despised Icon

Day Ol Moumtng

•

Skindred

Shark Bites And Dog FtgM»

Basement Jaxx

Scars

Infected Mushroom

The Legend Of The Black Shawame

Data for week of OCTOBER 10, 2009 l For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 93

Billb«aril.

^THE BILLBOARD HOT 100

BOS %oaneSci

TITLE Artlsl

•'"OOUCIO l&OPiCWilTEni lUPRMI 1 PHOMOTIOIl L*BEL

CEDT 1

Kl 1 QOTTA FEELING Th« Bladt Eytd Peas ,

lllranRirmfJIKSlEnERmADAIfiAIWIMJGOICSFPHaSOKDGUF^ • miERSCOPE 1

DOWN Jay S«an Featuring ui Wayne

PARTY IN THE U.S.A. Miley Cyrus

nUN THIS TOWN Jay-Z. nihanna & Kanye West

h ■ ■■ ■ ,v;--[ rtiL5CHRFi«(rviAL»U5i (M»0 Kt'm'i

•

BIBSSpHB WHATCHA SAY Jason OeRulo

W:li:U;l|illH»:U 1 ' ';UKAMDEftS0«.JH»ODU«»| • MLUU MKHI& WMNfD IROS

YOU BELONG WITH ME Taylor Switt

QjI1uM]B|P| PAPARAZZI UdyGa0a

7 1

•

USE SOMEBODY Kings 01 Leon

' ' ' .uL'AlLLv(OLLOWILL.WfDlLaWU.NrOLL0WIUl Q HC'^MS

■

OBSESSED Mariah Carey
!■ -.- wc»st[Y,rM«sH,c»snwAHi> (BOO i^-L»i[:'ir-iui]

EMPIRE STATE OF MIND Jay-Z + Alicia Keys

III

COWBOY CASANOVA Carrie Underwood

■ . ■ . ■ ■: ji-MEEi 0 ■■ '.I^ '.•■■■.M.i; ■

FOREVER Drake Featuring Knnyc V^osl Lil Wiiyne & Ernmcm

- ■ .■■ ' ■.-^.n^»W*K; 0 ■■.--.!■■.'-■..■, , -.1 - ■, ■,■ -.

SHE WOLF Shakira
■■ffW.fRJMiuStWiiCOIIj M iif'^ . . .'Tit, (I'll.

•

HOTEL ROOM SERVICE Pitbull

SWEET DREAMS BeyofKe

1 ' JL'jVEtB>.NOWL£S.JGSCHEfTERWMILUlS.niCaLOVEl Q MUSIC WORLD CO.L'UfiM

-«i

BEST 1 EVER HAD Drake

GOOD GIRLS GO BAD Cobra Slarshlp Fealuring Leighton Meesler

■> . .■■ 'II''-. ■ .1- . ■ > l..:-.aiAH(» . -JiSI'idl 0 i;\i.: ■. -HVi-i L if, ' IL '^hf

■

THROW IT IN THE BAG Fabolous Fealuring The-Dream

KNOCK YOU DOWN K«ri Hilson Fealuring Kanya West & Ne-Yo

BREAK UP Mario Featuring Gucci Mane & Sean Garrett

1.- - s = r=5iVlI3RD IS ll*RilETT5 CHSWRWD H fli'vtS i ® 1«r; SlBi-T J flUG

3tl

SUCCESSFUL Drake Fealuring Trey Songz & UI Wayne

■i .iPWIAM N SIISia.INrvtflSM.DCAXTEm 0 'XtUHiG MMfV tASfl MOHEV Jt-VtHSJi. KWTOA'H

SAY HEY (1 LOVE YOU) Michael FrantI A Spearhead Feat. Cherine Anderson

" ' - ~ 11 XUAO R SHAKE SPEAR (W IRAM'I C VdUN&l Q BOO BOO tVAXAKTI- IJNI'i ■RSi' . ^FP'JItllL]

BE ON YOU Fk) Rtda Fealunng Ne Yo

\' ■ : T '~ii; L n S SM<1H M S EHIKS^H T E HERVAHSf M'l O ^OE c^HY ATI t\J\r

FIREFLIES Owl City

BATTLEFIELD Jordin Sparks

ONE TIME Justin Bieber

1 - ■" T c'^iA^" iC A STEWART J MHTOMX COLE T H^CHEREA^fVE f © ir.i i'lT' ii l^Vi

ALREADY GONE Kelly Clarkson

■ '. " lEDOEfll 19 ""-.HCAHWu

LOVE DRUNK Boys Uke Girls

•

BIG GREEN TRACTOR Jason Aldaan

•

BOOM BOOM POW The Black Eyed Peas

'h '.1 ht.y^ X I'lhi JA S fEftGUSONJ GOUtZ^ O frllL ' AMIS^f R^tOPc

21 GUNS Green Day

•

TOES Ziic Bfown Band
.1" ."'N i_" fiiii-iWh A OU'lftlfTE J HOPHJMS S UUlLlilSt 9 f^^'- ' i' '. ' - - '.

FALLIN FOR YOU C JL i-- C.i I

NO SURPRISE DaugWry

1' ''/HijIGEf^GE^ILLI fti9' ^CA. ^Iv'm

1 KNOW YOU WANT ME (CALLE OCHO} Pilt>ull

NEVER SAY NEVER The Fray

r- , \ ',' 1 'iij^r J %IHB i SLiUlE) 0 i ^'li-

•

A
W

NEED YOU NOW Lady Antebellum

FIRE BURNING Smh Kingston

■

AMERICAN RIDE ToOy Kellh

■ M .■ 1 " ■ . ■ 1 6 SMVi mi sAsc.ii.e

WAKING UP IN VEGAS Kaiy Perry

■ 1 ■■■ "1 . i.'i" O C'PIHiL

PLEASE DON T LEAVE ME Pink

ONLY YOU CAN LOVE ME THIS WAY Kerth Urtan

■■!■-. ■■ -,■..■.■(. HSIL'. » CAPIIOl KASMVIL'-E

GETTIN YOU HOME (THE BLACK DRESS SONG) Chris Young

. ■■■■ "'1 K BLAJYI O RCA HASK.iL.E

PRETTY WINGS MaMwell

!.■.>■ ■.-:[! •©CCHUVtIA

SEXY CHICK David Cuolla Fealuring Ahon

1.. L ■'. . . ■.: I . : j l.llKfORTS VEf A rHWAI;. Q Cl.M *?TKA.A'!MiS nWTCi,

EVACUATE THE DANCEFLOOR Cascwilii

1- A tSMLrJG M RfUlERl ®0 »'.<[■-

MEET ME HALFWAY The Black Eyed Peas
. . ...■.iMM=AI^IKM,jG0MEiSHBSUSM,«l«flPWJ.BAPriSrE5C0[lMNi ® . l

I M YOURS Jason Mcaz

'.' ■> VW> © A'L'SIIC

DROP IT LOW Ester Dean Featuring Chris Brown

pr„.-,fi [,i ij xiNiS.E WAX C BS0*N| 0 UAHWl- UAi.DM./tJXE 4 blP! AW.lNt ll.'tR'ii: :ji=t

WASTED Gucci Mane Featuring Piles Or OJ Da Julceman

FATBOI (L MU6l.AS,R DAVIS.A WASMIHCIIjM^ © Mi'JV <.U .CfV ViXW.H i'^riS

■

REPLAY lyar

..111 ■i;iT.'.^. • •«f«KN,OE;fiCUSWAtI«BON'TKHUj. © TMf K MCtiT' BEU« ^^lC^T-.t..t "r :

ICE CREAM PAINT JOB Dorrough

SMALL TOWN USA Jufittn Moore

.n .1" - -.M-liP i . Mi-'.tK . «OWF, 9

IMMA STAR (EVERYWHERE WE ARE) Jeremin

r.i ir: 1 . rni . .juf- w F.rmia.'i Q MiCi scwuiT/.'Wf .sw i:

LA LA LA LMFAO
.'.■■ ■.n - * :;nHOY,s A GOUOTi © PARtV ROCK,mi ■ AM<D<EnRrinEE;lh'^l- ' :

Thetr«fc'sNo.8
entry on Kol DigiUI
SoflssOIO.OOO
domtoails) gives
Unddwodelgrtt
toptOssiiKt the
(hart's twfKh in
Febnurrmtlut
tieslwrwitli
Bevonce tor seowl
pton among
females, ^ing
m\i ii\)»m (12).

TIN Unqtt posts ri«
first solo Hoi 100
aptwarance sln»

lKal«lalllo.U
last Odober. tn
?009, she sliamj
mil credits wtiti
bolhiKli While
inikfl T1» lat-
ter (oiaborallon
iltps 5-tO ttiR issue,

nie IV senes' chail-
Hqsumtsnowuvto
fhpe with this week 's
(overs olCefine
Dion's Mo. SHmMiq
song Ironi and
Oue«ii'sT9nctas9C

(No. Mmk).

Ihe singer makes
tiis maiden Hoi 100
voyage wm years
after lits lint
apttHraiKt on Ho)
Codntrr Sonqs. The
tncklshKlirslHot
(ountrv Songs lop
20 (No, N).

The alum's IHte
tnckbUietourttt
siaok Iron thai sd
taniftttkifet;rs

she^MMmv

0(1 OM (olediDit.
Her second album,
"KssMxtatstood"
(2W1), also had
tour Hoi IDOhiH

TITLE

CEH iSOHGwniTERl

HER DIAMONDS

Huu irnKiia*

& EMSLEW A-.Al.-.':

■g

THE FIXER

= ^ M CAKaOH.S MSSAftD M MCCBEAOY)

Pearl Jam

©O MOHKi-Ain.:"

NEW DIVIDE

Linkin Park

■

-B

SMILE

- H lAO 1 KARniMfi J SOSEi

Uncle Kracher

-iD
■■

I'M GOING IN Drake Featuring Ul Wayne & Young Jeezy

,H - . .. .i^^Miu n riPIER 1 AMEKH^ISi © vauhaUCXfy :A'J< WOHtV UNfi'fB-:»i ili:rri.'i>.

DOESN T MEAN AHYTHINQ Allda Keys

4, BRurHiRs A «m (A Kmn eHOTwaa, jni • MMMM

WELCOME TO THE FUTURE

Brad Paisley ■

• AAISTA NASHVILLE H

ti2

LOL :•) Tray Songz Featuring Gucd Mane A Souija Boy Tell em

■ISHA s PRICE (IWVtRSOH.IlAYLOHT SCALES OKVAKlDAVtSi ® vO'.:, iO' r .^S'"-.

I'M ALIVE Kenrry Chesney W(th Dave Matthews
Lfi'iCN « CHE5«Y (K CHESMTD DiaON M UWSUfilKO'. © ." M

DO 1

■.!l;-NS LOfivAN C IIEUEV.D HAVWDOOl

Luke Bryan

fi) 11 :-: -1,.: 1

■

UPRISING

Muae

1 WILL NOT BOW

Breaking Bpn(iirtiir,

GOD IN ME Mary Mary Featuring Kierra KiKi Shearo

■ .-i I ■ ■ ■ ■ . I ATKtNS-CAWtTfE

Li Ml. 1

„

LOVE YOUR LOVE THE MOST

Eric Church

& ■ .1 '.- .r,., .-

■

■i

FACE DROP

. ■■ l.'lHriN]

Sean Kingston

TAKING CHANCES

■ ■ . :i A STEWAill « DIMUAtOII

Glee Cast

«i;].. ..-uyi.i.

YOUNG FOREVER

■ '.iLRTfNS.t MHWRO.S C CAfllEft K «SI|

Jay-Z Mr. Hudson

6 ROC MAticft : T.i

STARSTRUKK

30Ht3 Fealuring Kaly Perry

•

LIVING FOR THE NIGHT

GeotQe Strait

1 WANT TO KNOW WHAT LOVE IS

Mariah Carey

ALRIGHT

Darius Rucker

]

YOU RE A JERK

■ ; :■• i!;.:. ■ 1 1 - mhWaS E H BEMJAAtlN V 8 AOAMS'

New Boyz

1 LL JUST HOLD ON

■■r-n.-- !■ - if; w&EW.B siwpsmi/

Stake Shelton

©WAHMBBSO; IKAjHvH i.y.nN

RUNAWAY

Love And Thetl

0 iiAnoiwiyjD

Sir

NUMBER ONE

^ 1 I- ' 1 ■ ■, 1 HAMinm (W nllLVR HAMUTON 1 MAMIITON

R. Kelty Featuring Keri Hilson

Ki misw) o .iYE AC . ':

1 M IN MIAMI TRICK

' ,. ^[i' . i i; ,iu»AO(

LMFAO

O© PAflTYRDCAiNtERiCOPS

UNDER Pleasure P

-,'.r.. TANH A OIXW.L Bf REAL R HEWJ FPAtjUIN.T.JOMS.K.STEPMERSON.M COWER) © at. i.\-m_

HAPPY

II . i! n -1 F[r3En i • "OOAfiU LEWISl

Leona Lewis

SOUNDS LIKE LIFE TO ME

■i- ■• .Afiei-tPrinoNNEiii

Darryt Worley

a
a

■■

SOMEBODY TO LOVE

Glee Cast

©(O^tOLlvMt'A

EGO Beyonce

iJMF. M LILLVfl KKOWUS (( WIIHAMS.M t»lY JB B KHONlESi 9 MUilC WOniCl tOLljMHA

■

BOOTS ON

-.1 ,'. it ■.! ■.■■•;(- Ill in h01,-?.EH fl ".IMlfyi

Randy Houser

• UHMRSAL SOUTH H

■

TRUST

.1 ■ ■ ■■1. . ki LULE IIAYIDBDI AtFORDi

Keyshia Cole Duet WHh Monica ■

1
■

FIFTEEN

Taylor Swift

■1 1 -u-UAS rswifr iTSWiFTi

THE ONE

-. . .-■■\[. 1,1 , :,.3E P .EP4IK; i MAH.A GRAMAM)

Mary J. Bilge Fealunng Didke

O MATRIABIK tlKf 'i

FALLING DOWN

■ . :.''.i(,.-< l'-illErOt,GSCI«CIC)

Selena Gomez & The Scene

& H, .

t WANNA

The All-Amencan M^'iects

- .-.^'.r ■,• .. :":-i; ---i flEJ<C15|

BREAK

-1 sioCK)

Tnrf;,- D;iVS OuKi-

e ■'

■4

CHECK MY BRAIN

Alice In Chain*.

M-.- ■ ■ ■ ■. . CANIMUl

RED LIGHT

David N:iii

■

r n:.'* M PtlftCE.D IWTWJSW)

©MI-A ■

BAD HABITS

V .i ■ ;',ia MUSJE)

Maxwell

FUNHOUSE

Pink

■ ■ 1 t«A)iAl ) WABBVi

O . ■ - . 1

BONFIRE

■ .'.r : yi|--i^, 4 DEIiNEKC MOHGAN.UHOGEHS

Craig r,'. r,,,,-,

SUMMER NIGHTS

Rasc.i 1 ..i'v,
©.1.

100

PURSUIT OF HAPPINESS (NIGHTMARE)

Kid Cudi Feat. MOMt & R.iiai.>t

8 nHEAM tjH.c an a t^Nivii m ■■ ,■. .

BETWEEN THE BULLETS

PEAS' PERSEVERANCE PAYS OFF

The Black Eyed Peas extend their record No. 1 streak on the Billboard Hot
100 to 26 consecutive weeks as "I Gotta Fceiing" holds at the summit for
d 14th week- Tliat songs run matches Mariah Carey s "We Belong Togeth-
er" for inost weeks at No. I this decade and ties it witii 'Belong' and four
other songs for second-most No. 1 weeks in the chart's history. The Peas
also become only the second act in the history of the cliart to Ex:cupy the
No. 1 slot for half a calendar year or more. Usher spent 28 nonconsecu-
tive weeks at the top witli four songs in 2004. — Silvio Pietroluongo

94 I Go to www.billboard.blz for complete chart data

Data for week of OCTOBER 10, 2009 i CHARTS LEGEND on Page 95

IP"

ii ii

TITLE

AHmi ivptllrr pitDMOIION lABEll

£i

TITLE

ARnST IIMF'RINI PRDUDIION 1 ABCl )

^»

oil CHT

TITLE

MtTisT m^mi pnmoms imu

niYOU BELONG WITH ME

WBS nnm mn <m hachin&uhversal kpubuc i

WAKING UP IN VEGAS
AAIY PERRY . Mr lii

I'M ALIVE

KfNIY CHESNET WITH DAVE MATTHEWS

1 GOTTA FEELING

PLEASE DONT LEAVE ME

SOUNDS LIKE LIFE TO ME

THE BLACK EYED PEAS imiERSCDPEl

DAHRYl WOnUY ■ ■

DOWN

MT SEAM FUI lit WAYNE 1 cash MOWY.'UIMRSAL H£lnJtlLI(. ■

BIG GREEN TRACTOR

JASON ALCEAN iSnDKEN BDW.

DOESN T MEAN ANYTHING
ALKrAKtYS : "Miji

RUN THIS TOWN

JA) ; RIHANNA A HANTE NEST |ROC riAHQN)

1 M YOURS

JASON MRAZ .LILANTIC RHP)

TRUST

KEYSHM COLE DIET Wm MDMU (IMAtt'GEFf EHMI^COPt)

USE SOMEBODY

KINGS DF lEOM i '.'r,<

GOD IN ME

lAARY MARY FEAT KIERRA SHEAHO F.'Y BLOCK COLUMBtA)

DROP IT LOW

OBSESSED

MAHIAM CAHEY . '.n,

GOOD GIRLS GO BAD

riH A F-Mw .III iFmniFfFiiw >nrAJii'itiEOmu«A<F.«nc'»'»i

EMPIRE STATE OF MIND

JAY Z * AUCU KEYS (ROC NATION)

THROW IT IN THE BAG

FABOUIUS FEAl THE CHtAM . ! ' I,'

FALLIN' FOR YOU

COLBIECAIllAl ilJ-l ... F-.Al REPUBDC)

21 GUNS

(iHIEN OMIHtPHfStl

BEST 1 EVER HAD

DHAKE i. • M, :■ :M ■ ' \ ■ ■. ■ I.' 11'. '

TOES

ZAC BROWN BAUD (><AtE GROWN AIlANllCBlGOIF 1'

^ 65

BAD HABITS

MAJWEll iM'. MtlAi

BREAK UP

mm EEAI GIHXI HANI A SUA OAWSn l.lFin '^IPii 1

KMli

1 KNOW YOU WANT ME (CALLE OCHO)

PIIBULL il.il'RAi

^ 61

NUMBER ONE

R KHLYFEAT HERIHILSOHUIVLJLG}

KNOCK YOU DOWN

"EHIiHSOU Ff AJ lAIYTE Win A AE TO WnSilY ZRNf A INlEHStllF^

SHE WOLF

SHAAIRA liONY MUStC lAllN'EPIC)

NEED YOU NOW

LAOY ANTEBELLUM i^.^onni NiSMVIlLE)

WHATCHA SAY

JASOK OEnUlD '1 1 IIA llEIGHISlWAnNEFI BROS )

WELCOME TO THE FUTURE

BRAD PAISUY . ARlSlA NASHVlllEl

^ 64

RUNAWAY

LOVE AND THEFT .rARDLWDOOl

PARTY IN THE U.S.A.

MIllT CYHUS - 1 : ''.vJIIOl

WASTED

GUCCI MANE FEAl PLIES .'.urAY SO iCEV.ViARNER BROS )

62 58

ALRIGHT

OAHIUS HUCKEH 1 M'i|.V 'jASH'/ILL 1 1

SUCCESSFUL

FOREVER

BRAAE . ■.' . lit A SlRiAMLIftl.l.NIERSCOPt)

ICE CREAM PAINT JOB

DODROUGM r,', '.III . i '

HOTEL ROOM SERVICE

PITBUll Vl. -,1 11.' .

HER DIAMONDS

flOB IHOMAS M . -M .'-1 ANIIC)

^ 68

FIFTEEN

TAYLOR SWIFT li! t, M^CHi^ti

PRETTY WINGS

SAY HEY (1 LOVE YOU)

MOUaFWIFItSFfAIMA0 .F:ill EOOVKAAANTI .IMSEFIAM AAFl«liC|

BOOTS ON

HANDY HDUSEfl ■.UNIVERSAL E-OUThj

■Ii

111

BE ON YOU

lit) FIJA FlAt NE YO iFOE SOr AILANIlCI

COWBOY CASANOVA

CARRIE UNDERWOOD |19 ARlSlA NASHVILlE)

DO 1

UIKEBHVM {CAPITOl FIASMVILLLi

PAPARAZZI

LAflTUGA -inFiMiitirKOFAIVr'CHFRBnnEL'lNTlRSCOPti

LOVE DRUNK

BOYS LIKE GIRLS . lil llVKlAi

ONE TIME

JUSTIN BIEBCR'l'jLA)JD.IOjr,f!:..

SWEET DREAMS

BEYONCE .Mi- n COLUMBIA)

I'LL JUST HOLD ON

BLAKE SHEllOH liVitlNi- RROS iNASHVtLlEI VinN

EVACUATE THE OANCEFLOOR

CASCAOA iMLigtii^^i

BATTLEFIELD

JQHUIN iPARKS ' il.L ILG)

ALREADY GONE

KEUY CUIRKSQN 1 1 9 RC A RMQ 1

FIRE BURNING

SUN KINGSTON lUiLUGA HEItiHTSi'tPICi

NO SURPRISE

DAUGHIRY ■. ".IFj)

LOL :-)

THEY imu ItU QUCO HIM A SOULIA BOY FSONO BOOI^AIIA/Ili:)

EGO

BEYONCE {MUSIC wonLD^coLumeu)

AMERICAN RIDE

lEIBT KllIH . ' .■. 1, NASHVILLE)

LIVING FOR THE NIGHT

tEORGl STRAIT l-";.V •.i^li'l.LE

BONFIRE

CHAIG MOnOU (BMA)

SMALL TOWN USA

JliSlIN UOBRE ..'-1 M ■

BOOM BOOM POW

THE BLACA EYED F(AS .1 I r AM INlERStOPt)

IMMA STAR (EVERYWHERE WE ARE)

JEREMIH iW C> SCHjLlZ.OEf .lAU IDJMGt

GEHIN VOU HOME (TME BUCK DRESS SONG!

CHRIS YOUIK (HCA NASHVILLE)

LOVE YOUR LOVE THE MOST

ERIC CHURCH .1 i :. ■..■.^F(VILl£|

REGRET

LETOYA FEAT LUOUU (CAPiIOl 1

ONLY YOU CAN LOVE ME THIS WAY

AfllH URBAN ICAMTOL NASHVlllEl

MEET ME HALFWAY

IHE BLACA EYED PEAS iMEHSCOPt)

1 WANT TO KNOW WHAT LOVE IS

MAFtlAH CMEY jlSlANn.'IOjMGi

1 1

NEVER SAY NEVER

nil FRAI

.13

UNDER

PIEASURC P ICIIANTICI

CHECK MY BRAIN

ALICE IN CHAINS k'I'H.IN iJ^riliH >

"ins

1 1' ronienoc'fl'y. fiSB/hip-iop, country, foek gMp«l, >

moo
IICO<

:V3r fc.miH!

hlOT DIGITAL SONGS

li'.U'll

» 1 1

THIS

TITLE

*FITISI ■■/rmNI .■ PHDWOnONLMEll

sB
£s

TITLE

ARTIST tIMPRiNl PROUOTION LASai

3£

TITLE

ARTIST )1N

PRINT 1 PflOUOTION LABEL)

Rl PARTY IN THE U.S J^.

E^^B MIIET CTRUS (HOlLrWOOOj

BOOM BOOM POW

THE BLACK EYED PEAS '/l.i l ANl'INlERSCOPEi

THROW IT IN THE BAG

lABOtnUS IIA! IM DMIAAI III. .||l ',ll»AMItl :AUIIXJUI.i

WHATCHA SAY

jJisoN DEfluiD i<i' 1 iHi.i itiir,»i:..'A*fih'iR mQ'-> )

NEED YOU NOW

LADY ANTEBFIILIM . 1 T /. NASHVILLE)

1 WILL NOT BOW
BREAAIBG BENJAMIN .itU I'lVOfJEI)

1 GOTTA FEELING

THC SLACi; EYED PEAS |1HIERSC0PE|

FIRE BURNING

SEAN KlNDElON -[ HiMISXPIC)

FACE DROP

SEAR KINCSTOR ») luGA HEIGHTS/EflCl

PAPARAZZI

LWf (iAiM '"LAM.i<tL ikUAiytXHERfmnfLiHTEnsi:!:!-'

BIG GREEN TRACTOR
JASDN ALDEAN ■ ' iHV

•

NEW DIVIDE

LIMAMI PARA ii.';i M M iH' I "WARNER BROS )

■

DOWN

i*f F.f *K FEJO W mum IKSSH UGNEYUMMRSM. WFi t i

EVACUATE THE DANCE FLOOR

CASCAOA - I'll

KNOCK YOU DOWN

, RUN THIS TOWN

' JKf Z RIIIANNA i KJtNTE WiSI PlAllOM

•

TOES

lACBHOIANlAW iHFMf ..)f miATl AKIH^VCUIR IvnLllIF

YOU'RE A JERK

NEW BUYZ 1 "I ' 1 .'..'.BMrR RRC). 1

EMPIRE STATE OF MIND

JUT ; • ALICIA »ETS .■ '.ii jtJ.

, TAKING CHANCES

GlEE CASl I- « 1 HE' VIFIA

NEVER SAY NEVER
THE ERAY .

•

COWBOY CASANOVA

SUCCESSFUL

BREAK UP

CAflfllE UNDERWOOD ■ 'i Alfl'jtJ, tJASlHVlLLd

lAWWITAT GUCaMAM ASEAHGAflflETT 1 ini. ^'Rill IllAi:

FOREVER

YOUNG FOREVER

JAY ; , MR HUDSON i . ' l.-'m-.

FALLING DOWN

SEIEHA COHET A IRE ICEHE (HOtlVWOOO)

USE SOMEeODY

nmcs Of HON - .'i M'.'i.i

■

LA LA LA

LMFAD ■ -..■I. : .... .'.! 1. ' ..iFli:>l!IFt,.lNTlHSCO«|

. STARSTRUKK

Wilts 1) "01.: 1 NI^H ATLANTIC'-RRP)

•

YOU BELONG WITH ME

lATlOfl SWIFT :hl.^ '.ULHtSti

BEST 1 EVER HAD

DBAKE ■ "'1' . Ml .SEY UNIVERSAl MOTOWN)

HAPPY

lEOHA LEWIS IDYCO J.'RMQi

SHE WOLF

SKAIIRA i v.:>.y MliSlC lAIIN.fPICl

•

FALLING FOR YOU

C0L8IE CAIllAI 1 IJNIVERSAI REPUBLIC)

I'M IN MIAMI TRICK

INIFAO iMKI. I'DCMHIERSCOPE)

FIREFLIES

OWL CITY lOrilVtnSAL RtPUeilC)

IM GOING IN

EMU »>.- a mi.« 1 IM m •^-f-lKif^K*> KHViAMtSN WVHt

JUST DANCE

lAD'MMiU) UAAmaHinil«JUAWiAniAM..«IYRlCnEY)

OBSESSED

M>Hi«H CAREY (ISLAMD'IDJMCr

1 KNOW YOU WANT ME (CALLE OCHO)

PITBUll III

THE CLIMB

M)ltYCYHI)S ! IIISKEY.llOllYWOOOi

■

If)

ONE TIME

JIISIIN ttl[B((l ilM [1 IW,

THE FIXER

PEARL JAM iWllr{<EY'/)RENCIII

PLEASE DON'T LEAVE ME

PTRA 1! -.i.'.l i III

1 J

GOOD GIRLS GO BAD

■

SMILE

ONLY YOU CAN LOVE ME THIS WAY

AEltH URBAN ^i ) -VI l •)

SWEET DREAMS

BEYONCt ■-■I •■■ +i:> COLUMEIIAl

DROP IT LOW

FlYFIUIIUF SMMMX'F.XIHKIiailAmNAKWIBUCSPlI

■

PURSUIT OF HAPPINeSS (NIGHTMARE)

SAY HEY (1 LOVE YOU)

<mui\ 'wunu-iik^m ■ i;. r<)fl««'Mir-'-.tifcMiti.ifi»A<:i

BE ON YOU

FLO RlOA FEAl NE TO IPOI BOY AriANTlC)

OETTIN YOU HOME ITHE OlACK ORESSSOItCr
ClffllS YOUNG IRCA NA);)).l^L)

HOTEL ROOM SERVICE

puBuii 1 1 - iiNi r.nouNOS^inMGi

BATTLEFIELD

JOfllltH SPRiUS iig JIYT JIG)

WASTED

nmiWUBTYWBillJM— illAaT.TCtK*«HgAWlB)

21 GUNS

tWEEH OAY .M - K ■

•

POKER FACE

lUYFCADA. 1 lUl NlXiFKt l>^.i:HFninTR(tMYERBCaRE)

LOVEGAME

lAOYOAAA T..'.'.... II.E Kn(AM.CHERITYYRiEJBmRSCAPE|

ALREADY GONE

WLLT CLAflKSOH ■ n :. ,i "Mi^i

''46

ICE CREAM PAINT JOB

DORROOCH -INl ^ M

NO SURPRISE

OAiicKYRY III «::armgi

SINGLE LADIES (PUT A RING ON IT)

BEYDNCE V 1 .11 .Mil ■

IMMA STAR lEVERVWHERE WE ARE)

JEREMHl ' . .1.) jAUlOjMLi)

HALO

BEYOMCE IMUSIC WGRiaCOlUUBIA)

■

REPLAY

IIA2 H'.M 1 , Mn^ty 8E:UGA Htl(iHIS.REPRISL|

UPRISING

MUSE 'i.J '.■ . .\ .1 ..

WAKING UP IN VEGAS

AATY rtfllYr (CAI'llOLI

LOVE DRUNK

BOYS Ll«{ URLS I'Crilk^MBIAl

•

, SOMEBODY TO LOVE
CUE CASl |. . > 1 !. . F'f Ii

00 1

LOAt BRYAM iCAI'IIO. NASlYVULE)

SEXY BITCH

MVn GUETUFfAI MUM iGlJM AST>lALWtRK^'CAPTTOLI

, MEET ME HALFWAY

IHE BIACK EYEOPWS ilNFERSCOPli

WHAT WE TALKIN' ABOUT

JAY I ' LUAE STEELE )ROC NADHR)

Data for week of OCTOBER 10. 2009 For chart reprints call 646.654.4633

Go to www.blllboard.biz for complete chart data i 95

ALBUM CHARTS

Sales data compile<t from a comprehesive pool o( U.S. music
mcrchAntv by Niolwn SoundScnn Saio« data tor RAB/hip-hop
retail charts is compiled by Nielsen Sound Scan from a national
subset of core stores that specialize in thos« genres.
9 Albums with the greatest sales gams this week.

Where Included, this award indicates the title
witfi the Chan s largest unit increaM.-.

Where Included, this award irKJIcates the title with
the ch.irt's biggest percentage growth

IrKJIcates album entered top tOO of The Billboard 200
.ind has t>oon removed from Hc-atscekers chart

PRlClfK. CONPIGUR AT ION/AVAILABILITY
CO/Cassette prices are suggested list or equivatent prices, which
an protected from wholmale prtcfrs. D otter price IrKMcates album
only avalLable on DualOhc. CD/DVD after price Indicates CD/DVD
comtM only available o OualDiv: available * CO/DVD combo
available. ■ ir>dicates vinyl LP is available. Pricing nr>d vlr*yl LP avaH-
abtlltv arc not Irtcluded on all charts. EX after catalog numtjer mdi-
catos title is exclusive to one account or has Nmited distribution.

SONG CHARTS

See Icgi'ndi oti reipecitve clwrt p.iges (or tfw Billboard Mot lOO
and Hot R&B/Hlp-Hop Sonqs

RADIO AIRPLAY C H A f/ : j

Hoi lOO Airplay, Rock Sortgs. Hot Country Songs. Hot Rap
Sor>gs. Christian Sor>9S. Hot Latin Songs arxl Latin Airplay charts
are compiled from a nalior\al sample of data supplied by Nielsen
Broadcast Data Systerm. Charts are ranked by number ot gross
impressions, computed by cross-referorKing exact time^ u( Air-
play with Arbitron lislerwr data. Mainstream Top 40, Adult
Contemporary. Adult Top 40. Alternative, Triple A, Active Rock.
Heritage Rock, Maimtrcnm RftB/Hip-Hop. Rhythmic. Adult R&B,
Hot Christian AC Songs, Hot Gospel Songs. Hot Dance Airplay,
and Smooth Jazz Sor>gs are ranked by total detections.
0 Sor>^ showing .m increase in .ludionce for detections)
ove- thi? previous week, regardless of chart mcjvement

I Where included, this award indicates the title
with the chart's largest airplay increase.

RECURRENT RULES

Songs are removed from the Billboard Hot 100 ar>d Hot 100
Airplay charts simultaneously after 20 weeks on the Billboard
Hot 100 and if ranking t>e(ow No SO Songs are removed from
Hot R&B/Hlp-Hop Songs after 20 weeks if ranking below No.
50. Sor>gs are removed from Hoi Country Songs after 20 weeks
If ranking below No. 10 in delectiom or audience, provided that
they are not still gaining enough audience points to bultot or if
they rank below No ID and post a third consecutive week of
audience dectir>c. regardless of total chart weeks. Sor>gs are
removed from f^iiinstrefim Top 40, Rock Songs, Alternative
Active Rock. Mainstream RSB/Hip-Hop, Rhythmic. Hot Latin
Songs and Latin Airplay cftarts after 20 we«ks if ranking t}oiow
No. 20 OesCDndir>g songs are removed from Adult
Contemporary and Adult Top 40 after 20 weeks it rankir>g
below No. 15. after 26 weeks if ranking below No. 10. or after 52
weeks if r.inking below No 5 Descending songs are removed
from tfw Triple A, Heritage Rock. Aduit R«B. Christian Sor»gs.
Hot Christian AC Songs, Christian CHR, Hot Gospel Songs. Hot
Dance Airplay ar«d Smooth Jazz Songs charts after 20 weeks
ar>d if r.mking twiow No. 15.

CONFIGURATIONS

• CD single available. O Digital Download available. <!> DVD
single available. O Vinyl Maxi-Single available. O Vinyl single
available. O CD Maxl-Singlo available. Configurations are not
included on all singles charts.

HOT DANCE CLUB SONGS

Compiled from a rMional sample of reports from club DJs

0 Titles with the greatest club play Irv^ease over the previous week.

[T.rrr] This award mdkrates the title, currently bekM the lop 20 and on
QaB ttip dvirt tfw week tx*on-. wHh the kvgest incroase in ports.

AWARD CERT. LEVELS

• Recording industry Assn Ot America (RIAA) certification for
f>et shipment of 50O.O0O alliums (Gold). ■ RIAA certification for
rwl shipment of 1 million units (Platinum) ^ RIAA certiTication
for net shipment ot 10 million umts CDian>ond) Numeral within
Platinum or Diamond symt>ol indicates album's multi-platinum
level. For boxed sets, and double altwms with a running time of
100 minutes or more, the RiAA multiplies shipments by the num-
ber of disci nnd/or tapc«. Certification for r>et shipmenis of
100.000 units (Oro). Certification of 2O0.O0O units (Platir>o).

i: Certification of 400,000 units (Multi-PlatlrKi)-

SINGLES CHARTS

• RIAA certification for SOO/KX) paid downloads (GoldX
■ RIAA cemTicaDon for 1 mHon pM downloads (Plattnum)
Numeral within platinum syrrtiol IncHcalCS song's muHiplatmuin level.

RIAA certification tor n«t rtiipment of SOOiOOO sir>gles (Gold)

MUSIC VIDEO SALES CHARTS

• RtAA gold certificatian for net shipment of 25,000 units for
video sir>gtes. ' RiAA gold certification lor rMit sinpnicnt ut
50.0O0 units tor shortform or lor>gform videos. ■ RIAA platinum
certification for net shipment of 50.000 units for video singles

RIAA platinum certification for sales of 100,000 units for
shortform or longtorm VKtcos. Nurrwral wilhin platinum symbol
ir>dicates song's mufti platinum level

DVD ^ALES/VHS SALES/VII.'i o (.'( ntai ■;,

• RIAA gold certification for r»ei sNpmeot of 50.000 units or $1 mil-
lion in sates at suggested retail pnce ■ RtAA platirHjm certiflcatKin
for sales of lOO.OOO units or $2 mrillon in sate^ at suggested retail
price. IRMA gold certification for a minimum sale of 125,000 urwts
or a dollar volume of S9 million at retail for theaincallv released pro-
grann. or of at lent 2S.OOO k«iits arid SI mWion M suggested rvtaK
for rvxi-ttiealncal titles IRMA platinum cartlfication for a minimum
sale of 250,000 unrts or a dollar volume of $18 million at retail for
ItWdtrically rvtmnod prograrm. and of at least 5O.O00 untts and (2
rrvMion at suggested retail for nors-tfteatrical titles

Copyrighiu

niclscn

BDS

" BillbMril.

RNATIVE

fell if

■

1©

IS.

TITLE

ARTISI iiMPniVt PROUQIlOH It-Kl)

nUSE SOMEBODY
KINGS OF LtW (HCA.'BWQj

DOWN

lAi StAN fUT 111 WAYW UClNCVllNIlltnS*! RtPuei K'

VOU BELONG WITH ME

TAYIORSWIH ■■■■■■ nr.: I lUlVtBSAl REPUflllC)

I GOTTA FEELING

IH( BLACK HID Pt»S r; ' : . r . Pf \

PARTY IN THE U.S.A.

unit CVRUS M nv,',' .1'

WHATCHASAY |

1 (BIIUIA HDCHTa^WMWBIlBOS I f

BATTLEFIELD

JORDIN SPftHKS ' I r.>

OBSESSED

MAFtlAtt CAHIT .-Jjlt l!)J»G)

GOOD GIRLS GO BAD

'.'lis-* 'HI Lii^iw WFBI.BrJrtiUUniiilJ ffr imill.T.MX Vf

LOVE DRUNK

BOYS im£ GiniS ■ III .vmiAt

PAPARAZZI

lAUY GAGA

KNOCK YOU DOWN

NEVER SAY NEVER

mf FH«T ,:i'!i .

NO SURPRISE

DAUCHIHT ■ ■ I f-.|" i m'.,

SWEET DREAMS

«ET(W« ' '■I.O CClLUMBIAl

WAKING UP IN VEGAS

RUN THIS TOWN

JAi ! XIIIANNA i KANYE W(ST i' . i|J.

HOTEL ROOM SERVICE

PITBULL ■ ■ , I, '.'..I

SAY HEY (I LOVE YOU)
B"E ON YOU

no RIOA KAI Hi TO iHlh t<LH All. ANIiri

ALREADY GONE

mu CLARKSOH ■ ' ' 1.1 A. MM^...

BEST I EVER HAD

DfUUCE ,'r<:.\[. wnwy cash MOtifY.UNIVfRSAt MOIOWN*

ONE TIME

JUSTIN BIEBEH i

FALLIN' FOR YOU

COUIE CAIllAT M'.i -

NOT MEANT TO BE

THfDflY OF ADtABMAh ■ I : ■■ i i.umiJMHjRi'RRP)

>)WSH;AtL*WIICmHPl

SHE WOLF

SHAKIHA iK'ICl

FIREFLIES

OWl CITTi!iFll,'-i':

I WANNA

THE Ul-AMERICAM REJECTS il

EVACUATE THE DANCEFLOOR

CASCAOA ■'H' '■ .

FACE DROP
SEAN KINGSTON - : .

II.A HEiDMISIPICj

FUNHOUSE

PINK ' l<'Ui .Hit,

THROW IT IN THE BAG

f ABOIOUS FEW THE OHUM fDtStWT STOBUMIFF lAMIO-lMi.

REPLAY

IfU <UW l-i MOStV, BELUGA HtmHISfREPRISt)

DROP IT LOW

HER DIAMONDS

ROB THOMAS AriUIIICl

r bHOP WARHER BROS j

Hariah (arey eirtemb bef record lor most Matelwiw kp 40 lop 10s,
as "OtKessed" Mfvantn )2-8. The song Is tter 17th top 10 dating to the
(hart's 1992 laurxh.

In s«ood place is Madonna witti 14 (op 10 titles at ttie fomuL
Nellv. Pink and Justin Timberlatie follow with 12 lop 10s each.

On Aiutt DMiHponrv, Hkluel Buble registers the fastest (limb
to the top 10 tor a non-holiday song this year, as "Haven't Het You
Yet" flies 14-10 in its fourth
chart week. Among non-
seasonal ttttes, tt>e song logs
the qutdiest ascent to the top
10 since Michael HcOonald's
"(Your Love Keeps lilting
He) Higher and Higher" also
entered the top ti«r In lour
weeks in February 2008.

Buble logs the swiftest
top 10 ascent lor an original,
non-hotiday song since his
own "Everythrng" charged
12-10 in its fourth week in
Hay 2007.

RARY*

TITLE

ARTIST iW'Rm PROHOnOM LMSLi

KIthe climb {

BBS ""LET l^TRI'S ^WALI D4SNEV.H0UVWaOO} |

YOU FOUND ME

THE FRJtT ii-'i::

HER DIAMONDS

ROB THOMAS .( UBLEU< ATlANIlC|

COME ON GET HIGHER

MATT HATHAHSOM tVANQUARa'CAPIIOll

YOU BELONG WITH ME

TAYLOR SWIFT .BlU MACHIHLUWVEHSAl HEPUBllCl

LOVE STOHY

TAYLOR SWIFT il'H, Ml.'>lliE'U»Hl/EHSAL HEFVBIIC>

BETTER IN TIME

LEONA LEWIS MLi

FALLIN FOR YOU

COLSII CAILLAT M'.f H-.AL HEI^IJUlIC

HOT N COLD

AATY PERRY i ' 1 :I

IH:U »1MI HAVEN'T MET YOU YET

QJITQIH MICHAEL luau

iHinEPRISC)

PLEASE DON'T LEAVE ME

PIHA 1. 1 .LGl

1. 2. 3. 4

PLAIN WHITE TS iHnLiVAOODl

NO SURPRISE

DAUGHTHY ■ ■ i . ,

IF TODAY WAS YOUR LAST DAY

NKKEIBACN ^ ^ir.-.;HHHP|

KISS A GIRL

KEITH URBAN n, \:. :.m

LLE. CAPITOL.

COME BACK TO ME

OAVIO colli

CLOSER TO LOVE

MAI KEARNEY i JV<AHt COLUMBIAI

CHANCES

FIVE FOR FIGHTINfi lAWARE COLliMBIAl

1 WANT TO KNOW WHAT LOVE IS

MARIAH CARET nL.AND l?j^TL,i

SHE IS LOVE

PARACHOTE iM" : I- ■ UG

SECOND CHANCE

SHIKEDOWH ' :i •■■.n

BEAUTIFUL WORLD (WE'RE ALL HERE)

JH ttHKJUMAN t UUM LROSSirr i^i iVf r.'.^T.rHirilHOIISi nilErf/

USE SOMEBODY

KINfiS OF LEON il'.l J. M.Un

1 LOOK TO YOU

WMTHET HOUSTON lAHlSTAiHMC)

BATTLEFIELD
JOflOW SeUIKS (19iJIVL.JLGi

THIS

wan
.o wens
~ mem

TITLE

ARTIST iiM^'t'NT PROMOTION lUEL)

Kl USE SOMEBODY 1

K)NGS OF lEOH itlCA-RHG) |

;

NO SURPRISE

YOU BELONG WITH ME

lATlOn SWIFI L.K. MIM UNIVERSAL HEPUBLICl

1 GOTTA FEELING

THE BIACK (T(I1 PEAS M:Ki.[:OPl:l

FALLIN FOR YOU

COlftlE CAIlUn 1. -i 'iii

PLEASE DON T LEAVE ME

PINK .L'if*C[ JLL",

NEVER SAY NEVER

IHE FRAT iO'k:!

HER DIAMONDS

HOB THOMAS .i r -.T. iUjTICi

WAKING UP IN VEGAS

KAIT PERRY ■> rU il

SAY HEY (1 LOVE YOU)

MowaFNMnisnAiMEw 1' <: lus wu^wn^.ufwnM Hmmici

21 GUNS
GREEN DAY ^H klsh

COME BACK TO ME

0AU1D COOK il'j ■ICA.RUGi

SMILE

UNCIE KRACRER ;IDP MKiMl

INIICi

ALREADY GONE

KELlTCLAftJtSON ■■ i t.l i'.UGi

WE WEREN T BORN TO FOLLOW

BON JOVI .l.'-.l MIH. I[l IVo:

BATTLEFIELD

JOHDItt SPARKS 1 ■■<] JIVt Jllil

CHANCES

FIVE FOR FIGHTINfi .AlA'AkF.COtuMtllAl

HEY. SOUL SISTER

IHAIH i.'l.i 1.1-itti

ITJ.^iVtU SOMEDAY 1

QjlLlliH nOB THOMAS rEMOLEWATUNTICt |

PARTY IN THE U.S.A.

MUEY CYRUS Ml' !■.■.■:■■"' H

STARING DOWN

COLLECTIVE SOUL 1 . Pi PROUCI ROADRUKNfRi'RFtPt

NEW DIVIDE

IINKIK PARK iM^i "W .iiT'/P.'WARNf R BROS 1

MAYBE

KnoHOMuuHi' '- i mm

U SIGNM.'UmfRSJk l«)Tm«lt

1 WANNA

THE ALL AMERICAN REJECTS ^DOGHOUSL'DGC.'INItRSCOPE)

GOOD GIRLS GO BAD

ankmnvfuiLBiffliiiniiB :t<Am(t*tbiD(>iUMii>T>.MTi:if>'-i

w. ..-w.. ... . .........

JARS

CHEVELLE iTPICl

1 WILL NOT BOW
BREAIIHG BENJAMIN iHOLLYWOOOl

THE FIXER

PEAflt JAM f/'iflNtiWHENCH)

UPRISING

MIFSE ititLlui." J WARNER BROS.)

NEW DIVIDE

UNKIN PAftK iMii"IHNE SHOfi'WARNER BROS }

BREAK

THREE OATS GRACE i IIVE'JIG)

USE SOMEBODY

KINliS OF IIDH -iL. nMG 1

YOU RE GOING DOWN

SICI PUPPIES ■Ht.'K VifiGIS CAPflDtt

PANIC SWITCH

SILVERSUH PKKUPS iDANGEROIRO)

©.

UUmmi WHEELS 1

Hdinm rOO nGHTQtt iROSWElURCMtHG) |

•

SOUND OF MADNESS

SHINEDOWH :AIl-MI'Li

OVERCOME

CREED I'.Virri )■(■■

(IF YOU R£ WONDERIHG IF 1 WAMT YOU T0| 1 WANT YOU TO

WEtiEH -'III '."IK ■

WHISKEY HANGOVER

SAVIOR

RISE AGAINST iMa i.T '.>..'.:"£

BURN IT TO THE GROUND

NICIEIUCH tROADRUNNLR RRF|

NOTION

KINGS OF LEOH IRCA.RUGI

TITLE

ARTIST (lAIPRINT PFtOMOTWN lUEl)

CHECK MY BRAIN

ALICE IN CHAINS |VIEICIIllCAPITOL)

UPRISING

IF VOU RE WOKOERIHG IF I HHIIT TOU TO) I HMM 10U1

WEEEER INHHSCOPEI

SAVIOR

RISE AEiAINST iDliC INlERSCOPtl

NOTION

KINCS OF LIOH |RC4flM(il

JARS

CHE«LLE .Ei'lCl

IGNORANCE

PARAMORE |l. !l!n Bv HAMEN ATLANTICFIBPl

PANIC SWITCH

SIIVEFtSUN PICKUPS iliAlK

I WILL NOT BOW

BKf AKING BENJAMIN .IIOLEVWUOD)
MEDICATE

THE FIXER

PEABl JAM .jMONKEYWHEHCH)

BREAK

THREE DAYS GIUCC -

AIN T NO REST FOR THE WICKED

CAGE THE ELEPHANT i ■ I i..T JLu;

SHE'S A GENIUS

.£ SEVEN CAPIIOEt

I GET OFF

HAEESTORH tHIIQ

Q 30

30 28

^ 29

^ 31

^ 34

33 32

^ 35

^ 37

NO YOU GIRLS

FRANE EEROIHANO iOOMmO EPIC)

IF YOU ONLY KNEW

SHINEOOWN .^'L i/rir

I'LL GO CRAZY IF I DONT GO CRAZY TONIGHT

MEET ME ON THE EQUINOX

DEATH CAB FOB CUTIE iCHOP SHOP ATcANTlCI

HARD TO SEE

FIVE FINEUR DEATH mW

IPHOSPECF PAHAI

1901

PHOENII iLOYAmLGE-ASSNOTEl

FUGITIVE

DAWID CRAY IMEICER SlHEtl EFOWNHTWN)

NMVEFISAL MtilUYTNl

BACK AGAINST THE WALL

CAGE THE tUIWNT |DSP, JIVE.'JLG|

AGAIN

FLYLEAF '-SM UdONE INTERSCOPEl
BREAKING

AHBEHLm i-i . RSAL REPUBEICl

WHY I AM
DAVE MATTHEWS B

D IBAMA flAGS.RCAiRMG|

TALK TO ME

BOCKCHIRHT^tLEVE Fl SEVINl

43 40
^ 45

EAST JESUS NOWHERE

CRttHDAY iRE PRISE-

BY THE WAY

THEORY OF A DEAOAAAH ifiEIJ ROAORUNNER, RHP|

ONE DAY

MATISYAHEjgriUil.On EPlCl

FIREFLIES

OWL CITY I,. M.H

INVINCIBLE

ADELITASWAY .v R1.IVCAPIT01 1

BLOOD ON MY HANDS

REPniSEi

MAYBE

laCHAELSON ■ f. : J i.YVI
FOREVER IN YOUR HANDS
ALL THAT REMAINS m iii' I. '

Hnlns llTSI ippeaftd on IIh Nov. IS, m,
AltoiHlin Chart, Alice in (luins notdies it
first No. 1, as "CIkcIe Hy Brain" rises 2-1.
Ttw band had collected two prior lop tOs:
"Ho Excuses" (No. !, 1994) and "Heaven
Beside roil' (No. 6, 1996).

YOU RE GOING DOWN

^icA PUPPIES il l.'" .MritaCAPirpEi

USE SOMEBODY

KINGS OF LEON l i H»G|

FEEL GOOD DRAG

ANBERlm .ilNU'll',1 .'1 lilPUBLILl

AIN'T NO REST FOR THE WICKED

CAGE IHI ECtPHAm .OSP JIVE JLGi

21 GUNS

GREEN DAY n;rr,l.iCi

MEDICATE

AFI ', It ; HPh

CRAWL BACK IN

OEAO BY SUNfllSE .WARNER BROS 1

CHAMPAGNE

CAVO r'l .1

IGNORANCE

PARAMDHE - ATLANTIC.'RRP|

FEEL GOOD DRAG

ANBERLIM r, . . I,; ■ li.lCl

NEW DIVIDE

IINKIN PARK r.'.-.: I'.l'.- ." -I FViU*!' K H f.OL^ i

WllMIMI WHEELS

FOO EtSHTEM <HOSWtlL--HC*jmGj,

SHE S A GENIUS

H nVF SEVEH'CAPITOt^

BACK AGAINST THE WALL

CACf IHE HtPHAWI lUSPijltfE.'JLGi

21 GUNS

GRfEHOAT .RfPRI^El

MEET ME ON THE EQUINOX

OIAIH CAB fO« CUTIE iCHQP SHOP AtLANHCl

CRAWL BACK IN

UfAO BY SWWtSt ^WftHriEft BROS I

BREAKING

ANBEM-IH IL.HIVEHSAL RtPUBllCl

ONE DAY

MAHSVAHU |JOUaiOR,-EPICl

AflTItT iiMPfilDT PROMOTION lABELI

Kl FUGITIVE

B^3 OAVID GRAV MLRCER STREET DOWMTOWN)

WHY 1 AM

DAVE MATTHEWS BAND iln'MA H*GS HtAflMGi

I'LL GO CRAZY IF 1 DON'T GO CRAZY T0NI6K

U? ii^L.l'.D iflURSCQPEl

MAYBE

•iGRo MOMEuoH iimH luowGUM <)CfUL LffviftM uorma

THE FIXER

ruiu, JAM i.Mll'tM •WlltHLH)

FALLIN' FOR YOU
COUHECAILUT lUNIVERSU REPuei»C)

21 GUNS

aREEM DATiRtPRlSE)

HEY. SOUL SISTER

TRAIN il'ii . MhUi

•r

USE SOMEBODY

«lN(iS OF LEON ' 1 rf '-IfGl

BACKWARDS DOWN THE NUMBER LINE

PMISH 1 !■.>.'■ 1

LITTLE BRIBES

OEAIH CAB fOfi CUTIE fBAHSU)(.'AILAH1IC1

YOU NEVER KNOW

wiLCO i>.'r<fi:::.Lici( barker BHOS >

DREAMS

lUNOI CAnillE (COLUMHIAk

LIFE IN TECHNICOLOR II

COIOPIAT ■■AUroi 1

STARING DOWN

COLLECTIVE SOUl ■ 1 , i nU[l A PHOUO AOAORUKNER.HRP

HER DIAMONDS

nOB THOMAS '>.- '! '.• ATLAMTICl

SOMETHING BEAUTIFUL

MEOTOBHEAIHE lAILANllCI

BE THERE

HOWIC DAY!! PIC)

(IF rOU RE WONDERING IF 1 WAKT TOU 10) 1 WANT YW V

WIE2(R " .1" ^iihH'.i

NEVER SAY NEVER

THE FRAT i i

PRECIOUS LOVE

JAMES MORRISON 1 1 'nnORlNIERSCOPf)

SAY PLEASE

HONSTIBS Of FOIK ISHANCRI LAl

GO ON

JACK JOHNSON .S-.fl'IL.'i; ).,[ Li^t utR^,»l RIPUBLICl

BUSTER VOODOO

ROORIGO T CABniELA 1 1 M ■ !

1 AND LOVE AND YOU ^
THE AVETT BROTHERS lAUERICAN COLUMSiA)

96 I Go to www.blllboard.biz for complete chart data

Data for week of OCTOBER 10, 2009 I CHARTS LEGEND on Page 9S

iclscn IVSl^'n
}S SoundScan

Billboard.

HOT COUNTRY SONGS"

§1

|S TITLE

11 RIaMERICAN RIDE

Arllsl

mmW & NUUBER ; PflOUOIIOH LAS:L

Toby Keiih

HSBtkhih 1 ivtsi n pahanishi

• SHOW DOQ NASHVIUt

SMALL TOWN USA

I' . , i , ■ lijJtR.J M1}0«£|

Justin Moore

e VALORV

GETTIN YOU HOME (THE BLACK DRESS SONG)

Chris Young

ONLY YOU CAN LOVE ME THIS WAY

Keitti Urban

® CAPlTiJL NAbHVIL.t

BIG GREEN TRACTOR

Jason Atdean

V/ELCOME TO THE FUTURE

■ VC DLQCIIiil

Brad Paisley
O AniSIANASHVIi )

TOES Zac Brown Band
(tWfl/jaRHmjHCRWSiMjUJfi) ^ MOM! GHOWN'AIlANJICi'BIGGER P1ClL.uL

LIVING FOR THE NIGHT

1 ll-iLi.'.ri . M ■ e SIRAII.D OIlLOHt

George Strait

e MCA riASHVILLE

I'LL JUST HOLD ON

i HEUDIl Lt.:. 'b . l', ! I'.TSONj

Blake Shetion

O WARMER BHOt. .WRT*

LOVE YOUR LOVE THE MOST

Eric Church

O CUPiirjL rusHVi IE

COWBOY CASANOVA

! l-i 1 "1 . ■ :v , ■ , .■ b JAMES)

Carrie Underwood

Q r4 6Hr:.IJ M-,HVI ■

SOUNDS LIKE LIFE TO ME

; 1 >','j [jurr 1 >U Aunuv vAHatt PO'DGHHtLl)

Danyl Worley

I M ALIVE Kenny Chesney With Dave Matthews

1 n rHtt.lJtV |K CHESNtVD IHLlON.Pyl lAMBURINOl O d'.-

RUNAWAY

■( ■ ■. ■■ ..11 m M.r>. C SMITH RBLACKlEOGEl

Love And Theft

|-T3.!iV!ii NEED YOU NOW

nf!Tl7T?H fWDflliV,LAOY ANTESeaUM 10 HAYWaOO.C.KEUEY.H SCOIU.KEAn

Lady Antebellum

• CAPIIOl HASHVlUE

FIFTEEN

Taylor SwriH

DO 1

Luke Bryan

BONFIRE

. 11 r Mil'TGAN |T DOIKIN.K 0[Hf(tV C MOflGAN.W ROGEflS(

Craig Morgan

RED LIGHT

!■ . -Ki UbmGLErONMPflflCI.OUATiCOSRYi

David Nail

HONKY TONK STOMP Brooks & Dunn Featuring Billy Gibbons

■■. [III','. ' r,' ■ . .1 . ■, ■, © AliljU fMLK'/ll .i

1 WANNA MAKE YOU CLOSE YOUR EYES

Dierks Bentlcy

ALL 1 ASK FOR ANYMORE

Trace Adkins

CONSIDER ME GONE

- Cilin; U. HH';,HI DUMO'ili M GREENI

Reba

0 STfiHSIRIlCn 'd'/. '^"V

lJUST CALL YOU MINE

(rw IVCBRinf U CArrS.ILACYO.MAriCOSKV)

Martina McBnde
©

LONG LINE OF LOSERS

H Llta',:tV (K fOWlER *. IHieaLt)

Montgomery Gentry

Itie lourtn- season
-Nashville Star"
winnef acti»v« his
highest chart perch
to date with ttte
biggest audience
gain in the lofi 10
(up 2.7 inUion
fmpresskMis). His
second set is No. II
on Top CountTY
Albums (10.000
copies sold).

The lead single
from the trio's
upcoming second
album is the
Greatest Gainer (up
! million impres-
sions) In Its seventh
chart week. The
group wraps a
Canadian tour with
Keith Urban this
month and is
bookeri Ittroiigh
m\'i Deteniter

with Its own shows.

1 WEEKS

TITLE

Artist

UPfllNT A NUMBER / PROHOTiOM LASEi

HISTORY IN THE MAKING

Darius Rucker

Sir

EIGHT SECOND RIDE

1, ■ :, 'IJUNCEI

Jake Owen

SOUTHERN VOICE

.■■ t> SMITH (rOtWdlAS B DIPIEMI

Tim McGraw

Vir

HURRY HOME

Jason Michael Carroll

® AfliMfi l|/.'-,n.i 1 1

OUTSIDE MY WINDOW

Sarah Bu>fton

99.

WHITE LIAR

Miranda l^mbert

fiS
>■»

TODAY

Gary Allan

THAT S HOW COUNTRY BOYS ROLL

• i-.i . .ii ■. ■ 1.". ■ , ' . is[iri.B JONES

Billy Currirrglon

WHY DONT WE JUST DANCE

t ' .t ■■ : , 1 : il.iiU ION (; aRLlvAi

Josh Turner

M'l

RADIO WAVES

Eli Young Band

1 STILL LIKE BOLOGNA

Alan Jackson

BEER ON THE TABLE

Josh Thompson

37.

A LITTLE MORE COUNTRY THAN THAT

■•■(,' II 1 • III .:■ . 1 Iff* W vARSLfi

Easton Cort}in

Hi/

COUNTRY FOLKS (LIVIN' LOUD)

The Lost Trailers

DIDN T YOU KNOW HOW MUCH 1 LOVED YOU

Kellio Picklof

40-

MOO LA MOO

' 1 I'i t;*q A ,1 MASTERS. J FEUITIOl

Steve Azar

41i

THE TRUTH

■ • i r.'f :.A T^.:)TJfiOE|

Jason Aldean
© BROKEN eow

LONG AFTER I'M GONE Big Kenny

ri '.ir(\- . H.fi[ HVK ALT-HtN M etESON TT SUHA| Q LOVE tVEtlYBOOV'GLOTOWTJ BIlJOER PfCTWRE

HOI SKOI
DEBUT

, wnr

0 HUf E.R4SCAL FUTTS (A SHAUBUN.R M41HESI

msou Plans

©LVniC STREET

LOVE LIKE CRAZY

Lee Brice

cu'in

SARA SMILE Jimmy Wayne Featuring Daryl Hall & John Oales

- II .|.|. . 1 II... 1 .1 VALOR*

KEEP ON LOVIN YOU

1 n ■ I.'.. ! " I ,Lf/nrji

Steel Magnolia

LOVE LIVES ON

|| LjASON lU H(3PE S STEVEfTS.M WESIf

Mallary Hope
© MCfi ■■■■■ -

EVERYWHERE 1 GO

I i. JSSAB fPVASSAR J STEELE)

Phil Vav_,j-

£1

STUCK

1' 1 ANTION iT J iLirERS B MONTANA)

Ash Bowers

9 TOP COUNTRY ALBUMS'

ii ii

ARTIST Title

V . ' 1 OfsmfBUTTKO LABEL (PWCEl

CERT.
PEAK

2 WEEKS
AGO

ARTIST Title
iV^PRiriT & NUMBER / OlSTftieUTiNG LABa tPWCEl

4li

KItaylOR SWIFT

^ Fearless

□

u"iK.?""'^":s.,-),D.„ Carolina

ZAC BROWN BAND

The Foundabon

ALAN JACKSON

.>n,.i...... ... I. . .1 .iuriiiTB.) GoodTlme

•

SOUNDTRACK

.-.-n irtfvcojioi ilSflHi ™

innah Montana: The Movie

■

;;*.S<;AL FLATTS ,

BROOKS & DUNN

#1s ... And Then Some

uSl^.^,*"° J,"^.", K. Wl''^

JASON ALDEAN

Wide Open

•

«!;V,E ,PICKLER^ Kellie Pickler

GEORGE STRAIT

'!))i Twang

•

M'iliS m""^? ?\lll^!«> liBSB) "™

UillUai LADY ANTEBELLUM x~y,pMIMkM<^
IiIl1Il'|4» UfiTlTLIuSMl£(taE(i;s8> LanyniTBOoiium

■

"."T-'f"""^". „,.„ Anything Goes

REBA

"I'Vl.^T^l l> M:tiT,VfdrJ7i- . IE «■ *

Keep On Loving You

,ii ,f., Through The Country

VA«OUS ARTISTS NOWIll«sWlalCalCoonlvWL2

GEORGE STRAIT Troubadour

■

DARIUS RUCKER

Learn To Live

■

™,Lr .,r,i. .,ME ,.,9a. ^ «9fl.st Hits

■

CHRIS YOUNG

The Man 1 Wanl To Be

ZAC BROWN BAND The Foundation

TAYLOR SWIFT

Taylor Sw)tl

TRAILER CHOIR q,, Hillbilly Hook (EP)

KEITH URBAN

1 . . 1. .. . . 1 ' '3 96

Defying Gravity

CROSS CANADIAN RAGWEED w^WAlIKOwn.,

SUGARLAND

M. K r . .;i. .i- UMGN iLi 98l

Love On The Inside

■

Easy Does 11

RASCAL FLATTS

.Ml . |.(.'! .11 .'i..:i.l (1H 9fl»

Unsloppable

■

KENNY CHESNEY ^ucky Old Sun

LLUE I..HA.F p^A jqi5}5i.«N()S9)li i-u,,ny v.u ijuii

JUSTIN MOORE

Justin Moore

DIAMOND RIO y^e H«=i,!nn

nOR) DIRS HnBViA»\tBBROS .119«i ineneason

BRAD PAISLEY

American Saturday Nighl

DAVID NATE. ^ ..^ ^„ ^„^^

KENNY CHESNEY

Greatest Hits II

•13

TIM MCGRAW Q„^xiea Hits: Limited Edition

'^^l!"?"??.. ,..«,, Stanln- Fires

SUGARLAND

^ LIVE On The Inside

MARTINA MCBRIDE g,,,^^

BILLY CURRINGTON

Little Bit Of Everything

VAfltOUSARllSre^^^^^^^ NOKlKftWIalCaCartry

JAMEY JOHNSON

■■'-i ' ■ '.LMGN ('3 99)

That Lonesome Song

•

■f"*^'?, iT*,*.Sil>el*iT«*Oft«),T.a«

GLORIANA Rlnrl.na

.r.'iim. .1 ■ .. .■...,.v.-!5if. M.™«ns)ijm Glonana

TRACE ADKINS ^ Ten

GEORGE JONES

A a*d(j) 01 We Best n^coledion

^I.ER'^S BENTLEY ,^^,.,.^^1 E^„fc,^jt(3OT

WILLIE NELSON

|.V(.rt-lA(ttL«flOTF)L.T19TeiGl)7?&

American Classic

M «b',«°)0*" , 8ig Dreams S High Hopes

□

TOP BLUEGRASS ALBUMS

ARTIST Tills
IM.'RIVT A NUMBER / OiSTRTBUTITtG LABEL

RItHEBMCS TlTBlsaics..Nali«'An«lTii5tACwbC(ifecui

1 2

RICKY SKAGGS Solo Songs My DatI Loveil

:.-.Aii fAUfiv ^omi)!)

3 32

STEVE MARTIN Hie Ciwr Nwr SffliQs hx TtH! FMi-Slnng BdJ^

5 53

OLD CROW MEDICINE SHOW TeTTni;ssi!C Pusher

11 14

SARAH JAROSZ Sor)g Up In Mer Head

4 4

YONDER MOUNTAIN STRING BAND The Shov/

..Ml 0909-

(i 19

STEVE IVEY Ultimale Bluegrass

■ iiArv SPECiAl PRODUCTS 53«5S.'UADACy

RUSSELL ll400REtllinOTYME OUT Rifsd Mmc & M I)nie Out

14 25

DAILEY 8, VINCENT Brothers From Oitlerenl Mothers

ni: j'.nL-T ^.)cn:i :

8 57

liiaMemniiwiNaeMcmis i>iiiMc>it[>)*!i«iBsni'an<ir

CA))H£B MUSIC LiHCUr TIT^S

BETWEEN THE BULLETS

*RIDE' RUNS TO TOP

iijli) Kcilli's "American Ride" gains
I.I itiilllon iniprt^sioiis and .steps
^.-1 on I lot Ojunlry Songjv. his 16ih
^* chart-topper this decade. Kenny

Clicsne>' remains in second place
Willi 14 No. Is since )aniiary 2()00.

■Ride" is Keith's 19th trip to
the suTnmit during the Nielsen
BDS era {since )annar>' 1990). which pushes him out of a tie
for fifth place with Garth Brooks (18 No. Is). During that pe-
riod. George Strait leads with 26. followed by Alan Jackson
(25). Tim McGraw- (22) and Brooks & Dunn (20). Keith's new
"American Ride" album is due Oct. 6. — Wade jeswn

lata for week of OCTOBER 10. 2009 i For chart reprints call 646.654.4633

Go to www.biMboard.biz for complete chart data i 97

L/Upyiiy-'i-L^ : .i.Li ,al

> BillbKiral.

M0N1T0MD VI COMPtUO

niclscn niclsci

BDS SoundSc

TOP R&B/HIP-HOP
ALBUMS

ARTIST

TITLE iMfRlftI / DtSlflffiUTINa LAKL
|JAY-Z

TMt BIUOTWHT > HOC mm %iwsai»Q i

1 Pi

WHITNEY HOUSTON

1 HKI» to TOU HU;:,IA i t RWl.

I 3

DRAKE

TREY SONGZ

HFAD« prini'AiiANlrc aiS7»4'AG

■ LIL BOOSIE

KH-u.^* tf'iiftifHiitfiM)iBs«i.4e«UJuimiMuitHa>a

■ MAXWELL

HH mamiMMmsnQfl cauwaft K\*zwm wuac >

tif

KID CUDI

RAEKWON

ONLY flUIlt 4 CUBAN UNI PT N ICt H20 68794

' 10

THE BLACK EYED PEAS

IHf ( N D ■( ■ f ■ 1 017M7*i'rGA

■

rl5

FABOLOUS

li'iurSBRi iiXNITHulii t -itlGtCFHW MHOtSnl'DMe >

KJON

1 GET AMUND 1 rilF \f#if RSAL flEPLCUC 0I31®UWG

II
■

TRICK DADDY

iHMiTFiMM MnMADMnuAiiMniM Rvcmmi

.13

LETOYA

lADT LDVI ::APnOL '}73^'>

PITBULL

HWELUnON MH jO'j ItAO GRCHJNOS.J SIWI.RMG

EMINEM

Hajra rtl !r ,VT!lWH1VTfRXDre01!aB3'«A

CHRISETTE MICHELE

trpPHANT .1 ■■ 1 I : Mij *

■

NEW BOYZ

Wmt JIAUIWAMK :»Jl'< AS1UJWUIW&WMWIW0S

BEYONCE

1 AM MsHA r«ia 'ATiL Mwu>caiMW iwesOtrHEC

LEDISI

TURN ME lOOSE VEHVt EORtCASI D126r7iVG

■

i»

JEREUIH

JEHEMmVli " HIILU nt( JAM 01 JU95* 'IDJPJG

CHARLIE WILSON

UNCLE CHAUIE 1 VM' IC JtVE 7]38»'JLG

■

KERI HILSON

M A FTWICI WOfltr M * JvTTAf AWERSCm OIZCDWaA

VARIOUS ARTISTS

NOW )1 L '.11 Ulv: H;:.AL :0«aA 7afi17 'SONV MUSIC

■

JAY-Z

.KNiBwi (meniaanniHDtAmiMH mFimaM

LIL WAYNE

TM ownH ■ r A.X imv IM/I im MTITAW Dl 1 377 . IMRG

■

MARY MARY

THE SOUND r,^ itLlA^^OUMEM 28067' SWE HJ9C *

ANTHONY HAMILTON H

IMEPENNT0»IIAUI^.rit|?AWSCSISOI»?)367.ie H

TWISTA

CAIECOBT fS :.M.:, '*f.^17

2S
01

BROTHER ALI

us RHVMf SArERS 0113

SEAN PAUL

IMPERIAL ILJUE VP AILANTIC 62D047<'AG «<

JOE

SIGNATURE i" ■ ■'m^i FEDAR

MICHAEL JACKSON

THE QEFINmVE COLLECTION y[l"(iWFl 013797 UMi

J MOSS

JUST JAMES . . ' . ' . -i .i VlfilEr A^-^ 1Q.JLG

PLEASURE P

FMF IHTFUUCm V HAntUS COOPFR ....^.INIi: MAJBIAU A

KRS-ONE t BUCKSHOT

KEYSHIA COLE

AOIFFEFIENFME " l7EFfEN 0133K7IQA

BEANIE SICEL

FMF BRDAn STHEIT BULLY SICCNESS MI S7

LAURA IZIBOR

LEI THE TRUIM BE TOLD ATLANTIC 512240. AG

JAMIE FOXX

INIuniON 1 1 . ; i

■

|So

RICK ROSS

[(iti-TiuA.w .F'F%nLFVFAYum777reAn.+.

GEORGE BENSON

siiti.-iAMa STOHiFS M. 'iSIER 30364 CONCORD *

THE-DREAM

LOVE V S MOWY Wm KlLLADEE JAM OIZSTS'MMMG

■1

GINUWINE

A hUWS IHOUGHIS It I J. . <1 . » '."114 1 WtPMR Ens

RAPHAEL SAADIO

SLAUGHTERHOUSE

SLAUCHIERtfDUSE b 1 70b2

0-TIP

KAMAAl THE AiSTRACT BATTERY SSSI9' JIVE

DORROUGH

DOHROUGM MUSIC '.l.l '.lUr, -.'M ei

CALVIN RICHARDSON

fAnsOF lf{ nt HJUL CPBailIFFVnMAaCSHV4N>CS7I9

SMOKEY ROBINSON

THAI FLIES YVHEN YOURt HAVING FUN ROBSO 400100

JAZMINE SULLIVAN

FEARLESS .; . 1 . KM .

) MAINSTREAM 1
R&B/HIP-HOP ■

■

P TITLE

5S AHTISY 1 MPHIM. PBOMOTIOH LABEL)

WEEK

^ TITLE

SS ARTIST I1FAPRINT PROMQTtON LABEL)

nl SUCCESSFUL 1

Kl DOWN j

BREAK UP

HUUO fUI GDCCI MNME ft SUNGMRtn lJKDStNU1.J«IMi|

RUN THIS TOWN

JAT Z HIHANHA » KANYE WEST {ROC MAIlONi

PRETTY WINGS

HUWELL i[ 1"..:UBIA^

OBSESSED

HARJAH CAREY l AAMlilDJUO)

UNDER

PLtASUBi P ilLASriCl

BE ON YOU

flO fUOA FEAT NE-TO POf siO' ATLANTICf

WASTED

GU1£INMIUI niSOMOJMJuaMHi'M^Y'juavvKUWHlt.E.

THROW IT IN THE BAG

KUWIIKISFEAI IH( (IfllAM f f ■ ' .■ ■.■!irr A(Al'tljMG[

RUN THIS TOWN

JAV7. RIHUIIU & UHVE tVCST (ROC NATIOH)

BEST 1 EVER HAD

DRAKE ' ■ >::■■, >.''";■;-. > 1:A5H UDNEV,'U«IVEFISAl MOTOWN)

LOL :-)

nCVSOMUFUT GUCEIIMWtBULUBTIBinr<'UKIX<>~M^<

1 GOTTA FEELING

THE BUCK ETEDPEAS iirntKSCOI'tt

NUMBER ONE

H KtlLT f£AT KERI WISW . JIVE .ILr^i

HOTEL ROOM SERVICE

PUBUli .MH '.i:'i (■■:mi (.HO-jVl)f>'.i r\m>

OBSESSED

MARIAHCAHEY -.l I'.UUi

•

BREAK UP

MAHO FtAT GUCa MUC I SEAN GARnETT r3RD SIREO iflMGl

THROW IT IN THE BAG

FAEOIOUS FEAT IKE QHEAH i :!f bfRI STORkVDEF JMIIOJUG)

WHATCHA SAY

JASON DCmJlO 1 1'f I i;GA >IFIGMIS''AARI1ER BROS )

REGRET

lETOTAFUI UJOACnS tCAPIIOL)

SUCCESSFUL

mwiu) nTsa«kii.tMm<>uMAU)in.w^mrjMFG«iooM

5 STAR CHICK

ro com iVia H URCKiNOS' J;aMGi

KNOCK YOU DOWN

mm MIKN FFAT KAHTE NEST A K-n iWDafV'IIWI IWrEKSCOPEi

TRUST

KTr&HU COLE DUET WIM HOWU iMAMI GEFfEKirntRSCOPEl

FOREVER

DRAKE i'-^RVe' MASCAiTOftE A'^TREAMLIHtlNTERSCOPEi

EGO

fltYONCE n:: WORLD COLUMOIAl

LOL :-)

TfVY KICIFUT SUCDIUM tKNJUAtOrnuiN i'Ji>>,|iit.il|,',<j:>; ,

ICE CREAM PAINT JOB

ooFiiioutH ■. iu\ ■■ n .

IMMA STAR (EVERYWHERE WE ARE)

jEREMiH iMic.K ^thuit; nit .lAM'injMri)

BEST 1 EVER HAD

OFUH£ - 1'. 'I'' 'i1,10HEY,>UIMRSU.U0TaWN|

DROP IT LOW

i<,TiH DEM rut onsHMM ni>iT.i< imshxm t/mmMMoaxK)

GOD IN ME

MAirrMAflYFUT uHW iwr siCMO i w nixxcaji«iA»

OUTTA CONTROL

BABY BASH FEAT PITSUU |AfllS1A;RUQ)

FOREVER

DUKE ■'■Mh'xH tAt.y:,H7m ■l-^IIifflMllME.lNTIftSCOPfl

EVERY GIRL

fj
1*

IMMA STAR (EVERYWHERE WE ARE)

jtncMiH iMk:k %mAU n£f jam :d.;mgi

SHAKE MY

TWE 6 MAfIA FEAT ULEMMA -IIVPNOTin UlHOS.COlUMIAI

I M GOOD

CLIPSE FEAT PMARWU WILLIAMS |RE UP COlUMBiA)

WRITTEN ON HER

BIROMAN fW. Ml KM ICASH MOWV.UfVEnSAL WTWN|

JUST A KISS

HISHON i.i'NtMr ZOtlE 4 SIREAMtlHt'tNIEftSCOPEl

SWEET DREAMS

bEYONCt (UUSIC WORID.COLUU&IA)

SWEAT IT OUT

THE'ORUM iRADIO KILLA''DEF JAM'lDJMCl

PAPARAZZI

LADT GAGA iStREAtUfcKIMM.I><BVrrTRaiNIERSCCn)

BECKY

PLUS il- i. I.f'-L., It SLIDE.'AILANIIC)

BECKY

PllES M'.F 'J-IE^ 'i'L i-ri t'.IIJE'AILAMIICl

1 INVENTED SEX

INETSONG^IEA! OHAKE '>ONG BOQM.'ATIAtlTIC|

TIE ME DOWN

HEW flOYZ FEAT RAY J LtlUTly ASVLUM''WAHt*tfl BROS 1

■

l1if!TiVtU OOESNT MEAN ANYTHING 1

nOlMiH ALKU KEYS (MSX/JirltU&t |

FACE DROP

^EtN "irifiSIOIJ ■' - ; iifiH Hf Kins fPir.i

BETTER BELIEVE IT

Ul eOOSI FlAI YOUNEJUZYI tmOK ilFIIlAsniM\Wlfif« FHt^;

l1-].^lVtli DOESNT MEAN ANYTHING 1
nf|Tri?iH ALICU KEVt (MBK/i^RUG) {

THE ONE

mtn 1 mxE wa drake 'WiHiVDtaffuiKTumHt

LA LA LA

LMTAO ii iiii'v i'lil.t. WRL 1 AM CHERKYIRI t' INIERSCOPEl

TRICKN

MUllACf m;. u tut GROUKI) UP.J1VE, J16|

SEXY CHICK

DAVID CUETTA FEAT AKOM 'i... M J^HlllVf Ht i (.IHU.::-! i

DROP IT LOW

IXIIHINMIIM UMH«m >vV^^MlSQN^tMi'!fftMAM.•^TRUm>

WETTER (CALLING YOU DADDY)

TWISTA rCAT ERIKAGMVONiilEI MQV,!'. (.ANG.CAPIIOl i

YOU'RE A JERK

NEW BOtl T ■ '■■ ■ K _ M'lVAflNER BROS |

LOVEGAME

LA[TrGAGA1^TI'L^MJ%M»mC>«.t«m1«t1NrEnSCml

DIGITAL GIRL

JAME mo FCiQ DfUK£ KANYE MST + TIC«AM URMCit

ONE TIME

JUSnN BIEBER n^LilNLi.'tCIJUGi

TIPSY IN DIS CLUB

PBEfirRICIlT iL. iiMt- V [i Cfll tOMMV SOVl

WASTED

WCO liUM Pin OH (U U MOM fIAW'!« rtv'AWKR ffqiS 1

BAD HABITS

MAXWELL irriaii.<eii^:.

1 WANT TO KNOW WHAT LOVE IS

MARIAH CARfY .1 .1 : •.V.,\

TROUBLE

GINUWtNE FEAt iUN ■ '■. ■h' i ^ ■ 1 N'.' HHUb 1

LET S GET CRAZY

CASSIE FEAT AAOH iTltri mi ATlAKTICl

BUY YOU A ROUND (UP AND DOWN)

lltnst SIMMONUS r. . Fill., ■ill . nt I 1

YOU BELONG WITH ME

TAYLOR SWIFT 'Mb MA'J-llJE USIVtH^AL HfPUBLICl

4«

FRESH

li IH( G Ml'' ',■ Tlit(('.lU'F HAI'ER'.

NUMBER ONE

ft NtLlYFEAI KERI HILSDH i.ll>'» .11 !><

EVERYTHING, EVERYDAY. EVERYWHERE

FABOLQUS FEAT KEfll HIISOH UlSEHI SKWUDU ^UMGt

EMPIRE STATE OF MIND

JAY 2 . ALICIA KEYS iRDC NAIIQNl

SLOW DANCE

MAKE HER SAY

KEOI HILSDN ■.■ .I.IHIERSCOP?!

H CIO FUT KANYI WESTS COHOI (GQOD.UMRMMDrCNWi

MONEY TO BLOW

BFOtMNFtAI It iMmtlXWM pISHIiCMYlMMRMMnilMN)

MISS ME KISS ME

caiD flame; ■iiiu.warxeh bros i

HEARD EM ALL

AMERIE FEAT LIL WAVNE ilJtF JAM.ItUHGl

BABY BY ME

CENT FEAT NE-VO (SHAOViAf lERMATHi'lNIERSCOPt)

Jay-Z trolds down six spots on Hie 25-
posiHon Top R&B/Hlp-Hop Caldog chart
(viewable at billboard. bIz/charts), the
s«fond-best we«hlv sum of the yur. Only
Htcha«l Jackson, who occupied 12
positions thfH times after his death in
iune. has placed more.

BETWEEN THE BULLETS

MAXWELL'S DOUBLE DUTY

For the first time in the 16-year history of the Aciult R&B
airplay chart, one artist holds the top two slots. Maxwell
not only takes the honor with "Bad Habits" moving 3-1
and " Pretty Wings" falling 1 -2, he also becomes the second
artist to replace himself at No. 1. Alida Keys was the first
to do so at the top when **No One" replaced "Like You'U
Never See Me Again" on the Nov. 10. 2{X)7. chart. On Hot
f R&B/Hip-Hop Songs, "Wings" remains perched at No. 1
m J t ^'^^ ninth week, and "Habits" rises 16-9 for Maxwell's

j| ^^i^^^^l Elsewhere. Jason Derulo's "Whatcha Say" is the eighth

debut track of 2009 to reach the Rhythmic Airplay top 10. This year has surpassed the total of
2008, when five such tracks hit the chart's upper region. — Raphael George

» TITLE

ItS MTIST 'IMPRINT PROMOTION LABEL)

ii BAD HABITS

■ MAXWELL IC0LUU8IA)

■1

PRETTY WINGS
MAxwEii . . ... II.'.

CANT LIVE WITHOUT YOU

CHARLIE WILSON ' i.IlSICJIVLJLG)

1 LOOK TO YOU

WHIINEV HOUSTON i -i RLIRl

ON THE OCEAN

AJOH II ■■, 1 -M M '...I h-.Jl RtPUatlCl

THE POINT OF IT ALL

ANTHONY HAMILTON iMoTEH b MUSIC'JIVE. JLG)

LAST CHANCE

CINUWINt NU'lM ^,:,*.Lit.HVARNEH BROS )

IN LOVE WITH ANOTHER MAN

JAIMWE SULLIVAN Rl/G;

GOD IN ME

AiARYMAHYTur KiERfLA lon-nEMDffiir euxxcouwA

lEI

BLAME IT ON ME

CHRISETTL MICHELE ;£F JAM/IOJMG|

S08EAUTIFUL

HUSIO SOIELCHKD ,AIL<l>IIlC|

ha"

CLOSE TO YOU

BEBE A CECE WINANS - '.: M.'l '.

WHAT I'VE BEEN WAITING FOR

BRIAN MCKhtSiMT I ,M • 1

THERE GOES MY BABY

CHAHllE WILSON l '.'i ' n i.l n.

EPIPHANY (1 M LEAVING)
CHRISETTE MICHtLt TIEI JAM lOJMGj

IEe;

KEUDN EDMONDS lUAKEl

GIVE IT TO ME RIGHT

MELANIE FIONA i i. 'J . L ■ VUf ^iVN'

GOIN' THRU CHANGES

LEOISI .1 1 . -II . .: .1 V

tft

TRUST

AETSHLA COLE Dlin WITH MON«A r.'AIAGEIfEMNTERSCCP

THIS TIME

■ JM ItAT la EHOAM) n i «JGIIt1M KWfl lL»tJPLIW;>B!Jl =i l\H

1 WANT TO KNOW WHAT LOVE IS

MARIAN CARET .-■Hi: iTIjUGl

DOESNT MEAN ANYTHINQ

ALICIA KEYS "i ■ I l/.'bi

DON T STAY

LAURA IZIBOR l|

MILLION DOLLAR BILL

WHITNEY HOUSTON nUTSlARUQl

BETTER WITH TIME

PfltNCE NrCi

THROW IT IN THE BAG

EAHOtOOS TEAT THETWtAAl MaRT STQHMCIP iWIlMGl

BEST I EVER HAD

ORAM Ih lAiAt V CASH MONEY UMVERSAL WOTOWM

FOREVER

ORAAE II . ;vrv MASaWCHE »Sm«MLiNMITET^SCOWI

BE ON YOU

FLO niDA ILAT KE-IV (POE BOY ATLAMIICl

ICE CREAM PAINT JOB

DOHROUUH -.1.1', III' . I ■

HOTEL ROOM SERVICE

PITBULL ILIR 105 POLO LWOUNOS I'HMGl

EVERY GIRL

iqWC MONEY WXflO KOtYCASH MWYLIMFISAl MOIOAt

I EMPIRE STATE OF MIND

5 STAR CHICK

YO GOIII -■■ ■ .-mr.fiS-j.RMGi

BECKY

PLIES ' 1'. .--Ti 1 'I r>LIDE.«TLANI1D>

WETTER (CALLING YOO DADDY)

tWISIt FUI f RIKA SHEVW (On IKMEV GWIQiClimOU

I M GOING IN

OUTTA CONTROL

UAUT BftSH >IA[ HIIHUll {tRISRRUfil

1 M GOOD

CLIPSE FEAT PHARRELL WHXUUK |RE UP COLUMBIAI

BABY BY ME

50 CENT fEAT «-T0 iSH*[ir if lEftMAIH INIE«SCOPt|

THICKN

UULLAGt ('ROM THf GRCl.rjII UP .M j:r>i

WRITTEN ON HER

BnMAN FEAr JKT SCAM Ai^HUTMI'inM.K^ktJTWM

H-omnr

I LOOK GOOD

CNALIEeOY ill"-. "'I' .i;,f BAIIfflVi

SHAKE MY

THREE B MAFfA FEAt KALENM MKLISt'OLLMBI

EVERVTHING. EVERYDAY, EVERYWHER

FA80UHS FEAT. ICEIf HUOH itEbEin STcmHE i*MCUKGl

YOU RE A JERK

MWBOYi lifUi 1' ,'i.;-LU« WARNER BROS i

M-l

iTirt

LA LA LA

LMMO (MfllV BOCU'WU 1 AMCMtiWyiREEINIERSCOWl

98 I Go to www.billboard.biz for complete chart data

Oataforweekof OctobwIO, 2009 l CHARTS LEGEND on Page 9

li mm

^HOT R&B/HIP-HOP SONGS

2 2

3 3
5 -1

7 5

4 9

5 7

8 10

16 18
14 16

9 6
13 15

17 20

10 11
12 12
20 27

11 8
•5 13

I PREITV WINGS

i*VIO.MUS«l

BREAK UP

ArlM

IMPRMT / PflOWTION lAKl

Maxwell

Off COLUMBI*

Mario Featuring Gucci Mane & Sean Garrett
ORD IS SAHRETT S CHUWFQflQ.H DAinSl © K olHr t: Rv:

SUCCESSFUL Drake Featuring Trey Songz & Ui Wayne

. i: . I'^U.N SHEBrB.TNEVERSON DCAflTEHi Q VOUMG MOftf Y. CJiSH MO^EV jNIVEflSU UOIOWN

RUN THIS TOWN Jay Z. Rlhanna & Kanye West

■Mil - i;.C CARTEB.R WESTE ftUSON RfENIV.A ALATAS) 0©0 "OC NATION

GOO IN ME Mary Mary Featuring Kierra 'KiKi' Sheard

. /.yPHEU (WCAMPflEU E ATKiNS CAWSEtL TArwDS-CAMPBELlf © •:< rinr. rn ■.-[■.J.

WASTED Gucci Mane Featuring Piles Or OJ Da Juiceman

■!■ 1.1 DOUGLAS, n DAVtS.A WASHIHGIONJ © MIZAY.SO ICEymnHEH BROS

UNDER Pleasure P

A nikON L,B(fl(Ai,R NEW.J FIUWKll«,IJONES K SIf PHfKSON.M COOPf Ri 8 ATUNHC

TRUST Keyshia Cole Duet With Monica

■

1 : ■ 1 WCCKE FTAVLOn OLAlFORO) © iv^Ni i . n ! , ' 1

BAD HABITS Maxwell
■ ' - JAVID.MUSZE) © . ■ - "i

■

NUMBER ONE R. Kelly Featuring Ken Hiiscin

■ i . ■ 1; -•■■■MLiCS ft HAMriTON IBKEILYR MAMIl-TOh.H H*Mll.ION,K l HILSOiil © ■ "

THROW IT IN THE BAG Fabolous Featuring The-Oream

!■ ,',il!lI,T NASH (J 0 JACKSON C A SlfrtAHI I fItSHi OO i^tLittfl STORW DtF JIM IDJUO

■

LOL :-) Trey Songz Featuring Gucci Mane & Souija Boy Tell'em

i"; IUfVfRSDfUIAYlOR.ISCAlES.DWAYftOAVISi G r.ONG 600\ ATLANTIC

REGRET LeToya Featuring Ludacris

l',;«,XSItPrt>(S(WJVALIHriNE,LLlX:KEII.RWWT,Sfl jmAWlWCBfllOHbi © CAHia

EGO Beyonce
.'. . . .lySH LiLLVBKIlOWLES (E WILLI AMS.H ULIV. JR ,B KNOWIESI O WUSIC fir.-. J U. . .M-i-

OBSESSED Manah Carey

l.-.-f- r C STCWAfiT fM CARrv.TNAStt C A STFWACri 9®0 >:■. ANIl I'l.i'.U.

FOREVER Drake Featuring Kanye West. Lil Wayne & Eminem

' ' ■■ ■•'.!i[L^AGHAHAU,t(WESIDCiWItriM),UI»t[R!;. © HAflVEY Mll:irrt mUL J "iilRWMUNLWTEF.SCi^'C

IJ\ST CHANCE Ginuwine

'.' \ .;• IS M UJ" A SHHOPSHlHt Vt VVJLLSt © NOIIFI-'ASYLUM, WARNS P

■

BEST 1 EVER HAD Drake

.-, i;.-.Kt.M'.'HJJ/ll',t:;(UWMIl:.«M:ilLtWfUlCAf'II:Hi © YTXWC M)«YOWH0*V,lJWrtlTiAi WOKWJ

■

GREATEST
GAINER/AIRPLAY

DOESNT MEAN ANYTHING

BRQTHtHS.A KEYS ^A KEVS.K BROTHERS, JR )

Alicia Keys

1 INVENTED SEX Trey Songz Featuring Dratte

' SCALES 1 MEVERSON. A GiUHAMi ITl

5 STAR CHICK Yu Gun

CAN T LIVE WITHOUT YOU ChaflW Wllaon

' lirMAS J FAUMlEROy n S I RUSSELU O P UUSIC/jnE/JL6

ICE CREAM PAINT JOB Oonougll

•', n n ?[jF!nju[.([ n i, pnnc'ijni 9 MGElauSiKI

ON THE OCEAN ICJon

' H H :. • I'jHNbDril OO UI'&UPDtH [VMLUNIVERSAL REPUBLIC

1 LOOK TO YOU Whllney Houslon

1 nil H MASON. JR IRKEllVt 9 ARISIAmMG

■

1 NEED A GIRL Trey Sangz

1 1. 1 ri M iniKSEN.IE HERMANSEN.ELIND.A BJORHLUMO) 0« SONG B00ICAILAN1IC

EMPIRE STATE OF MIND Jay-Z * Alicia Kaya

>!-. 1 , .uir;rTi:'.ccwtBlAS«ia(BIJH9IJS»BUIlSV:AMilIEAI<E>SBISliES5R(seCIHI ORCCWIDI

■

I'M GOOD CUpee Featuring Pharrell Williams

■ ■ '. ■ f - WILLIAMS G IHORMTOKIIHOnKlMl ® 3f UP COl IjMilU

THE POINT OF IT ALL Anthony Hamilton

■1 .1 I n'RIGHT lA HAMILIOrtlJ AiriLA BR AVIIAJ Q WRIGMli 0 MISItR S MUSlC'JIVtJLG

SOBEAUTIFUL Muslq SoulcMId

1 1 IIUTSON JR (IJOHJISON.l MIJTSON JR ) ©ATLANTIC

■

BLAME IT ON ME Chrlsette Michel*

H. I 1 -.yrii C HARMON C KELLY) ® QET Jfty lOJMG

■

EVERY GIRL Young Money

■.-I:-, ..■ ■ .i: «AHU,Hl.l_L> jIM:yf.'(L[liVJItTt=r.J:nH»rJCI't ® ^A/C M0<V.CAi>4 U7(Ytrr.EREM M01EMN

IMMA STAR (EVERYWHERE WE ARE) Jeremlh
H i: 1' M ;:, © yiCR schulizdef jAil'lojMG

KNOCK YOU DOWN Ken Hllson Featuring Kanye West & Ne-Yo

-;i 'i!- ■ -li' .IV i SMITH.M ARAICA.KKKEST) © M0SLEY.'7ONE 4 INIERSCOPE

■

SWEAT IT OUT The-Oream

■ '.i'. J,',u..i .1 Ii.-,::H .-. •■, STt J.ilITt ® (UDIO KILIA'OEF JAMlDJUfi

BECKY Pllaa

; HIILM A L WASHINGtON.J RDIEMI O 91G GATES SLIP-N-SLIDE AILANTIC

THE ONE Mary J. Bilge Featuring Drake

' 'j^ iM J HLIGE R JERKINS.E OEAN.A QRAHAMI © MATRIARCH CEFEEN INTEHSCORC

DROP IT LOW Ester Dean Featuring Chris Brown

.■. 16 tiO\ II JONES t DEAN.C BROWN) © MAJ1VE* MASUNZONE 4.STREAMLINE.lHTERSC0Rt

BLAME IT Jamie Foxx Featuring T-Pain

I'.iL :':>«BS]NNLWU(BUtEnMNSRI«U)tOatJ0aNrLA.I4VM8RRES»nilNIIEHl ©©iWO

1 WANT TO KNOW WHAT LOVE IS Mariah Carey

' 1" '■) > © ISLANO/IOJHG

«i

WETTER (CALLING YOU DADDY) IWIsIa Featuring Erika Shevon

" UlTCitrtL SDHOIEVE LOC)(HABIO SArrOlDi © GET MONEY GANG CAPITDI

EPIPHANY (I M LEAVING) ChriteRe MIcheIc

. M , l."l" ( "MaM:iU. © DEf JAM V ' ■

I M GOING IN Draite Featuring UI Wayne & Young Jeezy

1 • 1 ; 1. iiiUMSU D'^anifR ; W jrilMIJil O VOUNGMONEV.'CASMUONEV'UNIYERSAI UOTOWIl

IN LOVE WITH ANOTHER MAN Jazmine Sullivan

■

1 .1.'^': 11 Sllli IVAS A GILII © ARHG

JUST A KISS Mishon

■ LACIOSiCLARK PLAWRENCE eMAflSl © DVNASTY.MNE ASTREAMJNEjIKTtBSCOPE

THERE GOES MY BABY Charile Wilson

u. ..Ill 'llWMHy^OM.O LIMMUN^.L «HLM.M.Oni««IJ.M u«*1lli • C Wlinii:. «VT. AO

BETTER BELIEVE IT UI Boosle Featuring Young Jeezy & Webble

ii; ■ l-^L)L iTHtrCH WGRAQHEYJ W JEH)tlH£ W WILLIAWSl ® TRILL ASYLUM'AARSER BROS

1 LOOK GOOD Chalia Boy

.1 ■ ■ © DIRTY SRD/JfVEJBAntftV

EVERYTHING. EVERYDAY. EVERYWHERE Fabolous Featuring Kart Hllaon

1 . ■ 1' [KLHILSON) © DESERT STORM'EKF JANllDJMG

■0

TRICK'N Mullage

I .'./, ■•lili;. il.' HUICHIKSOH B MCMULLEN I-PAm O BALEOURl © IPDM ImE GROjIiD Ul' JIVt. JLG

BABY BY ME 50 Cent Featuring Na-Yo

.■. i-.l'i!\ : .lACKSON JR J JONES S SMITH! SHftOV ,)) lERMAIHllNTERSCOPE

TRY IT OUT Black Featuring Kandi

■. 1 : 'III r|i|i .I:,t.;li, © 0GC1 WE

MILLION DOLLAR BILL Whitney Houslon

i.M' M . M . , la "TVS ^ Of AS N HARHiS A Vr fELDER.R TYSON) © AiilSTA'RMG

CLOSE TO YOU BeBe t CeCe Winans

■ III M'lS lb WinftYSi © B&C MALACO

■

WHAT I'VE BEEN WAITINO FOR Brian McKnIght

■ ■ MCHl iB MCHMGHT) ©HAHOWOfllOEl

Up 5.S minion
liiipmslWK, Iny
SongiiiuksMs
touitli tons«iitm>
tftp to ttie top 20.
Tmof httUirw
pinlois tracks an
alMos.ImlU.

thtimg'ilnoitri
InaonMdlMce

Ifliprtsioiisglws
tiKrapdwItslinI
aweaniKeinlhc
top JO since 1003.

1li« siii9» earns

conseculiwtopHls

atAiltiltMBIoithf

nrslUnwastMs

single Mte 11-10.

HoprioiMt.

"EpipliMyd'm

tCMliHl)," peatnl

alNo.9lgHaT

iitiifig, ItiL tiisl
single tmm his cur-
retit album, subse-
ijuent releases fea-
turing Mafiali Carey
and Kanye West
laiMliiilseNihB
U»illo.K.aiaili
alieailf swiMsied
by IMS track.

Die offidal single
tTomBnnm'snext
attumeanisa
iiioilejtiMiit,bul
it's based on niv
one day of alrptay
in Itie survey tireek

I TITLE

I I'ROOOCER (SONGwnitH)
THINKIN ABOUT YOU

MONEY TO BLOW

HIER C GHQLSO).

Artlat

iMraan / meNorioN lAsti

Mario

.1.1 .-I ■ • -ir ■< © K!i iIL'ii

Birdman Fe,Hurirq Lil V/.Tyne & Drake

BUY YOU A ROUND (UP AND DOWN)

Vptse Simmonds

SO 41

YOU RE A JERK

New Boyz

I TIPSY IN DIS CLUB

I [) R '.■ I --I

I 7i Sif^ SLOW DANCE
jHI HI at j") COIN THRU changes""

iIHISt nEANOA J SAKITH)

r:.M£JKAKJHIAUDHKSiaMU DSPWni

Ken Hllson

TROUBLE

D JACKSON ID JACKSON. I WHITE R VINCENT E LUMPKIN B fREEMANi

Ginuwine Featuring Bun B

Innm digital girl

Jamie Fow Featuring Drake. Kanye West + The-Oream

NASH A STEWAHI.T HASH KWESI.I-PAIN.O BALFOUR) ©

Mi
4
i
II

MY CHILD AIM One

-"i r... ■ iVFiGHTS (D KfNNfOY; JONES. J OENHOCS J KUGEIL T M MCCARTHY K MARTINI © ■'<:•• v:.

MOT

, VIDEO PHONE Beyonce

■i CKAWORD S GARRHTB KNDWUS (B KNOWUS S CFUVVfORD S GARREt TA BCYIMCE) © UUSIC MCHUVCQUJUSIA

66 1

.69

Inif

OH Kevon Edmonds

jGi;llHriS SR ifi bCl-'RIlS r.M K fOUON^iS j NnTLt&flfri © '.■•'1

■

THIS TIME K'Jcn FaatUffng Lm England Jr & Augustine Alvarez
t( jON rnomiV. 1* JOHNSON^ ©!; ■■. ■ ■ i

•4

WE BE STEADY MOBBIN' UI Wayne Featuring Gucci Mane

NOVEMBER 18TH Drake

\UI L.S-£: ,f,:i Li:,-[lji YOOtIG MOttEYi'CASH MONEV'UniVfRSA; t,V:'.;.V,

•

IT KILLS ME Melanio Fiona

J FENO(.A MARTIN |A MARTlH.R LHTLEJOHN. JR L CARR.E SHU-MAMl © SRC UNtVER'^it. M '

6».5

YESTERDAY Toni Braxton

NOI LISTEO INOI USIEO; ARami..

1 GET CRAZY Nicki Minaj Featuring UI Wayne

(=0N liRO'A; (0 MARAJ.O CARIER) vmi'i I'l^ :

BODY Marques Houston
'.iiT 1 iSTED (HOT llSIEOl © WiisiC'/;

FRESH 6 Trc G

I'l-li n OPAtlOHiD OAVIS.RWALIERS) © Mr>^n^IlJ^i .v.-. • ■

WHAT YOU DO Chrisette Mictiele Featuring No Yo

-..-■,!■ .. . --JWUONiS S«ITH> © Ot"i ■■' ■

SWEET DREAMS Boyonco
TiiDVElBKNOWlfSJGSCMErFtRWtWJdNSBICOLOVEl © MUSIC WOULD t." ■■

100

BETTER WITH TIME Prince

.i: !■"■■ i'.": 1 Tw «PG

Iftdi

YOU RE NOT MY GIRL Ryan Leslie

R-i.,:. i :i-i.l-.i !■ © •lEKISElECnON.'CASABLANCA'UNfWtRSAL MOTOyrN

MR. HIT DAT HOE Treal Ue & Prince Rick Featuring WIdetrame

ii"i' !'-■ 1' 1 ■'.■.HH(3) 0 nfF vnsri f

HEARD EM ALL Amerle Featuring UI Wayne

f M >;iia*J o GARHHT (A MM.ROSERSE MUOSON SGARREIIj © 0(( jAM ifUM^i

GOTTA GET IT Juvenile

F ".IC(SF I.IJ^ENi;C L EDWARDS) • UTP.'EI AHIT

as 81

REAL AS IT GETS Jay-Z + Ybung Jcozy

I < 1- : IL[^ IS C CARTCR.J WJEHVNS.HCARPtNTER.LELLIOn.JM0LUHGSXM0UJNGS| © R

1 GET IT IN Omiinun
iiJOr LISTED! STAHWORLO'MUSICWOR*'' ' i.

SO SHARP Mack 10 Featuring Jim Jones & UI Wayne

I'jrit LISTED) Tiii (i'.-.uiN

DON T STAY Laura tzibor

M . i-iUfl ILIflBOR) © A-lJ.Mli.

WALK WIT A DIP Louisiana Ca$h

-■ . . ■ 'riFML-, uoR'j^'. 1 jrjriESi ® iS(...ivt itnv

97 -

GO Triple C's Featuring Rick Ross & Birdman

' ■ ).!(■■ I.t.iii.'.:; ■'■•.-..y.V li,V ii. (■U-'- ilimiiWfcJIMLLtfAKl © Wi>iiADtI*l liVXi:.iM-

SO GOOD DAY26

■) ■ . ■ ■ ' LliltDi © HAD Pl.i* Al'

TIE ME DOWN New Boyz Featuring R.iy J
!■■ -. H eSNJAMIK V.O A tHOMftSi © SHOT ry;ASy A'M WAH.'i: i- !-ii

SAY BOW VI, C Featuring J. Futuristic

■■ ■I '-,- M^i CnLUPfifi>; fVOWUlii; .1 MILLER : rrENAfl:;! © vinif(^ villiji'l -1'-! ISWT;t(»

1 CAN TRANSFORM YA Ctiris Brown Featuring UI Wayne & Swizz Beatz

-, ' 'i -nil jli,'£ JLG

CAN T REMEMBER Playaz Circle Featuring Bobby V

■■■I. ■ [ r; ! eLA<E,BWllSON,J DATES) © DIP DEF jAM.IOJMti

CANT GET OVER YOU Joe

■ 1 i ■■■■■■.■■■!■. 1 ■ © BRANIERA

THEY JUST DON T KNOW Gytt

- r,U IDftH (fi SctAHSi © liM'i.

FLEX DJ Mr Rogers Featuring The Party Boyz

MiT LISTED (NOT U5TEDi 0S(

pit

HEADBOARD Hurricane Chris Featuring Mario ■*■ Plies

ii' ■ ■ ■' \-'Mw<mu^mjmi3isiLiKxm&KW^3Uh\.mms\m ©«DiDCiML».ft(,.,'-).ij

SAY AAH Trey Songz

1 . r.-.i, 1 . Il'-iiCH (R.MFEREBtE. JR .INEVtftSON.ISCALES.N WALM.D CORELLJ © 'iONG HOOV A'jIK:

OH NO Chico DeBarge

.liBARGf.J THOMAS IC OEBARGE J THOMAS.A BEST) © HEA; H r KiDCR

THE LEAK UI' Twist Featuring UI Wayne

NOT LISTED IMOT LtSTEOl lAKEOVER S(KDIERS.'YDUHG MOHEV

■

KELLY MOVES PAST A 'KING'

R. Kelly scores his 35th top 10 on Hot R&B/Hip-Hop Songs and passes Nat
"King" Cole on the all-time hst, as "Number One," featuring Keri Hilson. rises
14-10. Fortnerly tied witli Cole. Kelly's climb places him sixth among male
artists and lies him witli Dinah Wasliitigton for eighth overall since the R&B
chart was estabiislied in 1942. )ames BrowTi leads all acts with 58 top 10s.

On Mainstream R&B/Hip-Hop. which launcJied in 1995. "One" rockets 12-
Sand becomes Kelly's record-extending 27tli top 10. For Hilson, tlie track is her
third top 10 on both chains. — Raphael George

ata for week of OCTOBER 10, 2009 i For chart reprints call 646.654.4633

Go to www.bMlboard.biz for complete chart data i 99

BillbKiral.

AIRPUT MlEt OAT

MONITOHEO IV COMPILED

fiiclscn \Vf^}:^}'

BOS SoundSc

:4K

m
m

>PCHRJSTiAN

' i

.BUMS

TITLE

ARTIST IMPRINT ' PROHOTIDK lAtEL

Kl REVELATION SONQ
ffifiS PHILUPS CflANI 1 KM INO

^ 55 g| ARTIST

SB as 55 ^'flt "■•l^'ll"' .1 SUMBEH ■ 0ISIHI6UTING LABEi

A C3?3 DAVID CROWDER BAND

MORE BEAUTtFUL YOU

ll'l.'iVm SKILLET

CITY ON OUR KNEES

roBVMKC ■ ■ ! ■ ■ tMi cuu

HAWK NELSON

UVt LIFE LOUOi ^lEl^IOOIH & NAIL 7]0&'EUI CM<i

LEAD ME TO THE CROSS

CHRIS *K0 COSRAD .

PILLAR

CONFUSIONS L tfl'Ut. 10904 PfWVlMNI«It&H" V

THE MOTIONS

liAtTHF* *!St . 1,- A fMI CUG

THOUSAND FOOT KRUTCH

WtlEOW 10 M MUOOEHVt Tr.olM 4 *7H1FUI cvr

BORN AGAIN

TMRO DAT FEAT. LACET MMUT ESSEifTIALPLG

MATT MAHER

MrVI4rJllN 1.". ■ . .r*. PftOVlOtNI INTlGfiiTV

1 WILL RISE

CHRIS lOMLIN > .ItP'' ^PAflnUW EUl CM6

NEEDTOBREATHE

THE OUISiOfRS ' " ■;")" 'i19707iWORD-CunB

LAY EM DOWN

«ltOTOBflt*rHl ..; .itJlrCWOHD'CURB

VARIOUS ARTISTS

BY YOUR SIDE

MARY MARY

II(tIN*VthUt NORTH 1 i . '.H.'-. ''L .

. _i

UNTIL THE WHOLE WORLD HEARS

MAT KEARNEY

cin Q( «u>(> 4 w'liri - f t4iatMC4Nl

HOLD MY HEART
TINIKAVIKUE NORTH -1 '.H.'i CIl

GAITHER VOCAL BAND

HEUNIIEI) ,- - LxfOlff

■SMI

ll-Ji'iVtll "^"^ WORDS 1 WOULD SAY

BARLOWGIRL

LOVE 4 W4R ':H.^ .1 !. ViOftn CURB

THE LOST GET FOUND

emu wici'it ■.! .

LINCOLN BREWSTER

T004YISTW04V t'.iC-iir. i i^t? Pflft-'PfW-IEilECfiirr *

'•'v!

Il4

THERE WILL BE A DAY

JtREMY CAMI'

SELAH

»0U IIEIIVIH 4i( :iRB

WAIT AND SEE

■MNOON MATH M <:.-.: .),('. hi ii-: IJTIION;<nG

FRANCESCA BATTISTELLI

P4PER HEAHI ■ ^ . 1 '. ■ -■(aflD-CUSB

IT'S YOUR UFE

FRANCESCA MmSTEUJ FERVENT ViORD CURB

PHILLIPS. CRAIG & DEAN

FEARLESS I'liXi PROVIDEFJF iNlE&RIIlf

K>
Hr

HE IS

MAHN SCHUITI WORU CURB

THIRD DAY

REVCtATIOK 1 iriTiAl tOSS^lPROVIDUI WlEGRlIV

lis

PERFECT PEOPLE

NATAUE GHAMI CIIRR

BHITT NICOLE

1HE lOST GET FOUND SPARROW ?}5MMI CMC

■SB

SPEAKING LOUDER THAN BEFORE

JEREMY CAHF 'H & NAIL

CHRIS TOULIN

HELLO LOVE >' TEF'^ iVPARHOft 2359't4AI CMG

ALIVE AGAIN

MATT MAHIH )' MkU r;Q

BUILDING 429

BULIOING m iNM iKi PRLFVIDENI INTtGRII>

YOU'RE NOT SHAKEN

Wll SIACEY iiN riG

MARK SCHULTZ

CELUE ALIVE .'.''RH CUREF FISF194

Hi'

SING. SING. SING

CHKI!i1UMUtl 1 1 * . SMRROW'EM CHG

KJ-52

FIVE TIFFO TELEVISION tllL l'j;'F. EMi C44C

■H

HOW HE LOVES

DAVICI DROWDEFI BAND -1 KI^IEPS.'SPARROWi'EMI CMG

TENTH AVENUE NORTH

0HHA9B UMDO»<ATH - f . lijl /fcHWvWtn WLfiftlV

B£

TO GOD ALONE
AAflON SHUSTB^ASH

I M OK YOU RE OK

PRESENTS ri'< ' 1' * ' ! 1'- ' l.fl CMG

WSm

FOLLOW YOU

LEELARD WITH BRRNDON HEATH ESSEMIfAL'PlG

HILLSONG

UIONC IM( THIRSTT hE,

MICHAEL W SMITH

A N(W IW.LELUJAH - - \ ' \' - < i- .'[HNT-ifJTEGRITV

WHAT FAITH CAN DO

KUTIESS Hi' Ii. IH ,\ ■m'.'i

ISRAEL HOUGHTON

LET THE WATERS RISE '

MIKESCHAin CUflS

HILLSONG

&•

GLORIOUS

MEWSBOIS •.■'I'--

KARI JOBE

KARIJOBE MFIjRiTV JSMIiPROVtOENT-linEGRITV

SALVATION IS HERE

LINCUIN BKIWSUK ' .i:

MANDISA

FREEOOM 1 <- '^'HOW 67 79' EMI CMG

WHAT 00 1 KNOW OF HOLY

AfiOISOH ROAD INO

M-CimiT

LYNDA HANDLE

I'M FREE liAl ' Hl->1 MUSIC GROUP ?7S7i'EUI CMG

SKIUET .ll-dlST \m

DIAMOND RIO

THE REASON .'.'(JH^-CURS B87395

HE IS WITH YOU

MANOISIl i ■ 'JMG

LEELAND

IQVI 1^ Ott TX uaVE - - ''E ''1 Ai ICWSfWOVIOFHf-ilTEGRirv

□

'»•'

TAKE ME AS 1 AM

FMSTATK : !■■ & .

BRANDON HEATH

BEAUTIFUL ENDING

BAnLOw&ifti ■ 1 .'-''RP njRn

WOMEN OF FAITH WORSHIP TEAM

FROM THE INSIDE OUT

HVEHTH OAT SLUMBER ' - & NAIL

JEREMY CAMP

SPLAAING LOUDER THAN BEFORE BEC 67S0>'EMI ChNi *

HEAVEN IS THE FACE

STEVEN Cimil-i I^HAPMAM 1 . ..oV 1 CHQ

MERCYME

19 ', ■ ■ 1 ■ MtGHITV ■+

GOD OF THIS CITY

CHRISrOMLIM' ■ ■!! .1 ■■■■■■ ir.V IMICM6

MATT REDMAN

wf »utu ifiT at SHAMN ' ':i-'-.v«Rn(m22StlMicyG

GOD-SHAPED HOLE (2010)
PIUMI -1'

MATTHEW WEST

SDMEtHHiii; TO S«f i;, , " -Ml CMG

Br-

JESUS CALLING
llMlitS ir<M

TRAVIS COTTRELL

•

NO NOT ONE

CHHISn NOCKEIS MX^iltPS SPARROW.EUI CUO

THE ISAACS

HOSANNA

iELAH LUFia

AUGUST BURNS RED

CONSTELLATIONS SOLID STAtf tjaS* EMI CMG

GLORY TO GOD FOREVER

Fit IM>

NEWSBOYS

IN THE HANDS OF GOD IRPOf 1 IM EMI CUG

FORGIVEN

SAMGTUS REAL Sfi^RROW EUl CMG

THE DEVIL WEARS PRADA

MM)l)aTt«CM>M)MHKMllfUM)li")n l.>l'M>V»:iKii -f

SING

JOSH wiisom .c'.'i"!!.*. 1 r." Mh

RED

HMOUMX a wnKT 1 '. i .tA^vauvum oiiiiiHin -»

MY SWEET ESCAPE

RUN HID RUN I L

H-emrr

JOSH WILSON

LIFE IS NOT A SNAPSHOT |EP| SPAMOM (iS&l (Ml CMG

MY LAST AMEN

DDWHHEitE irnnnviiv

BREITH

NOW IS HOT FOREVER GDTEE a20SS4'1VORD CURB

SAFE

PHIl WICKHAM FEAT BART MILLAflO INO

SOUNDTRACK

FIREPflOOF '■( •fHC. •■.!■;! PROVinitir iNIFGRITv

THE REASON
itILlAtI DFtlVI INPOP

ANBERLIN

Mnr«IR»NDER 1 'II.' HI'! -: ' I!" i:<-IMi:Mu

JOY UNSPEAKABLE

TODD AGMEW INO

BETHANY DILLON

STOP* lISTtH ■i.'i^|.;rr.v ■.■i-- r M. i.'.lh

Th« new worship quartet SMemi
Prophets gets the Greatest Gaiaer
nod (up Ul pUyi) with its ftret top
10 on Hot Christian AC while abo
taking the biggest gain on Chrtstbn
Soigs (up 1.5 miUm impressions),
mttere it rises 17-12 with spins at SI monitored stations.

Dnid Crowdef Band Khims its third No. 1
bow Md s«ond-lari)«st Nielun SoundSon
uttk on Top ChrisdM Aibuns, as 'thuidi
Niisk" debuts with ii.OOO copies. Hh
group's bisgest sales week was in Octobef
2005 wtien "A Collision (3«4=7)'' opened
with 57,000 sold.

HOT CHRISTIAN
AC SONGS '

iiii

TITLE

ARTIST iMPfiim ('RDMOIIOtI LA8EL

Kl REVELATION SONG
BBJ! PHILLIPS CIUU6 > DEMI INO

THIS
WEEK

TITLE

MRIIST 'MPHIHI ' PROUOnON LABEL

BIhero

; CITY ON OUR KNEES

TOBIMAC > ' ',' Ml.

HOLD MY HEART

TENTH AVENUE NORTH K: '.'',PL6

LAY EM DOWN

HEEDTOftUArHE -I.^M : /.'.'IHCiXl^RB

TAKE ME AS 1 AM

FM STATIC IliniH H IMH

THE LOST GET FOUND

BHITT NICOLE '- UF^ROW.'EMI CMG

BEAUTIFUL ENDING

BARLDweiHL rr r urtir wnflD-CUflfl

SPEAKING LOUDER THAN BEFORE

JtniMT CAMf ■ ■ ■ : M! ■. -I-M

MEANING OF LIFE
HAWK NEISDN '

FROM THE INSIDE OUT

:iEVENTH l)A* SlUMBfH 11 [I'liIH A NAI|

MY SWEET ESCAPE

nuHKIORUN I'J'.IH >. N^iL

MORE BEAUTIFUL YOU

JONHT OUU 1';

FORWARD MOTION

IHDUSAND FOOT KRUICH ' TM ,L IMI.

IT S YOUR LIFE

FRANCESCA BAITiSIEllI tf , 1 1 A!it--l L URB

ll'J.'iVtlJ HEARTBEAT
QillilliH REMfDT DNtVI wnRDXURS

BORN AGAIN

ThlRD DAf FEATURING lACEY MOSLEV ESSENTIAL PLU

HOW HE LOVES

DA«I0CHOWU(Hli»NO ■ H'S SPARRQWiEMICUG

WHAT FAITH CAN DO

KUTIESS ■ Ii

FORGIVEN

SANCTUSHEAL .■■>:i- i--: /i f.1! LI.';,

LEAD ME TO THE CROSS
CHRIS AND CQHAAO v

1 LL GO

VOTA Ml

IT JUST TAKES ONE

ADOISON ROAO 'I'l

UNTIL THE WHOLE WORLD HEARS

CASTING CROWNS 1'! ^'..K ;,T'ULT I'lL. '.lUf*. PLG

YOU RE NOT SHAKEN

PHIL STACfV 1.!.. -'L'..

PiPflj ON AND ON

MORE BEAUTIFUL YOU

JUFiNV iiiA/ r.

LEAD ME TO THE CROSS

CHRISANDCOHRM ■■■^l:

,g BORN AGAIN

IHIRD DAT FEAI lACEY MOSLEV ESSENTIAL PLG

LAY EM DOWN

REEDIOBREAIHE W " I "d CuFB

. CITY ON OUR KNEES
IDBTMAC I7r[ i n[,u; f vil Cl/G

HOLD MY HEART

TEHTH AUEMUE NORTH HEUMUli RLO

UNTIL THE WHOLE WORLD HEARS

CASIIHG CROWNS .ImVCM STREET REUNION PlG

^Ai,l

THE MOTIONS

MATTHEW WEST ( ■ i, i i'. - Mi r ML.

i'l'l.'iVtll ™^ WORDS 1 WOULD SAY

[iOn?rH SIDEWALK PnOmm FERVENT WORD C(T'L

■if''

SPEAKING LOUDER THAN BEFORE

JEREMY CAMP " ■ i NLlL

THE LOST GET FOUND

BRITT NICOLE i .."(-.!,V tL'l LML.

117

YOU'RE NOT SHAKEN

PHIL SIACET • 1 Muli PIC

PERFECT PEOPLE

NATALIE GIUNT aiPB

WAIT AND SEE

BRANOOH HEATH MDNUMODE REUNION PLC

HE IS

HARK SCHUTZ WORD CURB

, IT S YOUB LIFE

FRANCESCA BATTISniLI F E RVEHnNORD.CUAB

SING. SING. SINQ

CHRIS TOMIIN ^itSTEPEi.SPAHHOWJEMI CEAG

GLORIOUS

NEWSBOYS !■.

„ ALIVE AGAIN

MATT >AAHER I ■"'.T n,

FOLLOW YOU

LEELAND WITH BRANDON HEATH t S:: ESIIAL PL'..

WHAT DO 1 KNOW OF HOLY

ADDISON ROAD l-|

JESUS CALLING

33MIIES ^Iti !

GLORY TO GOD FOREVER

FEE '.;

HOW HE LOVES

DAVID CROWDER BAND SIYSTEPS SPARROW EMI CUC

MARY MARY

THE town t.ri nil'. I. (.'.llUMiim .'(tUe/' VJNV MUSIC *

QilSQSI EARNEST PUGH

J MOSS

JUSTJAmSw.iWbi:iSPO CtNlftCVtRlTY Jr9TQA6
ISRAEL HOUGHTON i
TwroMBioFaniim.Miy'caLWiiitjgi.MS'JHyMusic j
VARIOUS ARTISTS

nsf-m n:<<WTt1M— X ■ » -

YOUTHFUL PRAISE FEAT J.J. KAIHSTON
RESTWC QNHBfWGHI«E«>tNCEGOS''EL ..'Itu
HEZEKIAH WALKER & LFC

SOULED OUT .1 I - 'HB?i'JlG

VARIOUS ARTISTS

GOSPftS BUT MENWlMiHOiaWtMCOSWL 9

SMOKIE NORFUL

LH(E:-iII.'i ■-■ I. '■■ EMI gospel

VARIOUS ARTISTS

BRIAN COURTNEY WILSON

JUSI lOUE I il.;" "!' "I' '.liiMi" 'A'OOItl

DONNIE MCCLURKIN

WE AIL ARE OHt IN DETRQITr.'LHIlV JblUa .ILC>

L£E WItLIAMS AND THE SPIRITUAL QC'S

FALLON ME Mi', . ll>i'i

LECRAE

REIEL RtACH 9H0;0 iNFINiIV

YOLANDA ADAMS

nMOl K VtrvHIT V rXMUUMO

DONALD LAWRENCE & CO.

JAMES FORTUNE & FIYA

IMEIRAHSfOHMATIDI ■' • "' - ! .;l4^ rtT'^, ri.'.irif

DONNIE MCCLURKIN
rurun n( rsn KIT 9 uw« icilKJi

BISHOP PAUL S MORTON PRESENTS THE fGBCf MC

CRT TOUR LAST TEAR iH :l ~" .»..><]

VARIOUS ARTISTS

emauum aKvmaimmiimt ■■ ■ ■ ■ «

VARIOUS ARTISTS

SHEKINAH GLORY MINISTRY

THE BftT QF SlltKINAll GlWtYMWISTHT F. '.bi- V . i:.i »

DOC MCKENZIE & THE HI-LITES
RENEWED liHHIH UU 1

Ii ill

•ft;-

RBI

TITLE

ARTIST lUFRinr PROMOIION LABEL

Kl CLOSE TO YOU

BEBE A CECE WIMUH ilAC MALF
GOD IN ME

NIAFti MAItY FEAT KIEPflA MKT SHEAAO 1.1.

PRAISE HIM IN ADVANCE

MARVIN SAPP utHllY JLG

JUSTIFIED

SMOKIE NORFUL I

iMVLESEMi GOSPEL

THEY THAT WAIT

I WOULDN T KNOW YOU

Ml.inMt.nirlii iin. Hioian wm»E KlflTWHIrL^ ' JF'E Wm

WAIT ON THE LORD
DONNIE MCCLUIIKIN FEAT KAilEM CLARK'SHBAM VE

BACK II EDEN

DONALD LAWRENCE A CO QUIET WAIEaVERITY, JLG

SOULED OUT

HE2EKIAH WALKER S LFC '.(RHy iLf.

IT AIN T OVER (UNTIL GOD SAYS IT'S OVE

MAURETII BROWN CLARK AIR GOSPEL UALACO

ALL I NEED

BRIAN COURTNEY WILSOH SPIRII RISING M

LEAD ME JESUS

CREC 0 OUIN s iPRAITEPEMiiiU

EVERYBODY DANCE
JAMES HOBERSON I i

I LOOK TO YOU

WHIINEY HOUSION AHiSTARMG

RAIN ON US

EARNEST PUSH ■ I M I

ACKSMOKE WORLDWIDE

AWESOME GOD

IHE BROWN SISIERS • 'JGEIOU

BROKEN VESSEL

JEFF MAJORS FEAI USHEll GRIFFIN F/USIL ruiE

HOW I GOT OVER

VICKIE WIHAHS FEAI IIM BOWMAN. JH DESIIN

RIGHTEOUS FORSAKEN

BISHOP EDDIE LONG FEAI GW . iTiLUIETt

ALREADY HERE

BRIAN CDUPTNEY WILSON SPIRIT RISING'MUSIC WORLE

LET THE WORD DO THE WORK

aCWADLAWWENg SCO FEAT ■HOHAEg'JLIIl /.'.ILR'ilHinj

HELP ME BELIEVE

KIRK FRANKLIN Hi 'I'll '-i'iUl

100

Go to w/ww.billboard.biz for complete chart data

Data for week of OCTOBER 10, 2009 I CHARTS LEGEND on Page 9

^HOT DANCE CLUB SONGS

nictscn

SourtdScan

TITLE

ARTIST IMPHIHT / PROMOIlUN UUEL

O SHE WOLF 1

BQaSHAKIIU . JIS EPICSONV MUSK |

DO WHAT U LIKE

BAD BOY BILL \E11WEBH

EVERYBODY SHAKE IT

RAiPM HosjVH ramjnie sn*Miiict«BiOH<lnajjgu>JE

WE ALL WANNA BE PRINCE

FELIX M HOUSECAI ' >

SEXY BITCH

SWEET DREAMS

RfynNr; ■ ;, L'jLUVBIA

WOULD'VE BEEN THE ONE

SG-HNCC V 1' , ' .lEP.SCOPE

WANTED

.! „■! ,>"i: ■ liLUtlY IDJMG

KEEP IT COIN' LOUDER

Nuw lAiin fLouwt Hw sn i non us ^w] qeqxt.comtwm

STRAIGHT THROUGH MY HEART

ftACKSTHEEI BOTS ,il'>'fc M'j

RELEASE ME

BliNtS ■ :N'. . HII..-.V jiTAfi.'NFM

SAD SONG

■UUE LEWIS TOMMV BOY

OBSESSED

umw. (.Mil !■ 1 mg

GIVE ME TONIGHT

TR FEATURING TRENCHIf DAVIS DAUMAN

CELEBRATION

MADDNNA V, '':',- i ri'ii-

SUPERSTAR

DAVID MAY FEATUFIiNC MOSES MOOESTRO AHKC^J

THE REAL THING
VUIESSA WILLUMG < iir, ...KD CMG

BRAND NEW DAY

CEOTfilE PORWE \'ii .1" P. -fll

RIGHT HERE

CAMIEN REtCE Ht'L »f

ROSE OF JERICHO

ai M ■ i.v kh

BULLETPROOF

unOUI- ■ II i-fi'IH(E;INTEBSCOP£

INSECURITIES

JUUOn VASOUEZ FEAJWWG WUO J IfJLVEi) UlSL'IOMlfi' BOi

FINE PRINT

UOUALI £M l[ n BCD

GOODBYE

KIUSTIMU DEBARGE jOLUPUM 'SlAtiri lUJUU

DONT UPSET THE RHYTHM (GO BABY GO)

SHOES

NOlSfMES ■■■ 1. ' ■ Mu

TIG*-.>:.-I LM,ij.U.-i:Li

THIS TIME BABY

EDDIE X TRESEHTS NiXI H&RIS SMf

FREEWAY OF LOVE

PEPPEfl HASMAT Cf.i'P

MILLION DOLLAR BILL

WHTTHEr HOUSION ■■■■r IJUMG

IS:

BODY LANGUAGE

JESSE MCCARTNEY FEATURING T-MM MOUYWOOO

DID YOU SEE ME COMING?

PET SHOP BOTS *S1HAHVEH':S CAPIIOl

4«

TURN IT OUT

AiriW FEATURING JEANIE TflACV WAMAHOUSE

1 DIDN T KNOW MY OWN STRENGTH

WHIIurr MMttTON .'H ■ ' 'M

WE ARE GOLDEN

MIKA :-.v AW: >.MVi-''i6j. MOTOWN

FAME 2009

NATUfll NAUGHTEW UKESHOHE

SMOKE

JUS JACH AHH PHU 'fATURING HATHA MUSI MITM

LOVE SONGS

AKJULiE Ht'.^ Cyii

1 M A FUCKING CELEBRITY

□J UMBO '.J llilP

SHE AINT GOT

inoT* Ci>(>noL

WAKE UP

SLIMT '■tKtrCiDUS WARNER BROS

WHY YOU WANNA HURT ME SO BAD?

Nicm HiUHARDS rilCK'RICHARDS COM

SEXY PEOPLE

lOUW CAPITOL

PARANOID

JONAS BROTHtns 'tni . ./iCOn

FUCK YOU

LILT ALLEH CAPITOL

LOSING MY MIND

All KING l< : '. VRi

FIGHT FOR YOU

MORMN PAlit *iniWtflti

S O S. (LET THE MUSIC PLAY)

JOnOINSPADKS -1 l''i -Ui

1 GOTTA FEELING

THE BLACK EYED PtM INURi LUPt

BjiSJlj] PAPARAZZI 1

laiMn UOrWSIKIMJCKIUeOCPRVmMOGCCR 1

DEJA VU
MKRIU OLIVOUAUUAN

TOP DANC^

NIC albums:

I d Fl IT e* h -

3» Sc

ARTIST

TITLE wmm & NUHeCR / nSTRMUTIM UKL
I LADY GAGA
, THE MME C

S £= TITLE

2 11

5 12

VARIOUS ARTISTS
itfwi><iini[w«icAUQMOTfwj«<F^sfflasn>friit^
OWL CITY "

OCEAN CVK 'Nl'iTISflt REPUBLIC 013HI •.UMRG ^
LMFAO

nmrwa ^^r. itj.-iiinuuii>ewinRENiuisccFEO)»s«i

30H!3

WANT 'iir . FWISH SH'
IMOGEN HEAP

ELlil'SE ..APHIlfiir

JEFFREE STAR

BEAUTY IILIER POPSICLE SOM'ILG

LA ROUX

LAWUlt-T'.OJf

INFECTED MUSHROOM

n* KOEW » THE HJ»C» SHAWWM* rtHlfClOK

BASEMENT JAXX

SHAHS ; ■ .

LUIS MIGUEL

Mocans«tAHooeciuiFereiwwEHuii»i>!i2rii
BEYONCE

DAVID GUETTA

ONf LOW '.' . - ■■ ■sr,lRALWERKS

DEADMAU5

FOH^aFAICTTHllMM|l>WtBTFWPAM)WltSS?UtHJHA

OWL CITY

VIC LATINO

ULTflAMir ? l.'-'i .

BREATHE CAROLINA

hEilQ FASC3MATI0W FEAHlESS 30127

SOUNDTRACK

SLUMOOC MILUOWURE tUTERSCOPE OIZiOMGA

MOBY

WAIT FOfiME JULE iOIOI 9416''MUTt

CASCADA

EKACUATE THE DANCEFLOOH ROflSINS 7506-1

CRAZY FROG

W'flOn 'MCI HC* . ■"
TONY OKUNGBOWA

TOIAL DANCE 2004 ^ ■■ !■ i , i. . I ■■ . : i ■ ■V'i\.:

DEPECHE mode'

SOUmS Of THE UWVEFISt MUtbVIRGW 96iW'WfT0lj*'

SANTOGOLD

I LIZARD KING 70034 VDOWKT OWN

Kl OBSESSED 1

■09 HAfllAH CAREY 1 . ' i' l.c:. |

1 11

EVACUATE THE DANCEFLOOR

CASCAEIA Rrinfiiri .

12 2

RIGHT HERE

CARMEN REECE MLAL Ml

4 13

1 REMEMBER

DEAOMAUi • KUKMK MAU5TRAP;AND PRESS ULTRA

•

3 21

LET THE FEELINGS GO

ANHAGRACE KnHhC. ,

5 5

SEXY CHICK

CMWD GumA fEATUfWG UOt UIM ASTRALWFIK&CAHKA.

S 8

CELEBRATION
MADONNA AJi-.Nht- ri^l

6 12

THE SOUND OF MISSING YOU

AMEERAH ■i;ifi'IN\

7 3

PAPARAZZI

lAOr fiACA ' iLVfJliy >Of(l VE.CHCRSYTHELWTERSCEM

9 3

1 WILL BE HERE

IIESTO ^ SNEAKY SOUND STSItM ULTRA

It 24

INFINITY 200B

GURU JOSM PROJECT ULTRA

18 5

DOWN

JW SEAN FUTWG UL WmC CAai MQWVUMRSAl i^MBU:

14 a

SHAME ON ME

tax SXYI FEXnmG lAWRBCE AL£XAHOER n^-EnWa )T;LIUEJ

;«>

22 2

RELEASE ME

AfiNU MNG ISLAND HDCKT STAR HEM

19 8

BULLETPROOF

U ROUTE POLYOOfl, CHEHHYIRELTNTEftSCOPE

17 14

1 GOTTA FEELING

TNE BLACK EYEO PEAS ' TCRSCOPE

USE SOMEBODY

KTNCS OF LEON < lARAIQ

SAD SONG

BLAKE LE1K/TS TijMKEV flOY

21 5

1 BELIEVE

CYKRSUnu EEATTJMG AU TiaiE«M T«0 STTOLSTYCnr »E*TW

20 19

ANOTHER DAY

SOPHIA BUY T«[(lvaUS

FACE DROP

SCAN KMaBTON BELUGA NEiGHTS EPIC

KISS ME BACK

KTM SOIIT :

SWEET DREAMS

BEYONCE M . !■ 'A'ORlIT EOLUMlllA

HEADLIGHTS

MIA i It '.Lli! '-■

MODERN TIMES

traEFlfQiisci«iiiExiuuMWROSfEMai«ESTa£icn)im«

ata for week of OCTOBER 10, 2009 I For chart reprints call 646.654.4633

ill

TOP TRADITIONAL
JAZZ ALBUMS'

g '

■3

ARTIST

TITLE iMPRIM /. NUMBER . OlSTRiBUTING LABEL

H HARRY CONNICK. JR.
TOUR sowci coiiwew *jm'Si>rt mac
DIANA KRALL

QUIET MIGHTS vfcH'.'t 0\2i%3,V& *

MICHAEL BUBLE
KHBMLIE!IWMW«IKMB'qfPB?'TiWW^ - -
FRANK SINATRA

LWMlWWMIIIIJIBtM'su* A'mi[:XACT»>.i' . ■ . '__

MELODY GARDOT

Mr ONE wo OW.T THWLl VtRVE OiaSftj-

FRANK SINATRA

ctASSicswra^i - ■ - uHiTOWHWna
JAN GARBAREK GROUP

oRticw ». cnw:E^i ■ ■ - •.'.'^=i.sin.a>ssiesgaF

TOP TRADITIONAL
CLASSICAL ALBUMS'

F. iJiiUlllFI . OISTRISUIINC LABEL
RENEE FLEMING
vinsHo i v';3uwre«LtufflCsgioup

MADELEINE PEYROUX

BARE BONES

ROUP H

oux H

IIG BAND H

MA«:YDi3;wii]tcc* wr^

KARRIN ALLYSON

ROY HARGROVE BIG BAND

EMERGENCE WOQVIH HIGHtMAi>CY D13;Wi1]tCC*
ROBERT GLA8PER

DOUBLE IQOIBD BLUE WOTE fl4Z4</BLG

MIKE STERN

BIG HtlGHBORHOOD tums UP 315?

ALLEN TOUSSAINT

THE BKSKT MSSSSyPI Kfl. <>.-■• ^rinfjWl^i'J' mt;.

THE TERENCE BLANCHARD GROUP

CHOICES

B.iua'juM=j(eiT>ciiiiiiswoit()DE»is<ni

IBE ECUXR CE TtYYTTBl 1WU OWISTTO 4 MEBi: HIR IM r t 1

JOSHUA BELL

TflErilJls«IIUTlllElJiiB«rEv;f-:,^T#ifSLa,L3;;inf

i
1

THE PRIESTS

TKt PENISTS HCA VICTOR JT^r l 'ifiNY UUSIC

I«ei£I«S£»OtfKlCcCf?lX)»3il»-«03SB.

TKEMCZWTAIBUM - 1 ' ir

}

MURRAY PERAHIA
l*OT RHTTAS 1 U 1 ■,

SERGEI RACHMANINOFF

HKMUYH1ITFU''.U:4M<YY . ;p:

ZUia BAILEY SIMONE DINNERSTEIN

EEEno»aiamH«EBaEnEiHJ«aeu)TBj>icioj«

DCaSIBKHNIOiSOFSnRHBUOeiaBJZ

QwoNKEeRiKnElECEAMuaiMEiiataAsscssap

LUCIANO PAVAROTTI

TW DUEIS ■ ■ ■■ 'IM."- i'ti L ■ :V^:"i C

JOSHLH eai lOdltMY Of ST WmiK III IHE FEOS

PLACIDO DOMINGO
AAltlRE INIWTTTI

SWE FRANCRCO SYMPHOEIY MICHAa n.5l>Y TKH^AS

E KJiSHWSHIANH DL"/tMT MAkSJR AS t STEINBEflG

leWrCT- T' 1 ■. L-.J:iljtTI'

]

BUBTirr

CAROLINE GOULDING

CAROLINE COUllTlNi; ■ ■ ' ' :i

TOP CONTEMPORARY
JAZZ ALBUMS

TOP CLASSICAL
CROSSOVER ALBUMS -

ii ills

34
■

ARTIST

TITLE IWfllNr & NUMBER ' DISTRIBUTING LABEL

^ GEORGE BENSON
SOMCSWCnagSMOhETBiaawaHgHJ «

CHRIS BOTTI

cms BQTTT m KHTQN COLL>AaA Mrsj-yOK^' W rj:. »

PETER WHITE

6000 MY PfAK ilOOSi'CONCORO
NAJEE

MIND avEH MATTER HEADS UP 3156

BONEY JAMES

SEHO ONE TOUR LOW CONCnRD mib ♦
KENNY G

StffERMnS jV.-y '.TITQISTtmHWflffTHGGHaf «ag
SPENCER DAY

««iAfiO«D V I .\'.CCWMm.wa3l317rCONCOHO
HERB ALPERT & LANI HALL

AKTTHlNCnCIFS HVt ■.nw^nw JAZZ 3mM:CWC0BD

ESPERANZA SPALDING

ESPEftANZA

1 il §1 i:

INI A Nt:uaEn ; OISIKISUTING LABEL

BERNIE WILLIAMS

MOVmO F0HWfl>1D ■■ M,'

VARIOUS ARTISTS

SMOOTH JAZZ HITS ' -AI.HH-; .t

IMPR0MP2

11 IS WHAT It IS JCS SimOWPHEUS
JESSY J

THUELO^ 1 ■■■ ■ ■ -.' iiRT

RICK BRAUN

ALL IT TAKES ^.-U : I Ji. ARTIS

VANESSA WILLIAMS
TW «AL THING UNCJ^O 'm ■ ■■

41)

BTllL DIVO

QJf^nftfmKf i<acOEJl«XBBftSaiEYEKflC4T

• {

DAVID GARRETT

DAWlGAflETEn ■ i i .^iMifRA. LLASStS UfitUP

ANDREA BOCELLI

INCANTO I.--- ! • IIECCA *

PAUL POTTS

PASSIONE ri 1, 1 liMn;A 47119 SONY MUSIC

SARAH BRIGHTMAN

SYMPHONY trVl IN VIENNA IMMEATEAN ?l6Sr«LC +

•4

NEAL eTbOYD

MY AMERICAN ORE AM D^CCA 0T?397

ESCALA

ESCJEU :..LU.LUL'J'.1blA i:i21 'jU'lY M'J^I!:

iKnoiiAffiiwa£a<noi«i iTiatusuuEftUBEi

aii.B«IEaBIHE ABB laws W i^U Y. '.^.V^HiiJ ' ■.:* J 11'

lOHinewaiaauKHiiTiEnisiiKiwsiGi

RMCMnmMiaUMmrYT TAjifiVLAruT ci(i4^u?^rYi

JOSH QROBAN

AWaE LIVE ■ r .it ; il .'.HNIH iTHU'; ♦

GREGORIAN

MASTERS OE CHANT r ■; .1 - .

SHARON ISBIN

.O.WTDTWl«»WNC f.'lTAiSEAYWYiSapmiTWK)

LAURENT KORCIA
CINEMA I- ■•' .

SOUNDTRACK

MIGElS A DEMONS LAiSEA-SETYTG^KYIM^lBYMHtS

iKmiicENiciiCfloitoKxttianESOMiwBm

PHMSI TO TEC HEME MOIM n lABERElECU OOE

■flu

§i is

I 21

o >

i«

TITLE

ARTIST l^^PRlNT .' IDOMOIION I ABEL

TALK OF THE TOWN

DAHREN MMN Nij:,.T!jri.'[

TROPICAL RAIN

JESSYj [■i-»i' ::mi,

LIVING IN HIGH DEFINITION

GEORGE BENSON ^_ ' '.'

BRIGHT

PETER WHin ''EA* CMij

GO FOR IT

BEWNIi WIUNUIS REFORM ROCK -IIBGE

BURNtN

PMIl TAYLOR ='tA'. CMG

WHO WILL COMFORT ME

MELODT GAUKir '.L'^.i

STEADY AS SHE GOES
WAlItH BEASLEY HEAni; j"

MOVE ON UP

RICWUVI ELLIOT ARUSIRt

TOUCH

BONEY JAMtt COWCORDi CWG

JUST FRIENDS

*IU«SW Wllium CONCORD CMG

THE CIRCLE

PAUL HAflDCASTlE TBIPPiN H RHYTHM

BECAUSE OF YOU

IWCBAnmS V .11 NOTE'CAPITOL

SONGBIRD

CRAIG CHAOWCO :>MAHAi>iE

•

VARIOUS ARTISTS

EUnCOPOWfcE iO^EHTEEVTIf naOlf^PIIin^anA

CELTIC THUNDER

ACTTYVO " ■ "M .ri[nOI16Q6.DECCA
BLK JKS

AETER ROBOTS i t i[ Y CANADIAN W

CELTIC WOMAN

R4 CMAYEST JOOEBCY ESSDEIUI CaifETOEEWWnmlliaWUl

VARIOUS ARTISTS

aOn£ a lEEBCA lAMRSAl 9EEML MNNCS OTZa EX51

ROORIGO Y GABRIELA

LIVE )H JAPHJI AYC ?I6JR 4

ANUHEA

AMENIU ONEHAWAIIAN I

DIE B«sr EmsiGN MUSIC SOX onocsmk

BAIYEINSIEMI TNORLD MUSIC .'. " : M ' jCTIGI

KAILASH KHER & KAILASA
TATRA INOMADIC SOULS! '.'i- ' - :

JUAN CALLE AND HIS LATIN LANTZMBI

MAEEl Toy WIS AMIGQS ■ill.'i'.l : 1 1 ili'HQNIC I.'. .
CARLA BRUNI

COMME S) C< MEN NETAET •li]R£Ml,EilM TDWSDOWlIiMK

Go to www.blilboard.biz for complete chart data i 101

BillbMraL

r '

UANOS AL AIRE

IVfRSAL MUSIC LAIINO)

TE IRA MEJOR SIN Ml

JOAK SEBASTIAN -'^w J.R1.BALBIJAI

LO INTENTAMOS
SU VENENO

AMtHIUR* ■KHfcMli.iM LAIIPii

EL AMOR

mo El BAMBINO- i

itflTEt

|10 10 30

Ml CAMA HUELE A Tl

rnO EL 8AHBIM0- F»1URIW6 tlOH 1 LtHHOK i&lfMtl

LA GRANJA

lOS Ii&HtS DtlHOBTE ,Kir<OviSai

YA ES MUY TARDE

LA AnRDLLADDDJI gAWDA EL UMOM iDISA;lWMOIISA|

RECUERDAME

lA auiNTA [STACIOIL ■ ■(• V I i; L»1iH»

■

1 GOTTA FEELING

TME BIACA ETED PEAS Jl - 1 iM i

AOIOS

JESSE A JOY iLVAf ULI .AtlllA.

ESCLAVO DE SUS BESOS

QAV<0 BISBAL i UAl E UNIVERSAL MUSIC LATINO)

GRACIAS A Tl

WISIN A *ANDCL '-UCHEItl

h«

COMO UN TATUAJE

■ PAi BE LA SIERRA ;: A EDlWnfir.A

TE VES FATAL

EL IROMO DE MEIICO ' Mi'.i' J.

i©

EL BORRACHO MONTEZ DE OURANGO

CHUPO MONLE/ UE IIDHANLiO 1 -

|i.

NO ME DEJES DE AMAR

LA APUESTA I

COMPRENDEME

GERMAN MONTEHO . ' jtiOVlSA MUSlVISAl

I-
I-

•

LOOKING FOR PARADISE

ALEJAROBO SAW EEAIUIWO AACIA UTS (WA«KB UTINA)

DEJAME ENTRAR

Nl ROSAS Nl JUGUETES

PAULINA RUBIO lllNIVtl^^AL I.L.:^lt: LATINUl

TOCANDO FONDO

RICARDO ARJONA .V.^hril R I AI

Ml COMPLEMENTO

LOS MURACANES DEL WWTt IDISA)

FELIZ

KANT CAREIA iSONV MUSIC I AIlNj

TU DEFECTO

CAMINARE

INrOCABlEiLVim

Y AHORA QUE?

LOS fllELEHOS DEL NORTE lEONOVISAl

SENTIMIENTOS DE CARTON

DUILO ' '. -I ■

AL DIABLO CON TU AMISTAD

EL CHAPO DE SINALDA iLUSAl

ERES TODO TODO

JULION ALVAREZ ■■ : I

_ , COMO VOLVER A SER FELIZ

* * LUIS ENRIOIIf ' ir .■^,t>

ME GUSTA ME QUSTA
OVARIOS

BIVtFW ilQNWSftl

SE NOS MURIO EL AMOR

EL I1U!R0 T 5U BAWM CtNltWAIHO lA R C |

CUMBAVA

PtEWEE -VM till J !,;.|

ALMA EN PENA

LOS IWQUlfTOS DEL HOnil <tft6LE MUSICl

ENCONTRE

CDNJUNIO AIMA HORTENA KtlSJ.

LLUEVE POR DENTRO

LUIS roNSI <M'; v^l.'.iM MUiilC lAIINOl

BARTENDER

'.VJSIC LAHN)

SENTIMIENTO

yiCO C KATURIWG ARCAHBtt (EMI TtLtWSAl
CELEBRATION

EL PILOTO CANAVIS

LARRY HfHNAMDtl i > .;'.(JVI^..A UUi(;l':;Ai

EL RITMO NO PEROONA (PRENDE)

DADDY TAMEE .1. : .IPTEIJ

TU PRIMERA VEZ

HECTOR ACOSTB '\- - 1/ VEMMUSIC)

LOS PRIMOS

LOS MORBOS ML NOHII . ni'i^J^ *S[ i

DERECHO DE ANTIGUEDAD

Uk ORIGINAL BANOA EL LIMON •IU'tCvr.,''\

Afin ilebuting a WMh eadY due to stmt-
date vioblions, Kany Gartia's s«ond
album, "BoMo de Entrada," (caps S8-6 on
Top Lidn AJbums (Z.OOO copKS), tier first
top 10 on that Iht. debut album.
"Cualquiei Dia peaked al Mo. 48 in 2007.

^TOP LATINdM^ii^

J§

§1 ii

ARTIST

TITLE Lll'hr.r (nSTRIBU'lNf. I ABE Ll

BTIlos tigres del NORTE

LA (iRAMJA ■ 1 : ■, i ; ' r.' UMLE *

NELLY FURTADO

MIPLAN .il -:i . - - MIJSCLAIBeniMl&VMF

3 3 16

o B

AVENTURA

THE LAST 1.^ , 1.' 1 ■. JDSDO'SONY TAUSIC lAH

LUIS MIGUEL

MO OIAtS A LA new CLUi WmWUm LAIMA 521311

III

W1SIN & YANDEL

LAREVOLUCION ■ ','" ■■[:{ "12^1,: UMlE *

■

Ujia KANY GARCIA

tllU^I ■aETOOEEMTIWMStNVUJSCLAMATM)

LARRY HERNANDEZ

IBHARCD CORRIMS ■ ' L^MCEIOilSA 5ri«3;TA«M

TITO EL BAMBINO-
EL PATRON SI>3&K3UML£

□

LUIS FONSI

nUBnUCUUANC«lWTfMUINCLATM)CTiniatMf *

□

EL TRONO DE MEXICO

ALMAS GEMELAS FlT'iOu ?A ifiiBLiJ IIIJlE

ESPINOZA PAZ

TONOCANTO PSTOIi)BflBn]IMOSAa.*JtbA rJOZSTUm

VARIOUS ARTISTS

LOS SUPER UNOS IH^A UMLI

GRUPO MONTEZ DE DURANGO

IL BURRACHO r .'• .' l ■ i' '.

CONJUNTO ATARDECER

CONTIGO PARA BIEHPRE : " . ■in llF/lE

VICENTE FERNANDEZ

RELESITO OE Tl v I,i . L .■■III

EL TRONO DE MEXICO

DfSDE LA PATHIA EM VIVO l:^av1SA aSADSBUMLE *

JOAN SEBASTIAN

PEGADITO AL CORAZON Viir.ART 4208 BALBOA

VARIOUS ARTISTS

DURANGUEMSE #!'S 2D0B IIISA T2t301<'UMlE

111

MARISELA

70EXITOS INMORTALIS I'/ i F -

VARIOUS ARTISTS
BANOA *I S 2G0B . .'■ . .■ ■ UVlE

LAURA PAUSINI

PniHAVERA AMTICIPADA .■.""TIER lAIINA S1G67.'

LOS TEMERARIOS BHONCO'UOS BUKIS

,0«JWI«ni 1 UH,l«WLi>t«MlR?T«' WtO-.Hi

TERCER CIELO

TIERRA CALI

« TU IE VAS ■ ■ 'J M i-t'^tAMRSAi WSC LATHjesaiTOlAU

CONJUNTO PRIMAVERA

.DllllcnMU lAHUTDHADIltlSEIinBKMMVAWIIIiUtE

U^S CnitOFC MSriQ [UWOJOISt DE linDORWR
AVAN2AND0 EM LA VIDA i". i.iUL. LijE A /■2t282,'UMLE

DADDY YANKEE

IMLNTD DA W«n miWTlwai CARiaAMOfTE MECTRAAi

1 ,

LUIS ENRIQUE

CICLOS : ■ r. , ■■ i .

RICARDO ARJONA

5T0 PISD . -. 1,16669

□

LOS INQUIETOS DEL NORTE

□

MANA

AROE El CIELO WAHNER LATtRA 181 789 *

PATRULLA 81

aXECCIEM PmAOA LAS 2D EiaUSNHS L£A 7?M%LM£

LOS INQUIETOS DEL NORTE

lIlAPAAlJOAr-..- J =-h- fSliA'AAi *

LA ARROLLAIX)RA BANOA EL UMON
cn.Ecn]N pmAOA ljls 20 eaoushas Lt;<L 7741%!^

VARIOUS ARTISTS

MAKANO

IE AMO ^a',Ai,i; '.i: .1, ,. . , lhe

PAULINA RUBIO

GRAN OTT POP IM. ■ ■JIJOTMMI ♦)

PANCHO BARRAZA

lAIWJMAXtCAlItt TAHeMMIMUAiqLNtaAARTTSSBALlOA

JENNI RIVERA

Jim EDDOILOIMIUrBDBiaiATlMARMA^LMKllAf t

VARIOUS ARTISTS

NOHTENO *1S20«DISA ??130A UMLE

LA OUINTA ESTACION

SIN EREROS "11' ■.I'll

GRUPO EXTERMINADOR

PA CORRIOflS r tiii.T,;. 17;- 1. Alls

JESSE & JOY

ELECTRICIOAG AARNER LATIKA S21320

FLEX

U EVOLUCIOH ROMANTIC STYLE EUl TILEVISA 6701 7

BANDA EL RECODO

TE PHESUMO liilJi .: A 'i.^TM-UMLE

■1

,«

ALACRANES MUSICAL

71 lim RML u [A 1^ (an Al^RKMSl »'!WJKi

ffl

EL COMPA CHUY

EL NINO OE ORO J-PSl 37708. SONY MUSIC LATIN

HECTOR ACOSTA

nnaem aiTi«<i7;v\<ifHrr7fMi»i iaeclitceahhaa]

LOS PIKADIENTES DE CABORCA

LA TENIA MAS GRANDE .■■,-'.1. i: . ■. 1 ■. . ill i

LA ARROLLADORA BANDA EL UMON
MAS ADELAHTE lii'.A ,'7.111 0 i,M.<

ki Its mi mt Ml Hirdn Nqlvr, H

Cuiu IMi! « rby rito "B taoNni' ilvs
2-1 (3.6 inilhHi audHiia nvRSSiais), oAi
Ik s«and Ho. 1 on Uk dad In Knis ii( top
lOs. howmr. he's iKd nith Don Onar fo(
giM moitin dK duft's htstoiy (Okie) bctiM
Wsln t VaM (IS) aid IMIy IMm (11).

A REGIONAL

W MEXICAN ALBUMS

■

ARTIST

TITLE JIMPRIFIT niSThlRIITlRfi 1 ABil

I"?! LOS TIGRES DEL NORTE

B^3lA GBANJA F 1,117.71 iA 17.11-.. iJUlE *

CEHt. 1

LARRY HERNANDEZ

16 MAJICO COflRiaaS FTFFIFlCTATaNTl'.tSjL 570117 i T/LE

EL TRONO DE MEXICO

ALMAS GEMEUS 1711I1'715A 3S380A UMLE

ESPINOZA PAZ

TO NO CANTO PERO ID WITMTAIAOS AL^OGTL 7XL>SMME

VARIOUS ARTISTS

LOS SUPER UHOS I SA 7741B1 UA71 E

GRUPO MONTEZ DE DURANGO

EL BORRACHO Fl .7 -7r.a9 L,Ma

CONJUNTO ATARDECER

CORTIGD PARA SIEMPRE 1 1 7 1 . Ml i

VICENTE FERNANDEZ

NECESIIODE Tl 7 ,rj> l/USIC LATIN 53787

EL TRONO DE MEXICO

DESDE lA PA1RIA EN VIVO EQHO'a^A 3^0B&\jfA£ +

JOAN SEBASTIAN

PEGADITO AL CCHAZOM Vli:,AHI I^DB SALBOA

VARIOUS ARTISTS

DURANGUENSE «1 S 7009 : 72l30li'UHLE

VARIOUS ARTISTS

BAM1)A»1S i(»9 . J ■ : M? UUIE

LOS T^tERAFnOS.BRONCOi1j06 BUIQS

TIERRA CALI

CONJUNTO PRIMAVERA

AVANJAWOO [N lA VIOA '.'"'li: " i:-.- i'Ml :

LOS INQUIETOS DEL NORTE

Lt:iM!DCDti3^ ..7 < . ■ ■ 'i -MJ •

□

PATRULLA 81

dHfCPCWPflfVAn* IAS .'UimUSWAi ■■ :- 'i-..»,li

LOS INQUIETOS DEL NORTE

awMWMW -— ■-' - ■■ . •

LA ARROLLADORA BANDA EL LIMON

COLflXION rmfAUA LAS?DEXLLUSlVASLi'." :im'^\f/\i

LAST
WEEK

ON CHI

ARTIST

TITLE llMPHIM mSTRISUtING LABEL)

Kl AVENTURA

QlQl]^ TW 1 UT PftT WM LAin 20«Xl'SaW UUEC LAM

LUIS ENRIQUE

CfClOS 131' ilDf i91D ♦

HECTOR ACOSTA

VARIOUS ARTISTS

IfflBANlZAEION Ptiif ECT ; i "'■iia."'3 SOf/V ULBC LAIN

VARIOUS ARTISTS

SUPER IS MCA HITS KUCkFTE Oi31-t»i UMtE

OMEGA

a DUtNO ML aOW f. AWT SOnd^BMY MUSK LATIN

GILBERTO SANTA ROSA

n UWllOCI OC LA UUl (' r <^-.[y.¥ ' UIXtSmUBCUW®

VARIOUS ARTISTS

JO TROPICAIES DE AYER HOY V MMnK VINA S10

VARIOUS ARTISTS

III! imiMIIIWIIBIIB

VARIOUS ARTISTS

PRSTALATINA DljCU;. SLW MUSIC UW

VARIOUS ARTISTS

UCHAIA Of AMOR VOL « J >. >4 SONV UUSC LMM

VARIOUS ARTISTS

IACHATA*l-S VOL Z MAChE IE 01 W0S,1MLE

VARIOUS ARTISTS

luoMXNnntt TM 'iMreuMiJtNUSBMCNriAjaCLAni

MARIO ORTIZ ALL STAR BAND

1RIBUI0 45 AhrvtRSARK) . M . Li^TOimfT HUSC Lffll

XTREME

CHAPTER DOS UACHEU lUMLE

MARLON

ESTDT KPIE MACMEK 0IJI?4,'UMLE

VARIOUS ARTISTS

LDS lUfG S U IKMTA IM MTi • t 'Ui «»«H>IAB:UIM

CARLOS Y ALEJANDRA

lA INTRODUCCIOH Va: Hf ■[ [ll?8T*.UMlF

VARIOUS ARTISTS

SAiilKTJ 2*0* TW ai wn BBKl . \ \ i Serf* W5C iJLIN

8i iiii

1 1 2

ARTIST 1

TigE .lA'PRlFiT DI!.THPUT't7G LABEL) i
NELLY FURTADO

B&SMnAM,/. : . ,'7.1 A M.l£lATN]tRDIMMf

■

LUIS MIGUEL '

KANY GARCIA j

B0LE1D DE LNTRADA 7F1NV MUSIC LATIN 47340 J

LUIS FONSI 'j

F1UJIllflASU(LSlE)4CX7MWTSALMUElCLJII14D lM£* \

MARISELA 1

20EAII0SINIB0inALEtlU6ei4 |

LAURA PAUSINI

PRIMAVERA ANTKIPADA MARNER LATIRA ST6627

TERCER CIELO

sin 7HJ1 »L'UlllULIaMm.lRtA71.LW.'17(WlA.''M 7.T7 JL.

RICARDO ARJONA

510 P1S0 71AHNFR LATINA 516S60

■ »■

MANA 1

ARDE EL CIELO IVAKNER LATUM 4ai 786 *' !

PAULINA RUBIO

GEWNCirrPW 'I'll 7, '.' 1 , '.-|%n,713C.751MI ♦

LA OUINTA ESTACION

SIR FRENOS , .1 13 o l LAllR 44947 J

JESSE & JOY

ELECTHICIDAO ..■.7FHtR LAIINA 521320

VARIOUS ARTISTS

SUPER TS ', .7, Llll'.ii ,11.' -711.1 .Mil

RICARDO ARJONA

UMPlfUKU lONtJ(»7.7,l.,V.^77r«l-7Bf st.i.i: .4-1. •

,7:W'

MARISELA

20ExnDS INMORTALES VOL. 2 IM EG15 ,

PANDA

POEIICS W0'71C DIGITAL EXtMl TELtVISA

ROCIO OURCAL

Dono :,s:us 605 sgsobisonv music latin

REIK 1

UN DIA klAS (FAY 1 140flTE 3S67SSCHV lAUSK LATH

ALEJANDRO FERNANDEZ

04 MCRE OAllCn A M HVnA. CeCLG KA 474 IMSIIVY use UUW

VARIOUS ARTISTS

HOW UUMO A IFAI UMVf RSAL 4724fLSOfEY MUSC LAIN

HYTHM

ii ills

1 *°

|,.

ARTIST

TITLE lIMPHiNt ■ niSTRIBtlTIMG LABEll

WISIN & YANDEL

LA BtWOlUCION WY '.MrHETE Oim7i'UMLE

TITO 'EL BAMBINO"

£1 PATRON TiniTI tiiJifli'UMa

DADDY YANKEE

MAKANO

TE AMO PAKAUA. MACHETE 46O031;UWLE

FLEX

LAEVUUCION

STYIIEMI TELtVISA 6^917

DON OMAR

■DON >.ui Kiu

MAGNATE & VALENTINO

OUIMICA PERMCTA vi MACHETE 013176. UMLE

ALEXIS & FIDO

DOWN TO EARTH t^lilf MUSIC LAIIH .13561

DJ NESTY

1 TtUUl )1UenNI LA Wn MlfllM UOfl! (Til'TS'Jiti

11J6*bUNV r«JblC LAilN

VARIOUS ARTISTS

LATIN URflAH KINGZ MACHFIE 01?3iauMtE

KINTO SOL

CAKEl DE BUEINH VIRUS, H ACNE TE Ot77tMMLE

CALLE 13
iM K ATiM nan

UHOtiit jwsi^artujscLAtN

FRANCO EL GORILA

TO vm. majt ^mami oizw&fUmu

EDDY LOVER

fSnCHAM I oMMMVltTLlfMHtM. lUC UnOWKUMl

TEMPO

mtt TEMPO FREE TEMPO eOiaOfSOKV MUSK LATIN «

YOMO

MY DESTINY BLACK PEARL 7360

RKM a KEN-Y

IW ROYALTY U REAUZA PIIMMACHETE 01»?21IMU

LA FACTOR IA

BETWEEN THE BULLETS

LUIS MIGUEL TAKES TO THE NIGHT

lll(SUBI^HH9l Miguel earn his 16th top 10 on Top Latin Albums

with "No Culpes a La Noche" (No. 4, 3,000 copies), the dance remix al-
bum also bows at No. 11 on Top Electronic Albums. He's only the fourth
artist to chart on both the Latin and the Electronic lists foUowing Kinky,
Kumbia Kings and ITialla. On Top Latin Pop iMbums, where "La Noche "
enters at No. 2, Miguel is now tied with Marco Antonio Soils for most
top five debuts by a solo artist (11). — Ramirez

102 I Go to www.billboard.blz for complete chart data

Data for wMk of Octobar 10, 2009 l CHARTS LEGEND on Page 9

S5 IHANtHlH tOlWOtCAII JAPAN.

" Pijuiir ■

YELL

ii PtJUIItCHI Kf TEMSER H ms

iiuMtiriOGJiKM EPIC

MM I

CELEBRAnON

BLAME IT ON THE GIRLS

MINNA SORA NOSHITA

3§ (SMfP.-lfOPTm-inE) OCTOnil 30, IMI

SEXY CHICK

UVID GUIIM f I MUM t^UU.\^*ICll|

CdLEBRATION

EVACUATE THE DANCEFLOON
cMCUu ;'J0i.AMi-.'LuwL«i'3« .>Arw

•

HUSH HUSH

IM( mSTCAT OOILS IHIERSCaPt

OBSESSED

LA5SE-T0I ALLER BEBE

tDtUCIIF UEItm .If. il'i.ili

1 KNOW YOU WANT ME (CAUE OCHOl

PITBULl JL-fil

!§ IfWI/lilCLIU) OCTHERU. 1009

LAHORE SI ODIA

1 GOTTA FEELING

'HI BLAW ErlD PiAS M-=--rt>B!

PAPARATZt

ucaua

6'
«

B
3
S

MANOS AL AIRE

CELEBRATION
WDOMIM ntlUER IIKIS

LOBA'SHE WOLF

7
6

IC
7

AVO TECHNOLOGY

HIIOW-"''-'-! '. ■■■

WHEN L3VE TAKES OVER

Dtvin ojrTi n utiu mum Gtuvm&H

RELEASE UE

WE ARE GOLDEN

Billb«aJ

LJJZ 1

IfHt Of riCIAL

UK CHARTS CO) OCTOtfRZ/ 2111)9

BREAK YOUR HEART

TWO CRUZ .\i.Lr,ji. REFUflLIC

! a

SEXY CHICK

OAm OunT* FT AKON r^M'VIR!>IN

EMPIRE STATE OF MIND
JAT-; . AiKU »ns noc «»twn

SHE WOLF

SHAuRA ■II.- 1/ 1 iic wjsic mmti^c

RUN THIS TOWN

jAr 1 niHANNA t tJtnii wilT f.3C MnoH

' a

1 aOTTA FEELING

IHE BlAIl [TEC ft AS iM1 1;.!.

BOYS AND GIRLS

PIKIE lOTT Ml m -

CELEBRATION
MAODNUA iWi

HOLIDAY

DIZITE MSZU. R PIRDME VH^it SIAMK

LEFT MY HEART IN TOKYO

M:MIVIVA'.<IM\

O CANADA 1

BILLBOARD CANADIAN HOT 100 1

§1

INKLMHm-MUMICHIl OCTtWEn 11. IMI

1 GOTTA FEELING

INE HAW lltD FtAS iMM m ■■ -> ■

SEXY CMICK

DAVID OUfTIA TT MOh .i ■ ■ ■

YOU BELOHG WITH ME

nnoRiw*! -■ ,i,M iN-i.i.ni,;, ■■■ji; v.ik.i..

DOWN

« KM n. I Ami : ^H'lmfs/i'&MimBeM

PARTY IN THE U.S-A.

wiiiT CYHUS f-i..'i/r-,v\ 'ji:in:,;.L

EVACUATE THE OANCEFLOOR
CAStAIM '.'■..!'!■- . Ml

FIRE BURNING

SIWI UHG3TWI ;i- ' 'i-'' .! >

RUN THIS TOWN
iAT-tWHWWHAMTEWHT i . -i

PAPARAZZI

USE SOMEBODY

muss OF LtM Ml. : .

OSPAIN

§i

(PROIIUSKU/liaUl IfPTtMKII 30, IMI

ESCLAVO DE SUS BESOS

OAVtO MBAl VALt

1 OOTTA FEEUHO

IMC ILACI ETEO PtAt INTCFlSCOPE

1 KNOW YOU WAHT ME (CALLE OCHO)
niMJU Q-AMCa • KEGRQ

WHEN LOVE TAKES OVER

DAVID euriA n niu roianb ixiu'vircin

RECUEROAME

U OUIira ESTACION SOMV MUSK

i»

LOBA

SMUIM SONY UUSIC .i^'IMrir

LOOKING FOR PARADISE
UFJMIDRO SAHI FT AUOA Km ■.■/iPrr-P BROS

ANTES DE QUE CUENTE DIEZ
Ilia A FitvALDii am

COLGANDO EN TU5 MANOS

UHIOS BAIHF MARTA SAKHCI DKO

■ 10

QUE NADie

HANUa CMMSCO DUO CON Mill VALE

3» IHEDIA CDHIROL) OCTOBfR Jt

Km I

T AUSTRALIA

f. tKMOWVOUWArfTMEICALLEOCHO)

" P IBI.Hl.

ii 31

lAPlD tlKlUNl tEPIEKBER ZS, J*Oi

I VARIOUS ARTISTS

EURdPEAN

HOT 100

tEPTEMIER IB im

i§

IN IE I SEN IDUNDSCAM

IMTIRIIATMNAll OCmtn IB. IBM

SEXY CHICK

DAVID SUETTA FT. AltOM GUUiVWOW

SEXY BITCH

DAVID bUttlA FT AKON GUIiVIUilN

1 GOTTA FEELING

IHE ULACA tHO PIAJ iMlflSCOPE

1 GOTTA FEELING

nt iUCII ETED PEAl INIIRSCm

CELEBRATION

HAOaUM WARKCR BAOS.

BREAK YOUR HEART
TAID CMUI I.MIUlRiAl nEPUBLC

MEW

AUTOMATISCH

roKio HOTa siuNNtn

SHE WOLF

WAUW SMV MUSIC ■■■■■'I 1.1 .■:

SHE WOLF

SHAHIH* MUSC LAriHiWC

EMPIRE STATE OF MIND

JATI . AllCIAtHTJ.-.: 'I... .r.

•

("AMMS'tih UOTCfl UHhWSW.

RUN THIS TOWN

JAT I, fllHAMMA ■ UHTI tNEir ROC HATIOM

BREAK YOUR HEART
TAlO Cnm JhViRSAL REPUBLIC

CELEBRATION
MADOHM ftARHErt BUOS

PAPARAZZI

im SUA STKMAnKMOaWKHmCOK

BOYS AND GIRLS
PmilOn WERCUHT

LADY MELODY

tOM ItAGEH GWAYAV QtNAVAV.'AZ

WE ARE CK>LOEN
MIM CASABLANCA'ISIAND

. io

EMPIRE STATE OF MIND
MM • ALKU laii ■! 11. MATIOM

,f, PAPARAZZI

unsMsnEMAMNxtAibOflvrrnBttmsaK

EVACUATE THE DAHCEFLOOR

CASCAOA.' ■ .■■■II .■ ■■. .M,'.

HOTEL ROOM SERVICE

PRBUAL MB ■ '.r>S..I

WHEN LOVE TAKES OVEH

OAVn GUETTA FT UlU MKMD uUU.\IHQIK

DIRTEE CASH

nam uical oiiriee siah>i

RUN THIS TOWN

MT-I. RIHAMM A UTHE WEST RK NARON

LEFT MY HEART IN TOKYO

MinnrrvA mm

1 KNOW YOU WANT t/tE |CALL£ OCHO)
PneUll ULTRA

UPRISINO

mm AtE.'MUUU.],WAR«ER

IF A SONG COULD GET ME YOU
MARFT lARta VIRGIN
vuc nar r^rii ncu

SEX ON FIRE

tmta OF LEON KAUl MF OCtVN.'RCA

LACASASLAItCAj'iSLAND

EUROPEAN J
ALBUMS '

NEW ,

§i

EEPnmER M. lOBi

HEW

MADONNA

aLLBHAIIOM WAANER BUGS

MUSE

THE REMTAMCE ASEtlELIUM I'WARMER

HEW

PEARL JAM

lACKSPACU VJNKEVRENDI tSLAND

MIKA

TW vr MM KMtW nOMOl [j^^ AM:A»itCI

HARK KNOPFLER

GEI LUCKY V-;-' ,0

DAVID GUETTA

OHE 10« ■. '.' vir-r.J.'J

WHITNEY HOUSTON

1 lOM 10 TtlU '.I' ".Ti

THE BLACK EYED PEAS

THE E MO 'I'LI II !

HCW

ELEMENT OF CRIME

IMMER OA «D nu BST BIN Ct« HIE .^l>^ BEUl

H»

DIZ2EE RASCAL

io*ii;u( N c«[(ii 1

LADY GAGA

M'lM ■ ■ .^titMwawt

NELLY FURTADO

HI PlAd SilMUi L'IIVEW:.,'.L MUSIC UIIW

JAY-Z

T« KUEPfMT ] RK NATION

MICHAEL JACKSON

HIHC OF POP EPIC

PUR

miUSCM CAPITOL

Lan Wmerbtck nabi Ms fourth
straigtilHo.lsludIo set on th«
SMdM Aims Chan wtth ^'Tank
Om Jag Angnr HIg (kh Sen

EUROPEAN
AIRPLAY

^IRELAND 1

liH'■'^^JJ'Jil.^J

10 FLANDERS 1

(fiiFi ociam ti, iMf

IIRM'CMRT IMCD OCTSIEII tS. MM

iREconDnflucAnwtuBi viamjsiMB

(1IITRAT0P:«FK) EEnEMER M. 2BBB

t GOTTA FEEUHG

IMI BLACK ETtO PEAS I'lTEBSCClPE

1 GOTTA FEEUNG

T« KACK EYEt PEAS in':R5C0P£

SEXY CHICK

DAVIS CUETTA n AHOH hW '. 'IG'N

SEXV CHICK

OAY 'D C'JETTA FT AKDM C.iM '.IHl, 't

JAG FAF LIKSOM INGEN ORDNING

EMPIRE STATE OF MIND

.«

SWEET DREAMS

myoim:! 'IT.!' *iioin cn.iiusi*

1 GOTTA FEELING

THE THINGS WE OWE
TAIlOA 1', .^-l .'.

SEXY CHICK

DAVID GUETIA FT UOM ^UU.'VIBGIh

t KNOW YOU WANT ME 1CAli£ OCHO)

PTIBIAL 1. Ii-'.

SLAAP LEKKER (FANTASTKI TOCH)

nCCY a»F! EUAOI RDOVBCUtftn^AK!^.'

SEXY CHICK

3tviD am n aion gi u • moiii

SHE WOLF

SHAIIRA .■■■l-i',- ,11. UU!il[: lAIIN'tPIC

DOWN

□ E 2EPPE A ZIKKI SONG
npn A iHKi j-i',

WHEN LOVE TAKES OVER

oAvio cur^A n am mnano gjm vipi^in

BREAK YOUR HEART

TAiocmi; .Mnn:.tL fiipu&.ic

1 GOTTA FEEUNG

TW SUUI EnO PEAS WTEHSCOPE

ZATERDAGAVOND
OfWtlEtMKEWRISTOFf < UHOSAT AUS

1 ^

LARS WJNNERBACK
«MIINlNi«l»UNCOCM»WaRNL \H<WM.

MADONNA

CEIEMATTOM rtSFWS eflOS

MUSE

THE nSSISTANCE ME,HtUUW I'WARNIR

lilADONNA

CflEBAATIOHlVAflNER BROS

TAKIOA

THE DMKFR niSTIWT UNIVERSAL

PEARL JAM

tACKSPICtll Wnf.'.F''iVH!FJ[:H ISLAND

PEARL JAM

■ACUPUEH y'ShffflEKCH'ISlANn

ANOUK

FORtlTTEdORWOflStbtlO

EUROPE

LAST LDOa O EDEN hell A.ND ^AC^UKtVER5M

MUSE

TW nSUTAHCE AAt'HElWM J'WABHER

BEYONCE

iMt UMFTiOiTaiEBjnnu.^imwi.NEti.

MIKA

nc lOY MMO wfw no Nun [>e«LUCACtAWi

WHITNEY HOUSTON
1 100« TO tHJ V«I''A

JAY-Z

nm SLUEPnifT i nor katioh

THE BLACK EYED PEAS

THE EX P -■■

SOUNDTRACK

JUHIBN EllflOSme IBM CAP1T0I

■

X)HN FOGEFTTY THE BLUE ROGE RANOERS

BIDES AGAIN 'l.^ll.'.J.Il ■,J^■.L^'V1 f\.-^:i.'j'

DAVIO ORAY

DRAW IHE LWE l-r.>.vUOH

MARK KNOPFLER

Gil LUCKY M i-:iL.J

MUSE

TME HEUSIAMCt AAE DtLIUM 3'IVAHHLn

StPIEMBIR IB ZOH

SEXY CHICK

DAVIOGUdlAFI AHONi- M , i.-,

1 GOTTA FEELING

Ill( BLACK EflU PEAS 1'. ' : -I::l .

CELEBRATION
WADOMMA - H^.[ ■

WHEN LOVE TAKES OVER

DAVID CUCnAFT NEUYWHJMtaUM'VmW

SHE WOLF

SHAtlBA r.v ■ . LAIItfc'EPIC

BODIES

ROBBIE WtLllAMS .'tM.Y^ALIS

nCLCASE ME

AGHES 1 ii['Jtv,^U.I BEAT BLyt'AATW

'•

WE ARE GOLDEN

MIU i.':;.iT,.'.l.;i liiLANC

1 KNOW YOU WANT ME (CAU£OCH0|

PlIBUll ■-il'-.'-

'. w

PAPARAZZI

LWTtASA ;-^WlH.VF*JtQf?imWi»k-==6aH

F"K YOU

LIUT«,lEN'-i;^i. W"L>Hlii(b

AYO TECHNOLOGY
wiLCw tiiiv--;i ■, ■■"1',' ■■

EVACUATE THE DANCEFLOOfl

CASCAaA.■'alni^."l ;[i!RiM*T>ON,»AIW

PLEASE DONT LEAVE ME
PIMl .AIACE .-.il

21 GUNS

GWEN DAT III I'lii 't

>ata for week of OCTOBER 10, 2009 i For chart reprints call 646.6S4.4633

Go to www.billboard.biz for complete chart data

Cni

n NK m UBiC Cm . ASCWAnn tee Ueic
HiQOil

AL Dueid CON ni AMISTW i^ltoin

iTmSLOVI

'.■■!M CSa

'CSS ton MBit I^Mtflng,

>'(. :i\if^c^l\OleNnCcrp..BM¥A«>-
uno. tM'VRB ia Sw Uac. filffL Ft. CS 5fl

JILJIM a PBM (MlLiwil LI «

aUWOT GOK (Sinm hr SiM, ASCJmctfl
Uitc PifildM tavnca. he. 'QCAPWtK 2 IM.

HUIGHTfC

MIOOTt

«us Uoc BMI«« Uud Buds. EM) M/mA CE 1
HtQOSB

noibDRmPutMKaASCAoue

a«V tr H rw CM Mm FUighM ASWWm
!4 Itoc CoTOiAn ASDV>M [WSM

i.e. tSCAP^^ ti Tb Gruna f\««irQ,
ijj.y.i ' H8HSI

p/vA'i. Awt ASCJf .n* »irl Udk He
V,...'-- "i HIM* FeH9
BAHTEMDCB iJ»r, Y Foi FWii^inQ,

:.. ; m iL«t iir ascaptm fti*mod

'.'.].. ^».i&Li! "jal *,ta: ftitiSwo, BMl.
-!. -.v-.V .1 I"!
BATTlfFmi iMme ? ASCAfMUMI lAac FU>-
i.-i'i:Mirrcj.lrt ASWCteMntfiQeAcn
ixX'.n'.lif'llAMlfC ASWfl^MT,

BfcxY I ri>f Gob main; tt

cratiw

•E M nU (EOs FUMm ASCtf>AM On Sintar

Use <>£Ctf>i'SoryiMV \nn tl£, AXtfAJrwwal
Pi'in c - : Soffi BW^ In 1Tie QoiKl nUshni
<r^^liikacln:.ASUnK.H10Oi?
BEST I evu MO (LM aC. ewBll teXMXH
fAci. i-c aU/VmMiKht.,BWStitfnMuK
EM'Scnm 01 LhMni^Ire:. mfUtt^tiMBd^
Wtfo. ewilw MuW Scuice BWWmt»^^

Knn KUHE It rn FMMflortt. ASCIf* w

uuxi:m KXJPiimJKffUaicifK mm

HLWMFei47

BmeiwminKiwLisMineH n

BIG GMEM 1MCIM <Sn Ixn MjtK. BH«q
\!<Ai?iA*^ BMHCM-N^^MtBK.BU€<hrEilti-

Is-rig C crvm he. . llSWiCsd MkM M tao-
oao. aC . ASM}. MH CS S. HtOO 29
MJIIK rr (SV As A ^ MM. K . BIMug Muac.
iTOKnH BWGM Sana Use. A^>CM
tolUsk M^AfiCAfWt MB fUHtfTQ.
)&ViUmt Bnm. HMmkn R.

IfniMac. Ic. SISACfiH

Widen Me. 9

SESVIQI Afirt hUc he . ASCW>;S»«n CO . LLC .
ASCARitknia Fftrit UBC FU«awa ASCAROut

■V'SwffibfDBlltf

ntfUMMgCaii.BMti

.StoKlMcBUMvDW

ISffltOSB

inc-liSitSdBnS
- FtaUttcCo.

'.ClMH.m«)30

SMaUlrttBMWHiqErifKW a*CG.
(WiaWiJ

aMMnoi

__. .MiCnattMAcLiD.
d Tte Scene FUtisting SOOHMw)
Un.: r\fii«rn SOCAHfM BUdtKOd VUic. iK

AM Inc. ASCAfVfMw Att. Mflic FUMK^
ASCmstvThM Sens. ASCARM Jvrn Cff-
ri*E lAac^fiCAP} CS1 1 : H1C0 1 1

^ sdMBKLlnc,

A£CiPiLT22
ODIECHO Dt ANnGUEDAO .nva^Ueiu \Jna

onn THi KNOW im NiucH I iiiira VDU lun-

Mk ASCAPAHMjdUjK - Caen ewSa^
HMPlAliMXI BI«SoivCtUnMrs«.lK.
BWSongi FWn Ita E(i>« Rwm BUQ. >imM. CS

•UY TOU A KHW (IF AMD OOMNt fM» & STvn

OMaacn. __ ,, _

DOEWT MEAN ANrnm lldka PTKUlim
ASCAP.IWI toil lAsc « , ASCAT*** 01 QHIEt
UfK ASCAPj llL.Hia}61.l»119

ayWiQWaK,irocTO*a.6WW>»lPW%ie

BWnitMncd UfiK. BM), WIW OS 17,^
DOVTIW Oiqn hte UniMMQI m Be
■ONN (Bicte M« (>}M> LU ASCAMMnb

U«tc. ewoiia Fidm liluM, ASomiB

PuMMq. ASCW^*vnM^fUilsnrata.

ailMn«%ra«c nMtfiro Cvp , am, WW

moo 2

Omr IT IM M M SM IMIMK BM&nsCf
iiimtt IcJmiCimOm EMCuta
Bnvtlk EVMKS FUin« n«. K/HM HIOO
AFBI3B

AnnngBW) HAWM CSJ;

ariK nn OF MM (w Aprf usK ft; .

SESACIten EWw hC^ SESADSnrt lU-
bWa ASCAPAfllM Pnuue, ASCAiVFMMv Mn

nauac BMCimHsc.BMn.HL.ma)fQ

BCS TOOO TOOO I'totT-t. Vljjx tWftsWc
ESOAVD OC SUS KSOS : ' .'r^.H FAsca )k .

tSCtL: ■■, tiU.;.: ,1 '4

EVWUfll TK DMKBUUn (tate ASCAf^Sortfi-
4:Ien U£ic KUstmi euhU'SIm BUUV Fndb

EHSn 8M. (nn) MH«r FUNmm K-. f
ljmW«KUifiSQCai>..BMUtt«^ .
M4M BWmoTMbJc. Ik , mVM Cos UM
FUiMra ASCtfWmMi* Mac fUiti^
- "-B 01 LWWHI he , BMrtJnt«si( HUK Cci-
IIFWJ?

ktelnc.ASCAP'iaHSCOUjW.ASCWitt.

W ^hMg. ASCAnnndqr MM. ASCAPV FL

NiSilFfFEdNMjuc.ASCAP/AI

nUlW Mac Cop. ASCAP) IJ 26
nFTEB iSmMIV h FUWim Cam
S«MMM,iM},F«.CSI« Hitloa!

dwkK UjC, BwSw lOn^ FWi^wfl
JMn.Ft,Hlt(l38

IMRJtt IQcm C« FMt ASCJtf^UriMn^

CnipeWW. ASCAf^, n/miA. FtlOD »
TW imftVKM Mnta ASCAfV^

-TiTT^iliaHiI^inTnrftiiiiiiri

Khsc ASCAnmiSv
nnMiijaidifaHse

fOlHER nDdKUara. ASCAfvSo^ATV Iras
ll£ ASCaMm inik UC. BMICM Bbdonid Mbuc
W . BHnHK Gmne % RMIMB tic,
Mmiy FlM^ Iv.. eWMnf^TOWM ilH^
mg Cop . BWSroyn Sad) Hat:. BWScns Of
LkRfw^ mc. Mi Fi.WH Htm t;. RBHie

lilsnrn BMfnbr&nio lAisc BWSKt do Mn<:

Cm mimn

RMHOUK BlickKod Mbc ik.. BM<Pn ItcMk
F^Msflni BMft^ 9«)MfiK, ASCAP.WDgitw-
m JW Mac R, ASDV>). Ft. HIOD

NEMO) -Bl UL IMI 5UI FUWMv. ASCAAUMal

ItlluMCornnKnASCAP;! HulWlMacLiC
Bki»A fertwco UM. Inc . BtAIMn S Oct PUb-

HBI nMiim III Rift Mac ASACPai Apt) Mac

IK JWlVi H: -rx 56

VjfMAirtUaK

«; L,- . . .V-.r.:! »«. ASC«TCS26

HOMCV Tout 9T0MP I ;o'<t'ATV tM FUWwig Com
[in. GMQimWIi MoK/BNVUn Mt On MiK
BMWitonMsK.LLC BkHwOWiConntfC
BMMoc 01 sag! nra . BMWotti/s Song And Sit.

HmlL MM nMK nut^ Lw PiMarm
BWMMOil MiSK ' MGBSvnjIsgvyjmaX.
BMCM talMOd MAC. nc JH^An Sanw
LLC. BWkiWtaM AldtMu Cem,
BWBmrs Ota Hjiic,BR«4U!c or Ftp-Flop.
BUHM Wm MM LU . ASCV,Ct<ys«S Mflk lid .
PRS)iK>liBM.HI0Ot4

HM m DO mi NMM GOT [Mctoc IK
AStJiPA^ VMM Efitlini ASCAPi'JBfw SMf

luAr MM Ota 0 TFb OCQ Mjsic. ASCAP/ftKE &
MBCASCAPVWGMCS29

■no Ite SonmlK.. ASCAMimUlc m,

ASEVVIMMUK. ASCA^^

He. BMMmtaeM nMA« C«ip„ BMD

ufMiK.a

BMnTfflW,R_ .

IDEriTMmMLeiedtRBHaA

IIOTORlEUilBMh«iiMiK(K. BWJeorcy
Mac, he. BW« Mgnrtc FUilihm BtftOw^
(IM MM Cl BWtatlm JurtM FiiMm
ASCAfllBI Aa< MM rc- ASCW^B (MRA-

^ bvCop.

ASOVSii M MM in . ASCVITh iMriMi
l*M ASCWi^ MM. ASCAm^
Hm Aim IK.. ASCtf). FL CS 24
I Km nU WNT K lOIUI OGHOI (Don miwrn

-■ ~ ~"taaMM.BweaitwfM)

S>PjUlaUei.AS£Jif,Ooi
f^j^^g, ^

moo 78

I UHX HIDD navM MM. M IW 48
I im TD YDU(RtMlr PUbWriaJtc . BMH)rMn^
MM ■ Z Soiv. BM). FtmOeH 2$
n MR JSOMttW hUn MM ASCAMU^

Mm uCticiv/sciwmv cm)^ lAM F\fr

ASCAASoyAlV Aail Ftan MM.
BwWin] Mk, BMfn Ma Mac.

I^Ad UU BudK iCi FC CS 13. HtOC 64

ni Mm iu« Wft LLCehmura Mxef Fu>-

leMnlK.. _
BWfeungJmMA
MB(LlK,BMli,F<;V

ASCVjOIAMMMhC^ASCAfVEUL

Mac. liL . BMlhinin lus FUikfWu BhkNn?)-
bcrta)d Ma PiMvu Bin. (1. RBN 2B
ni M IIMl IMK iWms AtMino. ASC^
81

iW ran IBnmiNBC M MQ UBWV Fdon

" " a. »SC**Wi Jto FWfchra

" ■ BMIiScroiOl

>ic FUMm ASCAfVSowATV

_. _*SaiE5j.BI«€MAiiil

MM lK.«Cm FtJBH a
M lOK «hM MmiR IM (FAm Pudh UiNC,
ASCVUMitf MM - ; Ttnes U^.. ASCAP^^

I SlU UOMMU Pi Apri MM nc ,
ASCAMMnM MiK ASUPL FL CS 36
n M OAtowttnalm FUtahra Cop .

^ ji Mm. BhiHqn^ Mm

«fam HtBC.BMhWBM.iS53

IT OUKl^i Oyn^nSbhra ASCAPySnyAIV
ten UC. A£OVAJIeelJ fUttMn, SBACMac
SMS Cnpnkn ASCAP>. *«. KH 7t
l«IMUi5(nribLjtoF>rMEd ASCABU*Nnil Hoc
CwpfflnrL ASCAfi moo 3?

I WANNA MAKE llkj CUKE rOUR ETES |l«nv M»i

m ASCAP>U<Mena Misc ' MGB Soios.
A&viOm HM Sons. ASCAPjM M
ASCAM'artan Ujk ASCAf AlnMot «M
SnVL ASt^VAhD MM OonLUCA^
Mew MM ASCtfl. HUWnOw 22
cm MBMR tMi Bw Mtaftra ASCAfyh
Epos Mac ASCAf^fW MM MIAiGk

Mac kv. aMm<fcMEKOM0. WBM^

mnrnmntiriVifiiirPiMifTnn "iffTVrrTr
Hm BKVT>v Mudrr Soun) lU . PRSCini GrUW.

CEbN (EMf A(ri MM he . ASCWAfcim Hfii

CHECK IIY MIMI (bAuoBH FUWMO. SESAO

tlCli

CLOSE TO VDU fwOm CopMjni. eUF R&H 54
CM0lMWUl&£(AraiM8ld:LlC.8UtlI 16

MB«n AM ma m ijuMox

COWHOBB jUMWiri Hmi . hc, ASCAP) II 20
CONMn IK aOK <ta An) SiM'i iW
ASCA«W6wnCw' ■ " '

F\jlfi(*ewO:«p BMfii .

coOwTFrr^raus turn LomiifBiBi

. '.-i. '■ .-i:«jM5iianl_..

; BMd.HLCSB
coUFdFn Lrvw' >', - r. r^ii.BlMioSfBcelikM

*£^h- iav.m tJUx . ASCAP/Biqtaust. ASCAP) CS

COMOT CttWOW iCsn^ MM. BMt'EM

(iMMCKominion

lbnng.ASCM>«JiyiMM

. ^ , ASCAiM VIM lo FUd Itu SoifK BM) . Ft. CS ^
Hld043

eWM ft Caa ftMsnm aWSorwATV Sem LiC.
aUIUirvr IM Mac NMSO l\iMslw« AS^

KIIN ;HBU ChAWl>ES

eOOO MU 60 BAD lElel Bwl Mm. ASCAPXM
M Mm K. AXtf/Uon An PaUslna.
aiWittPa hwrtw RiWwc Cop. BWSwrtw
Ibin MM GMfiui MM. InccnKML MU.

nrnccrir MttMM. BWDM BiKMw} MM

lncJU),Fi.»rc
MltMAll(HplUaMl)J'5

IMm Amie 2 lAft ASCAfWMI MM MMWO
Anna. te. ASCARtM'i loMnr Al \bu FUd Mac
MGM9 F1«Bl« Mm awSiv^AIV Sor^ a'

ASCAf^fiuo Mac ASDmac 01 WhAMp
ASCAmI A|i# MM kK-. ASOVMx CiT (Wwg
& MM Fsnwaon UC, ASCARUn Fcne Mac
ASCAPitwRH* MmsM Mac Pilikhm
A5Urflu|^aa(LA£^Ft/MMRBl45

WMm ASCAF'A;:ilWunEWrpflgej.S^CS47
Moot raU DOM IDviiMtfi MiM, SESjCW BJU
MuK CdV. SCSACMnlnMMc!«CAPAAM^
MM l>)va«an. ASOtfiw MM PiMfMip

MIM 2 M«1c!m^ HRdMs

ji«ihfiiiM:li3iw»^

IGCAnw MM fWina eUVanv^vrarfeK
R^g^top.. BMVm NTGdU UAsnn( aM).

104 I Go to www.billboard.biz for complete chart data

Mm - 2 1m lie. ASCAPAn h 1W Qnnd Rib-
HMl ASOfyMra MM I^UM« he.

he BUI. li/WH FtlO0 13 FDH H

l(cr a B m he SESAUtoonlrne SoulL SESIGEU
Contm Mac. S£S<CyF» Mm he.
SCSA&JqtotAdDK UmAmmv. SBtCOnv-
on CttitefUAjhm, SESA^l'AiM tads. ASCAP).

niUMMUSMfCHIDO
* imiE MMECnMnir THM 1W lUiMral
Mac - MSB Son^ ASCAIVDon RjFrTMB Sw

ASCAf^ffSMS. MQASlraJVd A PlM MM,
ASCV/Sw OS IMc Armlci. BMWmeMkmer-
Im (Uihftn Oyp. BWf>iK«ic Ftaf MM BUK
F4^,CS38

UMG nn M Mm ffittv Stacn FUWrtna
OnmftMi SM De9|)<co^om'AW
Aa/Ftoa Hoc. euinJnMutiUiK. SMj. f4l CS
8, HIM H
LUIEK POR DERTm UiMI J 42
IDH (He CaarmI Ftux Mw. Mlmoi Mac
CofpoMn BUtftodnmin Mac ASCAPfEU A;>u
Mac tc. ASCAMMonts HMatB acMn.
SLWTO Chnrt MM Sm S A . SG«^
CUs) MM. MOiysakSanosL BM^ Fi;w^

iBvM 9 iVi Hep. Bim^ Of

Um ITTDI rV SONillElD Lmt MoK. EMOd IMitt
Mm ac. ASOf .fftindB] St| M»c.
ASC>V>,C«s»<3 Mae ASCAP.&rrovnougH

BWWhk 01 RPW. ASCAP,Cttocry 5 MtK. ASCAP)
CS25

I0(nn m MMM (Gaail ASCAMianw Che-
ix«l Mac Sdai SA . SUaafeM PnducMii.
ASCAP4M iW MM He ASCARSMB BMi FUh

SorgtASCV/WMMCaq)

StSACMHASU
ASCAPVMAlWLl

Mot ASCAP.1^Mdy lAMntMM, ASCAP/Sttt
Ov Seres AfTvnca aScm^SI Son^ ASCAP/GH
BUdwM Mac he . BMlflatlilan MM. GM).
F«;WM.H10D2e
UNE Un GMZr (MN Cub Mm. BMK«Ml IM-
ol Mac BWMmtnvtow FUtmq Cap,
ei«T«hri MM BHl, WBM. CS 45

UK um « fienMnOcs KM hte iWh
mASC^Mlb&GadlMUM
LLC. ASCAFttWn* BH SonOL BHnWM MM

UNE 1DUR MOn (SxyAlV to PtUsfK

un Cow^. M/SoWilTV Aoil fen Mm. BU).

HLCSIOiHlOT"

le M Gone PiUMml ASCAPifw M Mac

ASCAf-.n.! Soitp. ASCtfWu 315 MM ASCAPJ
r:_M 4_ moo 4^
ME 6USTA ME GUSnt I'M LSDJ) U 36
Ml CAHA HUELE A TI >^ lisHd] J r
Ml COMPLBIEirTO iLmsai UiK - MGB Son^
ASCV<,<;jnnei.BMtilI2i

ASCAPiCM M Mm lK7i^CAf'/S«Ha Bod FUh
ll«W,EES*bUMai<UCS SESAC^onoiOIlM'
wsaChcSESACMOntMMAnna
BMTSMQ. feraiiOr TFm MM FWimo BM).
HWBHjBHB

MSm OmCBI fN>«» Mm. BM^ VMe
Mac aC. ASCV/lta OFThtDoo Mac ASCAP%
"Mw DDd ac. BUOrth eixlts Mac: ASCAP) ^

mCYTOBUW CUxFt^tolAGC BMl'!txn|
Mow F>j)lshiB W , aAWri«-!dreline atfev
ing Cop . eu^tua OwnmL ASCAf^ Mac
COT. tiCAPiUw Am LLC. BUEM BWmod

MMhc,eMh.FtAiflH.Fny

MOO U MO GcM Ctt PUUMrg.

BMUinilm BMVJni Ftnni Sontp. 3

MR. NT on Itt IIMey hma^ Hm& BHMnn-

«WMLM.EWf> !toe.EM|F»180
m CHU fttaHnn MM SMJ 4 1 Mm, GMunP

MMBWaiBiactai^

fll(lJB«B*<Misi: AStW.UKOti*

Olit MM. ASDVM Apri Mm K .
ASCAMUcB Use BMVInr Eihads FUMtfMU
ASCAQFftOD36

IMI IMK (tMa MsK - Z Sorn, EMOesK-
IWPUMVtt BMBpMU FWMMM.
BMHnlBcbsueAgMnwtMsc BMklicni
KttMMIAac BM^olivCMsMacBU)

N mUl MJWUEIES Ml USUI II 23
mWIC»DEAIMfllJHnEfto«nnaaK BMl

LI til

W SUmSE I SutK* FMr Dew Lift Mac.
EM'twerai Mac - Cmn. BWfaiWIiHft-
nsnm. SOCMitUm^amm PiUsnfig Corp.
BWnra C^erii. SOCAFVSonfittTVSva LLC.
MflulA«riJrtMM.BMp,Ft/ffiM.HlM34

IflHMlMigWTO

. ■ m li% MMvu he , eUHImm
SonsL MlHiimUuK. BMm DtiKtl.
B QHtawsil hTEMU^ UM Cv-
poMnleCVAnAw UM. ASCW. HIMW.
HtOOaO.fBllO

_ eeMMFWshngSESAC^OiLhi-

<mM hc .SESAC*toMkMM BMMaaOim
Almi.BM|.FUNeM,FW€7
W M CJOHtit Dam SESA&U3 UM PUi^^

M» Som «SilP). HiyWBM. m 99
TIC M dby J. OM IMnie- ASCMMJMmHbCA.
ASCAf AianM UM CoMOiM AfiCAP,WI Btadi-
modMM hcEMflMtayMmPicdUlCM
EMiU DmDEMMU* Wne LLC. Ml.

OK Tl^eSasSte IIL. ASCAMMi »
Ii9«n A£imb«fiSc(a. SW3SS OeMnL
AS»mfr Com Mac AS:AnlM^
CotponMn. ASCAPiWMiB MM. ASCAnHm
SixffiASCAPJH10a2e

OMV TIN CM LOVE HTM Ml Sony/ATVSonoi
UC BU^AnUMLKPRS^WEiaclMOd
Mnc ric.eH^WIiE4nMM.eMn.Ft,CS4.

« T)C OCEAN I Jam fM Mac, BM) REH 24
OUrSM MT iNMMJWrie Gong Td Mu Mac.
M'MJt !ki V( <K . SSAC/AflPb MM. hC .
SES>CEM Afirl UM K . ASCAP.'SMno Sdngi
AXAT/M CoCOUm ASCApi FI.CS30
OIHMM|Dw«Mbc8W)J37

fMMZD iSleta Ganmn lift Gi^
BWSaWAlV So>g) lie. BMWouK or G«a Pi
ra ne.MOcJw MM K. BMVJjHi««e

aSCAPV ttHlDOf
MRrrMIMEUiJLlUu:

ASCAi-Suic didU Mac,
itttnj Cirp . BM' JessiQ OvrM I
BMlWWFflDO'

aptoiocMM

BM>MM?awiir4e

PUME ODirr LEME HI IPM hsidl FUilsrina
BWEM ewwDOd IAm he . ayUtaBne aS
STM^fcCtf Use PlMsHV Aran mc. ASCAP)
HLrtlOD*!

TW POWT OF FT AU TUI A(rt UM IK .
^aM'.'uayf.aUnMnti he.BHVterWHK'i
Mm: eM).a^1ABtJ.Ri»l29

PKtrr MHBI jBm'Hn MM ASCAP/BN
Uac Inc. ASCAf^^ATV insaC
ASCAMAdBML ASCAPIJL Hia044. FOH 1

PIMIffff nVMM PMfflIMB (El

Bar AMMm. ASCV««n lU Wmic

jScAPftriaoioo

BCnMM MajcBMOnwal MM

GOA BMMJiC MM BM) CS £
"HL HIT sm m Asm Mm he. AfiCARiCm
a nMMra J^AKM BWoNod Mm ^

Ev. — BrMMinc.flMiisowiidWBac,
ftUM. eiA*Uai Mm F^ltM«o

ikWIHnpHM.ASCV^.Ft.

mta

muaa

Ufic PitMinO Amno. irc- ASCAfMlossiwi
OdmKiot Snv. BMSaw a KdM McK PiMA-

XnMa. he. eWMKltaic. ASOPI CS 19;
ss

Et (M 11 76 Hmc, ASaVMdl Fcuttn FU)-
V UCVflyiMlMc he.. ASCAf A
" tAfiCAKJiMlMUMIn:.

MlA^Untoi Um> MM. BMKavVlTV Sow
lie. BM%an FUlitfm BMmbthi
MflirniiBH AlxM MM.

KCffOmOaaimM. AfiCAMMlg Mac he.

awm UM fuaml aSamm

MEIMilM 1« GOMM (ZLS UM PlfiWi-
m BWDJO MM Cnm FUiWm fiuniM
sSi AiiMK MM AMn^ 6MO% lnn«
CMfcSESAQCSW _____

aMM n nnm ffMiiQ (NM iMdi IT 47
iMMHnitt And fWon MM. ASCAP^nwsn

MM. ASCMWnw OrShtaM MiM ASCAf .<^^
h 1TW KM ASCAf\ WK CS 1 4. HlOO 79
Ml 1M TOM jBttaH UM he. ASCA^ C^
Boys FUUML Sl>f'nwQ(m M
rc . BMlHI ftchmd MM. ic. ewig 1 D
" -ic,BHKins*tUMFUUteiiSCAP^Jh)rah
K LLC: BMIBdbbs & Ata^ ABBS. BMO

SMM WU (UnOHnxn UM he . EM), wm. CS
Ur_MN^taittMFaatHe.JrPk

II. litasoto Uak F^tWKig. ASOIPilI

SSfTinnOS DE CNm (FM LMd) IJ 32
■EXVGHCI^Mpio.Bsntltin&Co .he ASCAP'M
Kre SajK tM FUHm aS^AP:^
mnv jeCAmM Pnk&M he, WCW'.'Sory'ATV
Sera ac BummSonoL BMt^UBLBU'Uft
tnSe ItaK. euopil . uIiFi. Itiao 4S
IK WU jlht Cmml fWum U&w
MM CDptnttaBMrndnm Um A^tPrEw
April litac he . 'ScAPifdUonn UMAln Qnm.
SbWmChUKllMMSpMtSA.SGA&AmN
C<M MM MOinniis So*Qt, m. Ft;WM.

liSKrlwif |SpiBBWUa£ASCAftO«*H
MM. ASCVAn Mac. A^CS 56

BM DIME MM ASUPlUnvBl Mbk

Capnkn. ASW/bmw 1«n ASCAPAjMral
MM ■ Z bis ac . ASCAPiWenfim Kd UM

ASCAPyWB UM Cm. ASCAmihO OMl sEn»
K,ASCtfl.Ft;«IBIiCRBH6I
MAU nWI UM MM Mem MM, ASCIVVVIM
MM. AXAFA^h* UM Coiim ASCAF^

Qm. A£iPMMral Sam.

Hbai liuLBW^KOUacur

UiacCap.Aayf^Sc
l^jUWtfu ASCAPl, WHTW 35

ine BMMdm tiK Spalai ASCAnSMAIV MM

HUM CHAMCa llMasM UM - Cm
iiM )> St.r ^r.l'Arthxn. BMq. FiMBM, H1OO 71

If IfW HEJOR SM Ml IJJMIiHBCal. ASCAP) LI

TEVESFHIALjruiLdB*lJ17

THOY HOW OMMRrm IHU lUMnri
CotDOttn. ASClVfill HrlWer Mac ASCARB
BBciMoodUBC,kc.BWSkngSMd«Hac
BMM Jonn hkM . ASCAP%ik « Mac.
ASCApkH/IWHCS3l

MK «i (bnt Itt

tnriMrfbiitndMHic.

^^.^09 LLC. BWUE ?^^B^

tCUSv

THMH- MOUt YOU Ota> LM b ai A hMM.
SESACfow Usiclne. SCSACCU Ccmm Mat
SLSHC ta: j«^>M EmBmwt ML. ASCAfMO
teKScwirc ASCAP>lM«ari Um CopoMn
ASCA/^'lV FiafenwUac Onv . eMWntNre Cc
LH EM|.KL*A«M.HBH56

TW TM Ucr FW Mac 6MQ FCH «
THROW rr ilK aw (EU tari Uai.
ewcD Mac. ASCAP^Qsngt a lU .

ASCAPMKh 9li RMftu ASCAftZCK Mac n
isrvn ASCAMR MM Cop . ASCAPl. F«/ACM
HtOOlILnHII
nMMMMneopFUMwgac. BWGvu

Wir ■ Son ipmnd BkJt Sfitt Putim

^Itp^MIV Oku Uac ftom

._ ..HMMhc.SQA&StndUeThtCrMi
UM. SBlbSongsFa MeiJMO>biHV< Mm L
~— - - S.Brt|CS32

Tinril (Br Vl^ 01 21 18 FUMng. LLC. ASCAPM
OM! FlitlMn ^tiCAPitalDiUckUtov
eCAMIUMFtfiUnc BMHMnnd MM - Z
Sov. BWAinad teUM, ASCAPjUmsI Mu

tMMU (D>«.bda]fL ASCAFvpa 2 Dd Ufic.
ASCAPySoi^TVItaa lie. ASCAf^tair AM.

ac. ASC^ig MM/ASCAPI. »L RfiH Sf
1MT <9k R. AS&VMJrmral MM ' MGB

CnrirttoUMASCAPfUpuiMftMWWCpp.
BM1CS42
TWrftOUTiVI ISMdl FOH 52
TU OBECIt) iMji I (SKd) IT ?7

A VEZ i;o! UvAos Mac FUtshn^

Asyna48

UMM (M n76UM ASCWVBtaGirMMn FU>
ASCARMg^OntsUA ASCWAI A
Um he. ASCAP/H*npM ScnQ) he.
ASCmontt Hb iSCAMMval UM Csrp

MMIt.A£tAP)1l«MUM.ASC^ ^mi
Male )S»WhmriirnMM PUiW^^

WWHjMm«nM«IU*itinaCDv. BU).

IP1D IM fhdtWfyUM SMSMOni Cw-
ighK AraAa SESACmtt Bm

a CartMtan Mac. ASOmNcOl WnM«L
ASCAPiFdkMI Uac. ASCVMfwtKi Mac,

ftiMsfirftflMIHlSia

.^_ia (Wwi rrmUdiltail Mr
, . A UM Cov. ASCAfXtemndD

li^'Antei Cstecn PLUsFmo A£. SW

WUID iSimxK ; [Wdr Uok ASOiP EU JcN
Mac he AXAP'Ttxlx One Mu: Grajp.

WE K StEAOr MOIM iFW L GM) R»4 G9

WBCOMETOTW RnWE IFiue a Sea

. _

hcopoBMA MtSiHE 01 Whdnail Fwie
BHttslhi BMUbc. ewJTXUfiK JU-.~
P MM CoiMi*. ASCAMMllH ^UMthQ.

flMacCtrp ' -

XI fXwi CuVr PiMiha SESAC^kcanta

• <■■:>■, ■nn-'-irn' '=rdC^or»hT>Bl^CiB
■^:a*.SKAC)iwas

SOMtBOOY TO LflVE . " ""^ "

KKMHtORuaSliimS&i.AttnaeMMM
BUWanei l«nmv FUnNna Cop , BMScn)i«rv
aC,^AECAm>« tatgtr Mac ASCAP>1Mm
Mm1ScAP/BPJ AOmmMn, ASCAP). Fijviw

^ '-n Aaiimismif tencf

-aMMllM.

|.FtMM.CSirHi[IOM

..ASCAP^MOM
^ SmaiLB ASCAWJjs

MaTinMiflOOS
MWrVE in WWTM m (Brtoi UcKrttn Mu

LLC.ASCVLIW»
WlWim 00 (M A((il UM he AXWjSnm

Co . ac.. AScJPMm FWa UM PuBUMft

ASCAiMXct FWnonr't Ficuw nUMiD.

ASCARUMW MM - Z SoN&BMnn h Tta

lkinlftailno,ASCAPLI«?(m^ Jt
WWIE uBf^nSATV in IVtMra Co^.

BM^OooPuSMir- •"1—2. u.„

eU^nMMMGi

FCCS31

winiBuiiCtotkau
ASCWMBMnaii

CASCtfiCGAIkncMM

IA.CSSO

~L (MmatawtaM FUMm Can
— ■■""-'talwidMisc he

BMVAori Bm Mi&BIWtaM Mx

soninlUwri MM^ca^

IMMB IWn CmKM Uac FU-

HM. ASCAP;SBa|TE(e Smb. iSvf»mMm
CoiAa HoOSCV/Sbn iKn Mac he ,
MDdssIw llpim Uhc. ASCiPMtal HjBK
PuUofinnAiiwa « , ASOif), Hi, hiOO «

lUWiniP'aTiMrtUlnf^.fc^sr^ ASCAP)LT5

lUKdltBI _

UM wnn w @aiirtiv In PuMn

Lurrtxri. BMl'lAW SiA UM BMtftim Sh
KifJL. SESAC'&jmnOitMnnmPuHAo.

StSAC'X:GBUnFt,Hl006

TW;

BDyj

n KMM {EU Apr* Uac he . AS(>V>AAi

- WMMMoeduaciK.eHlidAStnt

hc,HM^tCmoc7;

VIBtt E«Um ASCAA^SninUM^

Data for week of OCTOBER 10, 2009 CHARTS LEGEND on Page 9

i:u

ECUTIVE
^mABLE

Send submissions to: exec a billboard.com

ECORD COMPANIES: Warner Music Group names Chris
ncliff general counsel of international. He served in the
ime role at EMI Group.

UBLISHING: BMI promotes Kay Clary to senior director of

ledla relations. She was director.

EMI Music Publishing appoints Johnny Tennander VP of
&R for Europe/head of A&R for Scandinavia. He was A&R
irector for Scandinavia.

ASCAP names Sam Taylor director of membership for
)ythm and soul. He was manager of A&R urban at Warner/
happen Music Publishing.

CLARY

1 TAYLOR

OURING: The facility management firm Global Spectrum
ames Troy Flynn GM of the 10,500-seat Mullins Center in
mherst, Mass. He was assistant GM at the Sovereign Banit
,rena in Trenton, N.J.

IGITAL: MySpace names Alex Maghen chief technology
fficer. He served in the same role at the MySpace Music
)int venture.

ELATED FIELDS: The licensing consulting company Rights-
low promotes Scott Sellwood to senior VP of business af-
lirs and human resources. He was VP.

-Edited by Mitchell Peters

[K)011WORK&

DEL50HN SOCIETY AIMS TO PRESERVE
'INTAGE JEWISH MUSIC

>ne evening in late August. MySpace Music president Court-
ey Holt and his 5-year-old daughter watched Latin jazz band-
•ader Arturo O'Farrill and his Afro-Cuban band re-create the
961 album "Mazel Tov, Mis Amigos." a collection of tradi-
onal Yiddish and Hebrew songs performed with a Latin twist,
t New York's Lincoln Center. The concert was organized by
le Idelsohn Society, a volunteer- based nonprofit group whose
oal is to "recover lost classics from the Jewish archive and
eissue them." says Roger Bennett, who co-founded the group
/ilh Holt. Birdman Records founder David Katznelson and
JniversityofSouthern California professor Josh Kun. (Music
■iz veteran Seymour Stein is an adviser.)

During the Aug. 23 show — which aimed to promote the so-
iety's Aug. 1 1 reissue of "Mazel Tov. Mis Amigos" — Holt re-
alls thinking, "If we hadn't pulled this record out of the vaults,
hen at some point it would've just turned to dust.' In recent
ears the society has also self-released reissues from Jewish
rtists like Fred Katz. Irving Field and Cershon Kingsley.

The society's next musical project is a 30-track album of
vfrican-American artists singing Jewish music, slated for re-
ease in March 2010. The as-yet-untitled double-disc set will
ealuro performances by Hartlia Kill. Johnny Malhis. Lena
-lorne. Billie Holiday and others. The society's releases are
ivailable for purchase through its Web site. Idelsohn
>ociety.com. and other digital and physical retailers.

In addition to reissuing forgotten music, the society was
ecenlly granted funding by Steven Spielberg's Righteous
'ersons Foundation to begin a film project that will docu-
nent the stories of living Jewish musicians from as early as
he '40s. "In 2010. we'll fan out all over America and record
heir stories.' Bennett says, noting that the footage will be
irchived for preservation and research purposes.

— MitcMi Peters

Sta

f amto

Celtics star Paul Pivrcs
(Icfl) met with lorrrwf Prcstdcnt
Clinton and R&B star U«h*r at the Heads
State Reception at th%e Museum of Moctern Aft
in New Ytxk. Pierce was inviteO by Clinton to
launch his FitClub34 fitness initiative at the
Ointon G(obal initiative wtoiy ccmbiesv paui

Epic Records artist Smh Kingston arrived at
New York hotspol Tenjun© Sept 23 (o
celclxate the release of his second album,
"Tomorrow," which features the hit single
"Fire Burning." Ul Jon, Rick Ross and Russell
Simmons were amor>g the partygoers who
got to see Kingstofi perform three songs,
includ»r*a his b«eakout single. "Beautiful Girts."
off his s(Hf-tnloO debut i-i •■ . ^-f . <

White in Chicago on a
pronx>l>onai tour. Academy
Award-winning act ttie
Swell Season slooped by
the mustc production
house Comma, where it
perfof med for advertising
agency croativos The
duo's Gl«n HMfard and
MarkvU Irglova performod
songs from their new
album. -Stnct Joy." due
Oct 27 from Anti-, as well
as the 2007 film "Once." in
which they aFso starred.
From left: Comma creative
director/composer Larry
Pecoralla. executive
producer/artist liaison
Bonny Oolan and composer/
QKOcutive producG4' Bryan
Rheude; Irglova; Comnr\a
executive producer-New
York Mtehaol PmIMU:
DOB senior producer of
music arvd integration
Gabe McDonough: and

Hansard t-.<n.) t:.>aii-.. ■ n

From (eft Third Day's David Carr Mark Lee Mac Powdl and TW

Andarson backstage at the 51sc annuoi Georgia Music Hall of Fame
Awards Sept 19 in Atlanta- p>«3to cour tes* of bich oiamoWiGC rrv ihaocs

INSIDE TRACK

IF THE SHOE FITS

DIzzee Rascal's latest album, "Tongue
N' Che«k," may have already spawned
two top 10 singles in the United
Kingdom and debuted at No. 3 on
the Official Charts Co. tally, but It's
his new line of shoos that's making
noise among sneaker pimps around
the world.

Rascal teamed with Nike and his
longtime collaborator, designer Ben
Dury, to create a custom shoe that
would match the aesthetic of his new
release. The result Is the Nike Air Max
90 Tongue N' Cheek, a tan shoe with
a distinctive pink tongue and the al-
bum's logo stitched above the laces.

Rascal's silhouette appears on the
heel and the logo of his Indie label.
Dirty Stank Records, Is embossed on
the sole.

The shoe launched in London at the
Nike 1964 store a few days before the
album's release and quickly sold out.
Rascal, not surprisingly, Is a big fan of
sneakers. "I've always loved these
shoes, and I got maybe 65 pairs at
home," he says. "When the call came
up, I was all for It because it's a good
shoe. The Air Max is the street shoe, so
it just made sense."

A U.S. release date for Rascal's al-
bum hasn't yet been set.

OCTOBER 10. 2009 I www billboard biz

105

(ISSN 0006- isio. USPS ose-ioo) n

BdUi fld l>2. Muiliuuga. CM L4T 1LI. Vol. 121 ii<

M UnlvMUtv MKnilllm, P. O Bon IMfi, Ann AHmi. Ml 48106. For fvpmti
m mt U S A For group fubicnptlon >n(wm»llon c4<l fr4»-6»4-M»l For

CoMlnwnM U « %199 00 CorHHWtal Eum«* 119 pouniti B

SoD>!S9S.No(it«n>ok.rLS0065-]595 Cur
ug nuw. BBo 1^•VGS7tXJDXom. >'S0O-Z»O'546O, ML III. UrxMi C>n«««n Pubkibon KUI A«iMnMn( Ha 400])7n nmiin undall wab)* CMdiHi <c
■r<«Qnn«tkin.cMtOO'6U-«m<<HAtk»U&.M^SS«-TUI)w*-mMlbaboMa«H)corw<(n ln*orni«lKtn. Call »4»-aM-4400

M«. Global MaH

106 I BILLBOARD I OCTOBER 10, 2009

Beyonce

Coty applauds
its newest partner,

on receiving Billboard's coveted

Wo man ^^^Ye ar aax^rd.

Congratulations

from Bernd Beelz and the Entire Coty Family!

COTY

Co-

5^1

LOST HW ® ^i^^s

■ i

■

s
2

l/i

Cni

.EESPOTIFYRUN
JUTCANIT
lAKE MONEY?

lABSBEAnMIMI

Vhat'sAtNo.1?
Sarbra's 'Love
s The Answer'

THAT'S THE TICKET

Kia Revs Up
Music Marketing
With Concerts

DISTRO INFERNO?

BLITZKRIEG POP!
TOKIO HOTEL
CONQUERS EUROPE

Chart Heat

PARAMORE
ALICE IN CHAINS
SELENA GOMEZ

71896"47205'

Cni

COLUMBIA RECORDS CONGRATULATES
THE INCOMPARABLE BARBRA STREISAND ON HER
UNPRECEDENTED ACCOMPLISHMENT

PHODI CKD BY DiANA

tO-PRODl CED BY ToM.MY LiPl NL\
F-XFXUTIVE PRODUCER: B ARBRA StRFI-

Barbra Streisand REPRESEMAiroN: Martin Erlich.man

I < )1 1 NIBU' VNU # KEC. VS. PAtfcTM. OFF. WiAtk R»:Cb1UD\ 0 3000 FATEITAiNlKXr.

-i-C^^-^SJ^ =»JL* tS^i^ 'S.*^ iicl

Cni

Billboard

ON THE CHARTS

mi unm , mu

THE BILLBOARD 200

BAHSAA ITREttMO/

I I.! S r.4. SHE»tR

TOP INDEPENDENT

PEML MMI

Tno nmiTAi

1 UIUI 1 ML

PMMMK/

TOP INTCRNET

BMUU STMKMD/

HEATSEEKERS ALBUMS

AUSTRIAN DfATH MUMK /

TOP COUNTRY

MnANULAMUHT;

TOP BLUEGRASS

pttmuvEun/

uwrHiwH sou 1

TOP RSB/HIP410P

hUniAH UREV

TOP CHRISTIAN

DAVID CRDWUIKBAKO/

TOP GOSPEL

FRED HAMMOND/

liM UOICFWWiLl

TOP DANCE ELECTRONIC

LWTGMM ,

TOP TRADITIONAL JAZZ

HlUIRY CONNtCK. JR.

TOP CONTEMPOHARV JAZZ

CHRIS BDTTl

TOP TRADITlOfUU. CLASSICAL

BELA FLECK

rOP CLASSICAL CROSSOVER

JOSHUA BELL

TOP WORLD

ROMKOyUBRIEUt/

TOP LATIN

LOS Tt(»E8DaM0Rn/

- " -—

^SONGS

PAGE

MT1ST / TITLE

THE BILLBOARD HOT 100

i«V SEAN HATWMO IK. WiWW /

HOT 100 AIRPLAY

MV «AN FtATUraW UL WAm /

HOT DIGITAL SONGS

MUT CYRUS

HEATSEEKERS SONGS

LMTAO

MAINSTREAM TOP 40

m SEAN FUnMNB l& WMMf /

ADULT CONTEMPORARY

MUVCVmii/

ADULT TOP 40

KINGS Of LEON '

ROCK SONGS

ALICE IN CHAINS

ACTIVE ROCK

SICK PUPPIES

HERITAGE ROCK

AucE IN chains;

L.lli" Wl 8H*Jh

HOT COUNTRY SONGS

TOBVKEnH/

MliRlUK MDf

MAINSTREAM RtB HIP-HOP

DRAKE FUT TREY SOflGZ A UL mm 1

RHYTHMIC

ikt 1 RIHANM It KANYE WEST /

ADULT R&B

MAXWELL

HOT RAP SONGS

JA'^ ; RIHUMA « UNVE WEST /

HOT R&B'HIP-HOP SONGS

MAXWELL

CHRISTIAN SONGS

PHiUII'S CRAIG t DEAN/

HOT CHRISTIAN AC SONGS

PHILLIPS CRAIG A DEAN/

CHRISTIAN CHR

rOBTMAC

HOT GOSPEL SONGS

aEBE A CECE WINANS

HOT DANCE CLUB SONGS

RAIPHI ROSAmO F. SHAWM CHRISTOPHBI /

HOT DANCE AIRPLAY

DEAOMAUS • USKAOC /

SMOOTH JAZZ SONGS

iintti

HOT LATIN SONGS

SHAIIRA/

v.w

HOT MASTER RINGTONES

Ikl Z, RIHAMNA A KAItTE WEST 1

h-HIS WEEK ON .biz

MmST/TIILE

TOP POP CATAUOG

MICHAEL JAGESON/

MuWKH imi

TOP MUSIC VIDEO SALES

MADONMA/

HOT VIOEOCLIPS

-1

THYIOR SWFT /

TOP DVD SALES

xmKmaia: wourEnmE

CONTENTS

^^^^^^^^^^^I^^^^^^^^^^^I^^^^^^P VOLUME 121, NO. 41 ^0^^

ll'I'UONT

S SOUL POWER 10 Digital

Kia launches an Entertainment

ambitious music 11 Global

initiative. 12 The Indies

8 Mileposts 13 Q&A; Max Gousse

9 Publishers Place

COVER STORY

14 WORLD VISION From POP to

ranchera. Alejandro Fernandez's new project
bridges genres and two of Universal's labels.

18 HAIR APPARENT Tokio Hotel has
already conquered Europe. Can the elaborately
coiffed German boy band get big in the U.K.
and America?

20 SEE SPOTIFY RUN The Swedish

streaming service has taken Europe by storm.
Can it translate that buzz into popularity—
and profit— in the U.S.?

TOURING

23 CLASS ACTS Campus coMccrls adjust
to tight economy. Plus: On Th© Road

29 ^IFE AFTER
DEATH Flyleaf
confronts
mortality on its
second album.

30 Global Pulse

31 fi Qupslions: Glen
Hansard

32 Reviews

34 Happening Now

IN \\\ \:n\

ISSIK

4 Opinion

36 Marketplace

37 Over The Counter

37 Market Watch

38 Charts

53 Executive j
Turntable.
Backbeat Inside
Track

i Of BILLBOARD

Online

NEWBILLBOARD.COM

Visit Biliboard.com for
exclusive video inciuding
Jay Sean performing his
brand-new No. 1, "Down,"
at Billboard's studios and
Canadian metal act AnvH
discussing the
documentary that brought
it newfound success.

Events

FILM & TV

This conference, set for
Oct. 29-30 at the Beverly
Hilton in Los Angeles, will
feature a keynote by Mary
J. Blige. For more
information, go to
billboardevents.com.

TOURING

At the Billboard Touring
Conference— Nov. 4-5 in
New York— Ozzy
Osbourne will receive the
Legend of Live honor and
Kevin Lyman the
Humanitarian Award. For
more information, go to
billboardevents.com.

MEDIA AND MONEY

This conference— Nov. 12-
13 in New York— brings
together leaders in media,
entertainment and
finance for keynote
interviews and panel
discussions. To register,
go to mediaandmoney
conference.com.

OCTOBER 17. 2009

ivww.blllboard.biz

Cr:

BilllKwid

OPINION

EDITORIALS COMMENTARY LETTERS

Working Together To Save The Music

Internet Services Present A Challenge— And An Opportunity— For Radio

BY JASON TURNER

Record labels took another shot to the
gut Aug. 2 1 . this time from the Second
Circuit Court's ruling in Arista Records,
el al. V. Launch Media. The court held
that Yahoo's Launchcast wasn't an in-
teractive service as defined by the Copy-
right Act.

Unfortunately, for labels, this means
that one more potentially significant
source of revenue has been dashed.
Launchcast. as well as other similar In-
ternet radio services like Pandora and
Last.fm. must only pay the minimal
statutory licensing fees set by the Copy-
right Royalty Board through SoundEx-
change to the owners of the recordings.

This ruling is well-reasoned despite
the labels" sensible displeasure with it.
But when coupled with the continuing
failure of Congress to pass a Perfor-
mance Rights Act. it makes it more im-
portant than ever for everyone in the
music industry to work together to keep
this a viable, profitable business.

When Congress enacted the first U.S.
copyright law with the Copyright Act of
1790. it intended lo establish an incen-
tive for authors to share their works with
the public by prolecltng their creations.
Recall that Article I , Section 8 of the Con-
stitution gives Congress the power to
establish laws to promote the progress
of science and useful arts. (Granted, il
wasn't until 41 years later through the
Act of 1 83 1 that music was first recog-
nized as a "useful art.") As the Internet
became popular in the '90s, the record-
ing industry quickly began publicizing
its concern that existingcopyright laws
couldn't protect it from piracy.

Partially due to these concerns. Con-
gress enacted the Digital Performance
Right in Sound Recordings Act of 1995.
which was the first time that the own-
ers of sound recordings were afforded
the exclusive right to perform sound
recordings (albeit an extremely narrow
exclusive right pertaining only to paid
subscription and interactive services)
by way of a digital audio transmission.
But the industry and Congress soon
recognized that the swift evolution of
the Internet and the advent of true "on-
demand" services, which allow end

FOR THE RECORD

The name of music engineer Mar-
cella Aralca's label was misstated
in the 6 Questions Q&A in the
Oct. 10 issue. It should have been
listed as New Age Rock Stars.

None of us can
afford to ignore
the perceived
problem.
Especially
because it may
actually bo an
opportiiniti>^

users to decide exactly what songs they
hear, called for a change to the defini-
tion of "interactive service" in 1998 to
include services "that enable a mem-
ber of the public lo receive a transmis-
sion of a program specially created for
the recipient, or on request, a transmis-
sion of a particular sound recording."
Up until then, nearly all the services on
the Internet were deemed noninterac-
live, since the content was chosen for
the listener.

There's no doubt that college stu-
dents and younger children these days
are listening less to terrestrial radio.
With the advent of social networking
sites and noninteractive Internet radio
sites like Pandora and iLike, the mil-
lennials are finding ways of exploring
new music without the involvement of
traditional radio. Docs this mean that

traditional radio will soon disappear?
I doubt il — but only if traditional radio
doesn't make the same mistake that la-
bels did in the late '90s when they ig-
nored the rise of the MP3 formal. Radio
programmers must tap into these so-
cial networking sites to connect with
the next generation. Perhaps there are
ways for terrestrial stations to imple-
ment Pandora-like programs on their
station Web sites, which will generate
revenue while helping introduce young
listeners to the new music being mar-
keted by labels.

The labels must also pitch in, how-
ever. It's reasonable to feel empathy for
them, since record sales continue to
plummet at staggering rates. It seems
that full albums are disappearing into
the sunset. The attention span of the
millennials is but a few seconds, if you're
lucky. Texting. tweeting. Facebooking
and other such forms of communica-
tion are the waves of now. not the future.
If we're going to sustain a record indus-
try that can reward labels for investing
in the "useful art" of music, everyone
needs to recognize that we are all in the
same boat and help find a solution. None
of us can afford to ignore the perceived
problem. Especially because it may ac-
tually be an opportunity. ••••

Jason Turner is an attorney with |
Lassiter. TtdweU, Davis. Keller el Hogan
in Nashville and an adjuncl professor at
Belmont University's Mike Curb College
of Entertainment eC Music Business.

FEEDBACK^

SPEAK UP ^

Congratulations to Leila Cobo on her
Latin Notas column titled "It Takes a Vil-
lage" (Oct. 3). Almost everyone knows
why radio stations aren't playing the
music, but no one wants to talk about it.

If everyone starts speaking about this
issue, radio stations will have to change
their way of doing business and start
playing good music. This is the way It
was before.

Thanks for the well-written article.

Alfredo G Arc*

WRITE US ■ Share your feedtjack with Billboard readers
around the world. Send correspondence to letters a billboard.com.

Include name, title, address and phone number for verification,

SUBSCRIBE ■ Go to blllboard.blz/subscrfb* or call
800-658-8372 CU S toll free) or 847-559-7531 (International),

EDITORIAL

EXECUTIVE EDITOf): ROtlRT LfVINI t'l&.f.U 4707
DEPUTY EDITOR: LouU Mau M-R
SENIOR EDITOR: Ann OoniMM ^ ^

SPECIAL FEATURES EDITOR: TKom DtlNy t>4li t>r>4 471t^
INTERNATIONAL BUREAU CHIEF: MMk SuMMfUlltf 0)1 -(4-207-420-6155
musk: EDITOR; Cotlnvr H«rdkig : !•: *5d ':C9.'
BILLBOARD.BIZ EDITOR: Chrti M. Waatl ^-I- r-. l Jnr.-i
EXECUTIVE DIRECTOR OF CONTENT AMD

PROGRAMMING FOR LATIN MUSIC AND ENTERTAINMENT: LbIIs Caba (Miam.) 30S-361-f
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOlNtING AND LIVE ENTERTAINMENT; R*v WXdIl (N«r>v<re> 615-4
EXECUTIVE OIRCCTOR OF CONTENT AND

PROGRAMMING FOR DIGITAL/MOBIL E: Antonr BnilW (Ocnvail !OI-77Mi42
SENIOR CORRESPONDENTS: Ed CMMmMi ^-latl) &4«-6<.d'473!

GaMMItcMH . h < Totn FMHtBon ( iJWDut / r^kibjl Ecltac^ CI' 44 707'4;<).|

SENIOR EDITORIAL ANALYST: Gtam Prcptai ii . . t..ft-.n n.: r. -.■.) nvr.
CORRESPONDENTS AyaU B«(V-VahMd« i . ^ =,.-'f TJl? Ml»ehrt ^Wl^f* !

INTERNATIONAL: Lw» BnfldI* . . WotlB«i»B «p«»i« " ; Bwhaft THaiW|MaiH

GLOBAL NEWS EOrrOR: Andr* Wtlnm "' i -i l :n7-.irr,.^,:t^

COPY CHIEF. Chftt Woods

COPY EDITOR OirliU TIlNI

ASSOCIATE EDITOR. SPECIAL FCATUftES: ivi* Hw 646-6Sd-4704
CONTRIBUTORS Jim B«umMv LArry BlumMiMd, juNww KwanUAB, KmtI HMon,
Oabo»h Evan* Pric*, PmI S«ilon, St«v« TraimMt. AmMmI* TUouk**, K«n Twckar

SPECIAL PROJECTS MANAGER KrUtWia Tunii

BILiaOABDCOM
BILLBOARD COM EDITOR: JCSStCA LeiKEHAHN ■ .U > Z ■
BILLBOARD COM NEWS EDITOR: David J. PrInc* -■• ■■^

BILiaOARDCOM ASSOCIATE EOnORS: HwW Concopckm ■ : MoniU Hmn 646^6

DESIGN « PHOTOGRAPHr
CREATIVE DIRECTOR: CHRISTINE BOWER-WRIGHT

PHOTO EDITOR: Amttli H«tV»r«an SENIOR DESIGNER: Ong OrtbOWV

CHART MANAGERS: t

DIRECTOR OF CHARTS SILVIO PICTROILIONOO
ASSOCIATE OIRECrOR OF CHARTS RaphMl OmNV*

SENIOR CHART MANAGERS. KslUi CsutfMd : - f B.itcA'cl TOO CMt ComC'lM'Onv D'9'1'
r jr ■ M, .■ . . . I, , ..■ .-.-.r- ir,i.iir*l Pot> CatWog, 50<jn«»«t'S. LA).

.'itry, Guipel f*iy«rt«B)

f'. .-.rora. Mathvifci). Itipli— I B»QfW» <Blu«S. RAB.'Hlci H(
Goraon Mumy nn^v Danto/tlwrtronc mi N«in A^e, Rirqtorie"
r.f r.M-. J -. ■ : SMuKt Ptalro4iM>n«0 i 'r-^ f!rlll>oird Hot TOO. Digital Son^.l. MUl P«nrf
' ■' Oafy JnHt ■ .ii ■ -"'ii-'Pkjii.e. Chorl Beo". Heotseckci ioros. Mar

'1 • ■ ■ ■ Al*ii Vlloulh ' ' . I- .3 Audo. V<d(!OI
INTERIM CHART MANAGER: RmIv Ramlrai . ih' y
CHART PROOUCTION MANAGER: MKhaal Cuuon
ASSOCIATE CHART PRODUCTION MANAGER: AIM VHmM
BILLBOARD RESEARCH MANAGER: Oofdon Hmttt i,-:-. >.U-AtSi
DIGITAL

VICE PRESIDENT. DIGITAL: JOSHUA INORO'P
DIRECTOR, MARKET DEVELOPMENT: Eric Ward
MANAGER. MARKET DEVELOPMENT JuMll HWTtt

ADVERTISING SALEt
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER: JEREMY LCVMI ^46-654-4627
NATIONAL SALES DIRECTOR/D)GITAL ft CONSUMER: Dmk SMnw E.J&-£S4-4£IS
DIRECTOR. BUSINESS DEVELOPMENT A EAST COAST SALES CtncV MM* &d6-eS4-4710

EASTERN SALES DIRECTORS' Antonio AmMo > 1 - I Rvm UaMl 646-654-463

DMECTOR. SPECIAL PEATURES A WEST COAST SALfS: AU KmkO fiJ'h JT^

MIDV/EST SALES DIRECTOR. Alaiu ScMflia -^SIJ

WEST COAST ACCOUNT DIRECTOR Catay DacMiahy ' '-i 52S'2J57

NASHVILLE L««A«nP»»ologk)i. ^. ' ■f.^^'J: iLatBh.) CyiBtli MBfcw 6I5-SS2-Q365 (Toon

ADVERTISING DIRECTOR DETROIT: HMhf Vm9» JAU^^ WfS

ADVERTISING DIRECTOR EUROPE/UX.: Rodtric rwWICCi OTI 44 207-420 -6075

INSIDE ACCOUNT REP: J*n l«fT«H* •:Mj-e'i'\ -t(:97

MANAGING DtRECTOR/LATIN: Cm SnHh 97i 74&-2S20

LATIN AMERICA/MIAMI: Manila OIIvbI J,^iS-Hb4 ,'S7a Fa< Kr^OM- 1337

ASIA-RACIPIC/AU5TRALIA: Unda MaUcfl 61^ 'H-10 7777 Fa" 612-9440-7768

JAPAN' AklKanoho

MANAGER OF SALES ANALYTICS: Mima Gonw 64f.-6!yl-4e9S
ADVERTISING COORDINATOR- Aiaiandra Hwtr (:46 (>S4-S5Bt
MARKETIHG

SENIOR MARKETING DIRECTOR: ULA CCRSON *^ 654-4629
EVENT MARKETING MANAGER: Nkot* CarbOM &4e-654-4eS4
SENIOR MARKETING MANAGER: Jamal Cr«M t 46'6S4-S4B9
MARKETING MANAGER: Karri Bafffman --1.^ ~--A A^'J
SALES/MARKETING ART DIRECTOR: MaHua Sulwtch
SALES/MARKETING DESIGN MANAGER: Kim Grating

AUDIENCE MARKETING
AUDIENCE MARKETING DIRECTOR: NEIL DUNBIRO
ASSOCIATE AUDIENCE DIRECTOR (GROUP): Linda Lam
AUDIENCE MARKETING ASSISTANT MANAGER: NMto A
SUBSCRIPTIONS, .i -i: - ', i i. i i ...t h

pi) tw rtXii^iomi

LICENCING, EVENTS « REPRINTS
VICE PRESIDENT, BUSINESS DEVELOPMENT A LICENSING: ANDREW MIN ■^t,■^^"^ mr,einm
EXECUTIVE DIRECTOR. CONFERENCES S SPECIAL EVENTS: MiCHELE JACAHGCLO
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabala Har<(uai t~Xt. ,-^4 4648
SPONSORSHIP SALES MANAGERS: MMtlMW Carona - ^4 ,1' Kim GrtfflHw 64« <>'i
SPECIAL EVENTS DIRECTOR: Harsarat O'Shaa
SPECIAL EVENTS MANAGER: Lita DlAntonto
EVENT CLIENT SERVICES MANAGER: Courtiwy Marin
DIRECTOR, LICENSING a CUSTOM MEDIA: Otona OrlKoU S-it .1^.7-
MANAGER. INTERMATK>NAL LICENSINGA SALES- Angafltta Walhatwul a f T.■1^e^^«e^>
MAGAZINE REPRir^TS Angia VanCoraar - '.-■-<:■ E<- 1 7r > eS ^> H -^(OS^OW

PRODUCTION
PRODUCTION DIRECTOR TIRfltNCi C. SANDIRS
ASSOCIATE PRODUCTION DIRECTOR: AMfMfty T. StaMngt
ASSOCIATE PRODUCTION MANAGER: Rodgar Laoiwrd
OPtBATIONS

GROUP FINANCIAL DIRECTOR: BJUIBARA GRtENINGCS t>4f. 467$
HUMAN RESOURCES DIRECTOR^ BILL FIHTON
LEGAL COUNSEL: MARK MILLER
DISTRIBUTION DIRECTOR: Lou Bradflatd

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: Dana Parra (>4(>' 654 4696
VICE PRESIDENT. MANUFACTURING AND DISTRIBUTION: Ja<Hllt«r SftgR
VICE PRESIDENT. AUDIENCE MARKETING. Joanna WiMallay

NtWVOmC; 770Brev,d«a,

NV tOOOJ
i--ior* ti46-bS4-dS(X>
eo[ Cav b46-654-46a!
F*. ft4«-f M 4799

NASHVUft »OD wnt

Erxi Ave 5u*p 500
Kasr^Jte. TN. J7203

MIAMI: 101 Crando^ Blvd ,
5uile il66 Key Biicoyne I^L
35149 Pr.uP-« 505-561-5279

CnOMvDjr Ml

189 SHofleSfjr, Ave
LOrvdCn WC7M 8IJ

Phc«* Oil-44-207-420-€
Fa- 0II-44-207-420-6CI1-

nielsen

la piopHty ol UlbcMnI wNcA tr

II (ran PM CQOyxorv in

PRESIDENT: Oag FWnr: SEMOR VICE PRESIDENT, HUMAN RESOUl
Hkhaal Allcaa; SENIOR VICE PRESIDENT, BRAND MEDIA, An*vw
Blltao; SENIOR VICE PRESIDENT. MEDIA A ENTERTAINMENT Gat
Nwivffi ButiriMt M«JlJ SENIOR vice president, finance: Sloana Googln. SENIC

VICE PRESIDENT, RETAn.: Dwid IMCtnar SENIOR VKE PRESIDE
CONTENT: Sm« McKanUa; SENIOR VICE PRESIDENT, auiLOINC A DTSIGN Jo* llandaK SEN
VICE PRESIDENT, CENTRAL SERVICES Mwy Kay SiMWIi: CHIEF OPERATING OFFICER.
ENTERTAINMENT HBwanl AppaKhMim. VICE PRESIDENT, MANUFACTURIMC A OtSTRISUTK
Jararitar Grago; VICE PRFSIDFNT. LKZFNSING Andraw Mln; VICE PRESIDENT. CLIENT MARK!
Stw TwnUay: VICE PRESIDENT. AUDIENCE MARKETING: Jomvw W

OCTOBER 17, 2009

ORCHARD PRUNING

Big changes at the
indie distributor

APP HOLIDAY
Folks at CTIA think
there's an app for that

MERGING LANE
U.K. comes out against
Tfcketmaster-Live Nation

IMEEM LIVES ON

The music service may
have nine lives

UP DOWN UNDER

Digital revenue rises
in Australia

BRANDING

BY CORTNEY HARDING

Most of the time, test-driving
a car results in nothing more
than a sales pitch , automobile
envy and a brief sample of
that new car smell. But for
music fans in select markets,
taking a Kia Soul out for a
spin gets them something
more: a free concert.

The shows are part of an
ambitious marketing effort
launched by Kia in hopes of
attracting a younger audience
to its Soul marque, which
launched in March.

Dubbed the Kia Soul Collec-
tive, events are held on week-
ends in 10 different cities; so
far, six have taken place, with
four planned for Atlanta,
Boston, New York and Los An-
geles. Recent gigs have fea-
tured acts like N*E*R*D,
MGMT and Against Me; fu-
ture shows will include sets
from Atlas Sound, the Pains
of Being Pure at Heart and Sil-
versun Pickups.

The campaign also includes
a Web site that features a
download of an original track
by janelle MonAe, branded cell
phone and computer wallpa-
per designed by Jeff Staple and
a short film by music video di-
rectors Jonas and Francois.

"This is thefirst time we've
done something like this,"
says Kathryn Cima. manager
of sponsorships and events at

Kia Mututs AnicriLa. adding

that the brand's only other mu-
sical venture has been a Vans
Warped tour sponsorship. "We
didn't start off thinking this
would be a music initiative,
but as we looked for ways to
connect with the target audi-
ence, we found that music was
a good way to reach them."

Cima says the Soul Collective
events have resulted in more
than 1 ,000 test drives. "We don't

SOUL POWER

Kia Launches An Ambitious Music Initiative

111*.

really have the data to do a onc-
lo-onc match in terms of test
drives pegged to the events and
sales." she says. " But we arc see-
ing a great response, especially

III the su(.ial iiu-dia >[)atv. I'ro

pie are blugging and Twittering
about Kia being cool and the
Soul being a cool car."

Even though car sales waned
in September, Jeff Tammes,
senior VP of strategic market-
ing for Cornerstone, says now
is the perfect time for Kia to
start building relationships
with younger consumers. "The
purpose of these events is to in-
troduce the Kia Soul to kids,"

MGMT fjt-f i'^if c-tl Kit.- Kia Suul ColieLlivi.' evenl m

Washington, D.C.; inset: Attendees test a new vehicle

he says. "Since it's a newer
brand, many of them are find-
ing out about it for the first
time. While they might not be
ready to buy a car right now.

vv)ifn (hoy ^rc. ihcy'll tliiiik

back lu this event and remem-
ber the Soul."

Kia isn't the only car com-
pany using music to reach
younger consumers. Scion
and Yaris, both Toyota mar-
ques, have each ran music-
based campaigns for the past
few years, and both say they'll
continue to use music to build
their brands. But they add that
they've had to cut back on

some of their more ambitious
initiatives recently.

Scion sales promotions
manager Jeri Yoshizu says that
the company continues to
sponsor concerts in various
markets. "We're doing a
garage rock festival in Port-

land [Ore.] soon, and we'll be
sponsoring a metal festival in
Atlanta again," she says. "We
also do monthly parties and
we sponsor the tours of dub-
step DJs in third-tier markets."

Yoshizu says that she's fo-
tusi'd on keeping up the face
of the brand while also keep-
ing an eye on the bottom line.
"We arc doing cheaper events."
she says. "Touring a group of
dubstep DJs is a lot cheaper
than getting a big-name rapper
with a full band to play a show."

Chad Harp, a marketing
connnunications strategist at
Yaris, says the car brand's "Free
Yr Radio" campaign also has
cvoK ed. "In the first year of the
program, we were partnering
with Urban Outfitters and local
independent radio stations,
putting on shows and giving
away a free car to the stations,"
he says. "The second
year we were bom-
barded with requests
and had to scale back.
Now. we're partnering
with the local stations
at music festivals and
helping them broad-
cast the show. We're
also running shuttles
around the festival as
a way to get people in
the car."

Harp adds that, like
Kia, his focus is on

building a long-trrm

relationship with the
consumer. "We don't think
people will run home from a
festival and buy a car," he says.
"What we are looking for with
these initiatives is considera-
tion in the future. 1 want peo-
ple to see a Yaris and relate it
toa positive experience." ••••

MOBILE: For 24/7 news and analysis on your cell phone
or mobile device, go to: mobll«.blHbo«rd.blz.

OCTOBER 17, 2009 I www.blllboard.blz t 5

IIPFRnMT

THE
LATEST
NEWS
FROM

>>>DELL TO
BUNDLE
NAPSTER WITH
LAPTOPS

Deil and Napster have
struck a deal to include a
yearlong streaming
music subscription in
various models of
tnspiron and Studio
laptop computers for no
extra cost. The
subscription, a $60 value,
also includes 60 free
downloads of any song in
the Napster catalog.
Computers with the
Napster music will
initially be available only
at the retail stores of
Napster parent company
Best Buy until November,
when they will be sold on
Dell.com.

>>>GLASTON-
BURY 2010
SELLS OUT

The 2010 Glastonbury
festival at Worthy Farm In
Pllton, England, sold out
within 12 hours of tickets
going on sale Oct. 4. The
event will take place June
23-27; an announcement
hasn't yet been made
about the bill (the lineup
Is traditionally
announced close to the
time of the event), but
rumors have been
circulating that U2 will be
among the headliners. A
three-day pass for the
concert (excluding
booking fee and delivery)
costs £185 ($294.70), up
£10 ($15.93) from 2009.

>> BMI HONORS
DONOVAN

Donovan was honored
Oct. 6 as a Bl^l Icon at a
gala evening in London's
Dorchester Hotel. The
Icon award recognizes
BMI songwriters who
have bestowed "a unique
and Indelible Influence on
generations of music
makers." Previous
recipients Include Bryan
Ferry, Peter Gabriel, Ray
Davles, Van Morrison, the
Bee Gees, Isaac Hayes,
Dolly Parton, James
Brown, Willie Nelson, Hall
& Oates, Paul Simon,
Steve Winwood and
Crosby, Stills & Nash.

Compiled by Mitchell
Peters. Reporting by
Nellie Andreeva, Antony
Bruno, Tom Ferguson,
Monica Herrera and Ray
Waddell.

DISTRIBUTION

BY CORTNEY HARDING

Fertile Ground?

Orchard Layoffs Call
Into Question Future Of
Indie Digital Distributors

In the wake of layoffs last month,
Danny Stein, chairman of the execu-
tive committee at the Orchard, says
the company will be OK. "We are
doing well, and a number of the lay-
offs came as a result of our Invest-
ment In new technologies and the re-
sulting efficiencies," he says. "Most
of the layoffs were highly predictable,
and we will still be able to provide the
same level of service to our clients
with fewer people."

But the restructuring also raises
larger questions about the strength
of the Indie digital distribution sec-
tor as a whole.

All told, the Orchard laid off 16
staffers, five consultants and an un-
specified number of temps Sept. 29,
according to a recent filing with the
U.S. Securities and Exchange Com-
mission. CEO Greg Scholl also handed
in his resignation; so far, a replace-
ment hasn't been announced.

While an examination of the Or-
chard's quarterly reports reveals the
company has never posted dramatic
losses, it has consistently lost money.
While the Orchard is cash-flow posi-
tive from operations, the company

had a net loss of $2.2 million In 2008
and is on track to surpass that loss In
2009. Additionally, layoffs so late In
the year probably won't do much to
Improve net income until 2010.

Others In the sector are bolstering
their financials by teaming with oth-
ers. In July, the Independent Online
Distribution Alliance announced a
partnership— which Included an In-
vestment—with Sony; It provides
digital services for RED and is al-
lowed to use Sony's physical distri-
bution resources.

"The layoffs at the Orchard
speak to the difficulty of operat-
ing In this segment," lOOA CEO
Kevin Arnold says. "For us, I defi-
nitely think partnering with Sony
was the right move."

At present, all four major-owned
Indie distributors either require or
"strongly prefer" that labels use them
for physical and digital distribution.
Digital distribution companies also
face competition from services like
Tunecore, which charges a flat fee
rather than a percentage of money
earned from sales.

The Orchard says part of Its strat-
egy has been to grow beyond being
just a digital distributor. To that end,
It acquired ownership of most of the
assets of TVT Records in 2008. Even

though Michael Bull, who headed TVT
Distribution at the Orchard, was laid
off, executive VP/GM Brad Navin says
the physical distribution business Is
still important. So much so, in fact,
that a recent press release about a
deal with the German distributor In-
tergroove started off with the line, "Is
there life after digital?"

"We never viewed it as a digital vs.
physical divide," NavIn says. "They
are complementary retail channels,
not competitors. We are finding that

our clients want everything In-hous
and we think there Is a big different
between the ability of digital exper
to add physical services."

In addition to building Its physic
distribution arm, the Orchard sa;
It's concentrating on strengthenir
its marketing platforms. In the case .
the recent release of Vice Recor<
act the Raveonettes, the Orchai
handled not only the distribution .
the music, but arranged song pn
mieres on music blogs and focuse
on raising the band's profile on si
cial networking sites.

"With something like Tunecor
all they do is put a song up," sa;
Richard Gottehrer. who co-found€
the Orchard in 1997. "We have par
nershlps with labels and artists. V,
can do setup and promotion and gi
the most out of an audience."

Gottehrer adds that despite the re
cent turmoil, he feels the Orchard
still strong. "We're a publicly trade
company, so I shouldn't really t)e mal
ing forward-looking statements," h
says jokingly. "But we are not on th
way out. Greg [Scholl] did a fanta
tic job, and this company has a gre <
soul. It has a soul that will live on bi
yond any of us."

Additional reporting by Glenn People

BY LEILA COBO |

After-Hours Airplay

SBS Offers Infomercial Time To Artists

.biz

For 24/7 news and
analysis on your
nwblle device. 90 to:

The limited playlist slots avail-
able to Latin acts on the radio
may soon expand thanks to a
unique programming strategy
launched by the radio network
Spanish Broadcasting System.

Beginning as early as this
month, artists who want to get
airplay on SBS stations can cir-
cumvent the network's program-
ming deprartmenl by purchasing
infomercials that feature one of
their tracks played in full. The
"Monthly Rotating Infomercials"
will be sold in packages with
costs varying based on the num-
ber of spins per month.

"The idea responds to a mar-
ketplace need," says SBS Enter-
tainment senior VP Lucas Pii^a.
"The company wanted to open
a space for new artists."

The novel programming
idea — which may be unique

for radio overall — works like
this: Developing and estab-
lished artists alike can buy
packages of infomercials that
will air on SBS stations be-
tween 1 1 p.m. and 6 a.m. Mon-
day through Friday and 11
p.m. and 10 a.m. Saturday and
Sunday. The infomercials con-
sist of an entire song preceded
by an introduction that an-
nounces the artist, the title and
the presenting sponsor.

That sponsor can be the
artist himself, the label or a
third party or brand; however,
the sponsor must be named in
order for the infomercial to
run. Infomercials air at a net-
work level by genre; a tropical
track, for example, will run on
all of SBS' tropical stations na-
tionwide. There isn't any other
programming — or ads — dur-

ing the infomerdal slots. "It will
be like an iPod playing contin-
uous music," Pifta says.

While the idea of radio in-
fomercials promoting singles
or albums isn't new, the depar-
ture here is that unlike a 30-sec-
ond commercial, the track plays
in full. The drawback, of course,
is that the infomercials' air-
times are those with the lowest
audience — and it's not clear if

It will be
like an iPod
|)la>ing
conlinvious
music/

-LUCAS PINA,
SBS ENTERTAINMENT

these plays vnll count toward
chart positions.

Still, Pifla says, because SBS
has stations in major markets
like New York, Los Angeles,
Puerto Rico and Miami, the
program provides a window of
opportunity that might other-
wise never open for new artists.

"SBS has stations in major
markets where the population
is active at night," he says, not-
ing that many Latin listeners
work at night. In these big mar-
kets, the night programming
not only exposes the music to
a new audience, it also func-
tions almost as a real-time
research system that allows pro-
grammers to evaluate if a track
has traction before adding it to
the regular rotation.

While labels and artists are
taking a wait-and-see attitude

on the infomercials' effect a
exposure and sales, slots for Ni
vember are nearly full, says S B
director of new business dcve
opment Manny Mora, who wi
run the program. Approx
mately one-third of the slot
have been purchased by indie
and two-thirds by major label;

"If we were in small m^irket
the reaction would be dlffc
ent," Mora says. "Here, aci
who could never dream of pla
ing in a major market have a
opportunity for success."

Although the infomercia
are for sale, SBS can declir
tracks that don't fulfill produ.
tion quality or standards. "Tli
is uncharted territory for u.s
Mora says. "We hope to creal
a new business model that wi
help new artists and rcinforc
established ones."

6 I BILLBOARD | OCTOBER 17, 2009

atonal

'ush the button: EMI's SYD SCHWARTZ
3nd Interscope's TED Mifco (right)

BY ANTONY BRUNO I

from Pennies pet card!
eeUBtttckOuoieiodav!

7500+ artists around the world have switched to (J^ dig cards

Visit; our sit;e for details
www.digi-cards.com

Sales: 1 (305) 938-0234 x 703

The Digital Wortd's

Leader in %J
Media Content .r^.
Download Cards ^

Phoning It In

Mobile Entertainment Live Attendees App It Up

Mthouph the importance of mobile music is
irowing. it has a long way to go before it be-
nnies a meaningful revenue driver for the over-
II music industry, according to speakers and
itiendecs at Billboard's Mobile Entertainment
Jvc conference.

Experts at the event, held Oct. 6 in conjunc-
ion with the CTIA Wireless I.T. & Entertain-
nent Conference in San Diego, said that the
nduslry needs to realize that over-the-air flill-
ong downloads never took off the way ring-
;otic sales did. Many added that labels now need
o look to the new music-application market to
fverse that trend.

"TTie explosion of apps is a real thing to focus
)n. and it's something we're optimistic about,"
laid EMI senior VP of digital marketing Syd
khwart?: during a keynote session.

Stores like the iPhone's App Store, Black-
ivrvy App World. Android Marketplace and
he new Windows Marketplace for Mobile have
apturcd the interest and imagination of the
nusic industry, but according to INgrooves
:E0 Robb McDaniels, it will take 12-18 months
icfore buying music on mobile devices be-
nnies noticeable.

Still, record labels attending the CTIA con-
erence found themselves meeting more with
pp developers and other technology compa-
lies than with the mobile operators that would
raditionally dominate their time at these kinds
f events.

"I f there are app developers in the room and
ave ideas, we would like to talk to you,"
chwart? told the crowd.

Labels aren't the only entities with something
o gain, either. Keynote speaker Alan Brenner,
enior VP of BlackBerry platibrms for Research
ti Motion, said a strong app environment is
ritical to help smart-phone manufacturers
ompcie in today's post iPhone world.

The key, he said, in lo trcatc a next genera-
ion of smart-phone apps that can be more
hail a fad. According to a recent report from
he mobile analysis firm Flurry, only 26% of
nusic apps are used more than 90 days after
hcy're downloaded.

While the iPhone still receives the lion's
hare of attention, app stores from BlackBerry
tid Android devices are growing quickly. Ac-
ording to mobile music provider Thumbplay.
lie number of subscribers to its monthly ring-
one and full-song download service who own
mart phones grew from 5% 18 months ago to

50% of the total base, and the majority of that
growth came from new BlackBerry and An-
droid phone users-

But others warned labels not to view apps as
a saving grace. "There's no silver bullet." said
Interscope executive VP of digital Ted Mico.
"Apps are one of many solutions. But they've
already proved to be a viable force."

OTHER NEWS FROM THE EVENT

■ Verizon and Google have teamed to co-de-
velop a range of Android-based devices onto
which developers can preload approved appli-
cations. The partnership also extends to mo-
bile services and software, allowing developers
access to Google's technology as well as Veri-
zon's network data when creating new apps.

■ Android devices are expected to explode this
year, with 20 new models coming to market by
the end of 2009. A Gartner Group forecast ex-
pects phones based on the Android operating
system to capture 14% of the global smart-
phone market by 2012, beating the 13.7% share
the iPhone is expected to have at that time.

■ Tapulous released "Tap Tap Revenge 3," the
next installment of its popular mobile music
game "TapTap Revenge." Users can now pur-
chase new music to add to the game, similar
to the downloadable content available on con-
sole-based franchises like "Rock Band" or
"Guitar Hero." More than 40 track bundles
are available at launch from acts like Blink-
182, Foo Fighters and the Killers. Bundles will
consist of six tracks for $3 and two-track bun-
dles for 99 cents. "Tap Tap Revenge 3" will
now cost 99 cents instead of being available
as a free download.

■ After bringing a version of the "Rock Band"
franchise to mobile phones through a part-
nership with Verizon Wireless Sept. 14, EA
Mobile unveiled an iPhone version of the game

ihat allows users to buy and download new

content. It will ship with 20 songs, with five
two-song bundles available as downloadable
content. Details on pricing aren't yet available,
pending Apple's approval of its addition to the
App Store. EA licensed the " Rock Band" rights
from MTV/Harmonix, but had to strike its
own music licensing deals with labels and
publishers. The game uses songs already avail-
able in the existing "Rock Band" franchise in
order to use the same song stems as the build-
ing blocks for its game play, which has a sim-
ilar look and feel. •••>

29 March 1927 - 21 September 2009 !!

In tribute to the celebrated recording
producer, pioneer and co-founder of the
legendary l^ercuiy Living Presence label .3

MERCURY

IIMG PRESENCE

Subscribe Today!

Billb«eird

CALL 1-800-658-8372 or 847-559-7531

OCTOBER 17, 2009 I www.blllboard.blz I 7

IIPFROMT

BY LEILA COBO |

MERCEDES
SOSA

1935-2009

When Mercedes Sosa sang "They killed
me so many times, I died so many
deaths, and yet here I am, reborn"— the
memorable lines from Maria Elena
Walsh's song "Como la Cigarra" (Like
the Ciccada)— she spoke to millions of
Latin Americans who turned to her sig-
nature contralto voice and social mes-
sages during some of the continent's
most turbulent years.

The Argentine singer, who died Oct.
4 of kidney failure in Buenos Aires at
the age of 74, leaves an Indelible mark
on generations of musicians, songwrit-
ers and fans whose lives and art were
Influenced by Sosa's renditions of some
of the most powerful songs in the Span-
ish language.

Sosa wasn't a songwriter. She referred
to herself as a "cantora," someone who
sang but also interpreted the music of
prominent, issue-oriented singer/song-
writers like Silvio Rodriguez, Le6n Gieco
and Violeta Parra. At the time of her

death, Sosa had recorded two al-
bums—"Cantora 1" (just nominated for
a Latin Grammy Award in the album of
the year category) and "Cantora 2"—
for which she recorded many of her
old hits as duets.

Born Hayd^e Mercedes Sosa on July
9, 1935, in San Miguel de Tucumdn, a
rural area in northwestern Argentina,
Sosa was of mixed Indian and French
ancestry and was affectionately nick-
named "La Negra" (the Dark One) for
her dark countenance. Known for per-
forming in traditional garb, she began
singing folklore as a child and won her
first festival at 15 years old.

Although Sosa spoke out against so-
cial injustice, she often said that musi-
cians should play no role in politics.
"Human beings have to resolve their
own problems," she once said. "But
music can console people who suffer
from problems, and perhaps it can in-
spire people to try to solve their prob-

lems." But Sosa championed social

causes, especially when Argentina was
ruled by a military dictatorship that took
power in a 1966 coup. In the late '70s
she left for Europe, where she lived in
exile for several years.

A favorite of artists as varied as Sting
and Joan Baez (who once, enraptured,
kissed Sosa's feet), Sosa performed
around the world and recorded with a
broad range of artists that included new
pop stars like Shaklra. And her stature
beyond the world of music was evident
in the wake of her death as leaders in
Latin America and Europe paid her
homage. Peruvian President Alan Gar-
cia, who flew his country's flag at half-
staff, said, "We pay homage to the great
singer of the people, because she could
express pain but also hope and love for
the poor." Chilean President Michelle
Bacheiet said Sosa's songs contributed
to the battle against the dictatorship of
Augusto Pinochet.

Relnhard Mohn, the former chief executive of BMG par-
ent company Bertelsmann, died Oct. 3 of undisclosed causes
in Guetersloh. Germany, at the age of 88.

Mohn was the great-great-grandson of the German media
group's founder, Carl Bertelsmann. Although he resigned
as chief executive in 1981, Mohn remained chairman of Ber-
telsmann's board until 199 1 , and at the time of his death he
was still honorary chairman of the company's supervisory
board. His wife, Liz, and children Christoph and Brigitte
remain on the supervisory board.

Mohn was born June 29, 1921, in Guetersloh and became
head of Bertelsmann in 1947, after being repatriated from
a U.S. prisoner-of-war camp.

During a career at Bertelsmann that lasted more than six
decades, Mohn transformed the company from a German
printer and book publisher into an international enterprise
that today employs 100,000-plus people in more than 50
countries. Key to Bertelsmann's expansion under Mohn was
its mail-order book club business, which boomed in the '50s.

Mohn also oversaw Bertelsmann's entry into the music
business in the late '50s, when it launched Ariola Records.
In the late '70s, Ariola acquired the Arista label from Co-
lumbia Pictures; in 19S6 it bought RCA. In 1987, the three
labels merged to create Bertelsmann Music Group, along
with BMG Music Publishing. In 1998. BMG had a 10.5%
global market share.

In 2004, BMG'srecorded-music division became part of
the Sony BMG joint venture and was eventually acquired
outright by Sony Music in 2008: the music publishing busi-
ness was sold to Universal in 2007. Bertelsmann re-entered
the music market in October 2008 when it launched BMG
Rights Management, in which the investment firm Kohiberg
Kravis Roberts acquired a 51% stake in July for a reported
€250 million ($348.2 million). —Wolfgang Spahr

BY ANDRE PAINE

Could U.K. Nix
Merger For Tix?

Provisional Ruling May Not
Matter Much In U.S.

On Oct. 8. the United King-
dom's Compt'tition Commis-
sion issued a provisional ruling
that the proposed Live Nation-
Ticketmaster Entertainment
merger would hinder competi-
tion in the U.K. ticketing mar-
ket. But this isn't the death kneil
for the deal, and the commis-
sion's concern — which involves
the German concert giant CTS
Eventim — may not be a major
factor when the U.S. Depart-
ment of lustice (DOJ) weighs
the deal.

"There arc specific factors re-
lating to the U.K.: the fact that
Ticketmaster is so big — 40%-
50% of the market, according
to the Competition Commis-
sion— and the fact that there is
somebody [in CTS Eventim]
that's set itself up to enter the
market but who potentially is
going to be scuppered from
doing so because of this deal,"
says Simon Barnes, counsel for
competition and European
Union law at the Lx)ndon-based

law firm Lovells.

Even CTS Eventim execu-
tives have previously expressed
confidence that they wouldn't
suffer as a result of a merger.
Live Nation cut a deal with CTS
as it positioned it.self to launch
its own ticketing company after
splitting from Ticketmaster
this year.

"CTS Eventim and Live Na-
tion will fully honor their com-
mitmenls under the 10-year
agreement they concluded in
December 2007." said CTS
Eventim CEO Klaus-Peter Schu-
lenberg in March after the Tick-
etmaster-Live Nation merger
announcement. Schulenberg
insisted that the merger would
have "no detrimental impact-
on the partnership.

"It is quite unusual in this
sort of situation that |the Com-
petition Commission is] trying
to protect somebody who's not
even on the market, but they
must feel confident that CTS
legitimately can be seen as a

new entrant who will do well."
Barnes says. "If Live Nation had
not happened to have done a
deal with CTS, I don't think this
issue would have arisen."

CTS Eventim, based in Bre-
men, Germany, is moving into
the U.K. market as part of its
relationship with Live Nation.
The European promoter/tick-
eting company runs ticketing
for Live Nation in Sweden. Fin-
land. Poland and the Nether-
lands, and the agreement was
in the process of extending into
the Czech Republic, Hungary,
the United Kingdom and Nor-
way. The deal also gave Live
Nation a license to use CTS
Eventim's ticketing software in
North America, where CTS
hadn't made inroads.

"As the second-largest ticket
agent in the world after Ticket-
master, with considerable ex-
perience and expertise in other
countries, CTS' [U.K.] entry
would have increased compte-
tition in ticket retailing to the
benefit of customers," said
Christopher Clarke. Competi-
tion Commission deputy chair-
man and chairman of the
inquiry group, in a statement.

Clarke added. "We believe
that if the merger proceeds.
Live Nation will seek to limit its
relationship writh CTS, with the

Urge to merge: Live Nation CEO MICHAEL RAPING (left) and
Ticketmaster Entertainment CEO IRVING AZOFF

effect of putting CTS' future
prospects in the U . K. in consid-
erable doubt.'

The Competition Commis-
sion estimates Ticketmaster's
2008 U.K. market share at be-
tween 40% and 50%: it also
operates in Ireland, Finland,
Denmark, Sweden, the Nether-
lands, Germany and Spain and
has affiliates in France. Hungary,
Poland, Portugal and Slovakia.

Live Nation's business in Eu-
rope is broad and includes a
string of independent European
promotion and management
companies acquired when Live
Nation predecessors SFX and
Clear Channel Entertainment
rolled up the European promo-
tion industry beginning a
decade ago. Live Nation is the
largest festival promoter in Eu-
rope and books and manages a

wide range of venues.

The Competition Commis-
sion listed several possible
remedies, including the divest-
ment of the U.K. business of
either Ticketmaster or Live Na-
tion— probably a distasteful o|>
tion for either company — or
measures to ensure that CTS
or another ticket agent can sell
Live Nation's tickets.

"In this case the obvious be-
havioral remedy would be some
sort of commitment from Live
Nation that it will cominue to
supply tickets through people
other than Ticketmaster,"
Barnes says. But competition
authorities are "quite wary" of
behavioral remedies.

Presumably Ticketmaster
and Live Nation would prefer
that the DO| focuses on this
part of the Competition Com-

mission statement The con-
mission has not found any ac
verse effects on competitio
aflt'Cling other ticketing agent;
promoters and venue operator
that arise from the merger.

The merger is also b('itif> ir
vestigated by the D0|, which i
consulting with the Compet
tion Commission. The coir

mission is an ind<^pi-ntl

public group that irivesiigale
mergers, markets and rcgi
lated industries. The consult;
tion on its findings will
until Oct. 29 and a final repoi
is expected by Nov. 24. follow
ing an examination of ways t
address the loss of compctitior
Ticketmaster and Live Nalio
could appeal its decision.

In response to the provi
sional ruling. Live N;ition an
Ticketmaster issued a join
statement that said in par
"During the course of ihi
merger process. Live Natio
and Ticketmaster have listene
to our fans, artists and othc
stakeholders. We've heard
range of views regarding the ii
sues and challenges facing th
live music industry. We lirml
believe that our merger acliicv e
an important and much needc
public interest and remain of
timistic that it will ultimatel
be approved."

8 I BILLBOARD i OCTOBER 17. 2009

Cof._, ; y L ^ : dleria

LEGAL MAITERS

COURTING A PRECEDENT WITH THE CRB

by BEN SHEFFNER

If you think Simon. Randy. Kara and Ellen are
he most important judges in the music busl-
less, try again. How about )amcs, Stanley and
A'iHtarn?That would be |amcs S. Sledge. Stan-
cy Wisnicwski and William ]. Roberts — Ihc
hree judges of the Copyright Royahy Board,
ippointed by Librarian of Congress James
SillinBton in 2006.

Unlike the judges on 'American Idol," pa-
parazzi won't recognize this Irio when they slip
Hit for lunch. But their work matters quite a bit
o record labels and music publishers, which
Icpcnd on the CRB to set the statutory royally
ates for mechanical and webcasting licenses,
rhe decisions of this panel effectively deter-
nine who's entitled to billions of dollars in in-
lustry revenue from certain CD sales, Web radio
jroadcasls and other forms of distribution sub-
ect lo statutory licenses.

Since its formation under the Copyright Roy-
ilty and Distribution Reform Act of 2004. the
IRB has come imder intense scrutiny from con-
;titutional scholars, many of whom normally
vouldn't care about how much labels must pay

While technicalities have thus far prevented
a ruling on the constitutional issue, a new case
puts the issue squarely before the courts. On
Aug. 31. the Web radio aggregator Live365.com
filed suit in federal court in Washington, D.C.,
seeking a declaration that the appointment
process for CRB judges is unconstitutional. The
CRB won the first round Oct. 28. when Judge
Reggie Walton ruled that Livc365 "has failed to
demonstrate its entitlement to the extraordinary
relief of a preliminary injunction" that would
have immediately halted all CRB proceedings.
But the case isn't over. And on Dec. 7, the
Supreme Court will hear a similar case, this one
challenging the method of appointing members
of an obscure panel called the Public Company
Accounting Oversight Board. While the issues
in the two cases aren't identical, the Supreme
Court's decision in Free Enterprise Fund v.
PCAOB will likely clarify who counts as a prin-
cipal officer requiring presidential appointment.

So what happens if Live365 wins and the ap-
pointment process for CRB judges is declared
unconstitutional? It's possible that all of the

'Somewhen* on Capitol Hill,
thoro hixs alroafly boon lobbying
going on lo Hx (ho problom.'

-KEN FREUNDLICH

lublishers to record a cover version of a song
ir how much Web radio stations owe in royal-
ies. But they have rai.sed serioas questions about
vhelher the CRB judges were appointed pur-
suant to a process that violates the Constitution.

Article II. Section 2, Clause 2 of the Consti-
ution says that the president, the courts or
leads of departments may appoint "inferior of-
icers" — basically, midlevel federal bureaucrats,
kit only the president may appoint so-called
principal officers" like ambassadors, cabinet
nembers and other high-ranking officials, The
)roblem is that the CRB judges arc appointed
lot by the president, but by the Librarian of
longress. And there's a strong argument to be
nade that, according to Supreme Court prece-
lenl, CRB judges are principal officers because
hey can't be fired at will and their decisions
an't be reversed by the Librarian or other ex-
■cutive branch officials.

The constitutional argument has previously
)eon raised in two cases: in both, the appellate
ourts held that the parties had raised the issue

00 late, thus forfeiting it. However, judge Brett
Cavanaugh of the Court of Appeals for the Dis-
rict of Columbia Circuit went out of his way in

1 concurrence to note that the CRB members'
ippointment by the Librarian of Congress "raises
I serious constitutional issue" and opined that
[ijf the members of the board are in fact prin-
ipal officers, then the present means of appoint-
ng board members is unconstitutional."
tecognizing that this is no mere academic de-
bate, Kavanaugh added: "IBjillions of dollars
uid the fates of entire industries can ride on the
Copyright Royalty Board's decisions."

CRB's rulings under the current three judges
would be rendered null and void, and proceed-
ings would have to be restarted. A ruling for
Live365 "wouldcerlainly throw inloqucstion the
past rulings" of the CRB. says Ken Freundlich.
one of its attorneys. TTiat'sa result that SoundEx-
change, which collects digital performance roy-
alties for labels, wants to avoid; it has intervened
in the Uve3G5 suit in defense of the CRB.

Congress could step in and amend the law
to require that the CRB judges be appointed by
the president, thus resolving the constitutional
issue. But "just popping in a simple fix isn't
going to be easy." says Freundlich. predicting
that members of Congress and industry lobby-
ists will be tempted lo wrap the appointments
issue in with substantive matters, including the
fight over performance royalties for radio broad-
casters and the appropriate rates for small wc-
bcasters. "I'm sure tliat somewhereon Capitol
Hill, there has already been lobbying going on
to fix the problem," he says.

In the meantime, Walton has said he will make
clear his views on the issue by the end of Octo-
ber, when he issues a full written opinion. All
whose livelihood depends on the rulings of the
CRB will, or should, be watching.

Ben Sheffner is a copfn^t attorney who has
represented movie studios. TV nttworh and
record labels. SheQher currently works as an
attorney in the NBC Universal Television
Group, which is 20% owned hy Vivendi, the
parent of Universal Music Croup. He is the
author of the Copyrights ^ Campaigns blog
(copYrightsandcampaigns.bl<^pot.com},

The Royal Split

RIAA, NMPA Reach A Settlement For Withheld Funds

The major labels have reached an agreement
that will provide a windfall of more than S264
million in mechanical royalty payments to
music publishers, but the details ofhow the
funds will reach songwriters still
need to be filled in.

The deal — negotiated by the
RIAA. acting on behalf of the
four majors, and the National
Music Publishers' Assn. — will
also set up a system to make
sure labels will gel proper me-
chanical licenses in a timely
manner and eliminate the label
practices of withholding all roy-
alty payments for an album when the royal-
lies for a single track are the subject of a
dispute among songwriters.

The system should reduce the buildup of
pending and unmatched funds. Until now.
major labels have paid advances on mechani-
cal copyrights to the Harry Fox Agency to com-
pensate for their practice of issuing albums
before songwriting share disputes are resolved.

From now on, disputes over the split on a
song will no longer result in labels withholding
royalty payouts on an entire album, and labels
will not withhold royalties from digital sales on
albums when the CD version is involved in song-
writer share disputes. By law. controlled com-
position rates can't be applied to music
sold digitally because that formal
must be paid at the full stamtorv
rate for alt songs on an album,
thanks to the Digital Millen-
nium Copyright Act.

Publishers that agree to
the settlement will help re-
solve disputes among song-
writers and waive late fees until
the current mechanical rates e\
pire at the end of 201 2.

That's looking forward — now let's look
at the settlement.

A special master— Kenneth R. Felnberg.
who administered the September 1 1 Victim
Compensation Fund and is currently adminis-
tering TARP bailout funds for the U.S. Depart-
ment of the Treasury (Billboard. biz. Sept.
16) — will take charge of disbursing the pend-
ing and unmatched funds.

In the first stage, about $164 million in roy-
alties thatacnimulated before 2007 will be paid
out to publishers, according to market share,
it's up to publishers to decide if they want to
take this settlement or pursue payment through
other means.

Each major will supply Feinberg's team with
information about publisher payouts from 2000
to 2006 — even if some of the funds accumu-
lated before that period — and Feinberg will
audit the data. Using the data from each major,
he'll determine what percentage of each major's
mechanical royalty payment that each pub-
lisher received. While each publisher's royalty
payment market share — and the correspon-
ding dollar amount due — will be determined

Publishers
Place

for each major, the publisher will only get lo
see the total market share and the correspon-
ding amount of tlie $164 million it will get from
all four major labels.

After seeing their amount,
publishers can challenge Fein-
berg and his team on their over-
.ill market share; if they can prove
iheir case, the payout would be
adjusted accordingly.

"You don't know who ought to
be paid by definition." RIAA
chairman Mitch Balnwol says.
"So you are trying lo come up
with an alternative method in an
objective fashion and make payments that arc
fair, consistent and objective."

In phase two, the major labels will use the
new system to pay out the $105 million in pend-
ing and unmatched funds for 2007-08. After a
year, whatever funds are left will be distributed
according to publisher market share for the
2007-08 period.

Whatever is left unclaimed from both phases
will be returned to the majors so that they can
pay royalties to publishers that didn't partici-
pate in the settlement.

The process doesn't govern how publishers
or administrators will then disburse these
funds to songwriters. Depending on their
client contracts, publishing adminis-
iiiirs may have to ask each pub-
lisher whether it wants to
participate in the settlement.
Once they receive the settle-
ment funds, administrators
and publishers have to figure
out how to share the funds
with publishers and songwrit-
ers, respectively. "All of that is
dune outside the scope of the sel-
tlrrncnt." NMPA presidcnl/CEO
David Israelite says. 'But administra-
tors and publishers arc bound by contract laws
and have to fulfill fiduciary duties."

The Songwriters Guild of America, which
has more than 3,500 members, will be "ex-
tremely vigilant" about whether the money
passes through to the songwriters. SCA pres-
ident Ricic Carnes says. "It's a problem be-
cause it's a lump sum. But that puts the onus
on the publisher, which has to look at that pe-
riod of lime and figure out who gets what from
the settlement."

Overall. Carnes calls the settlement a "vtin-
win." adding. "Tlie fact that it's an opt-in set*
tiement where you get to look at your options
allows people to make a decision.'

Feinberg won't resolve ownership disputes,
Israelite says. So if one publisher bought a cat-
alog during the period in question, iJie special
master will pay whomever has the legal right
lo receive payment and let those parties resolve
any disputes themselves. ••••

.biz

Fof 24/7 publishing nows And Anilyslt,
see blilboard.bjz/publi$hing.

OCTOBER 17. 2009 I www.billboard.biz

lAI I=MTI=I3"I

BY ANTONY BRUNO |

Another Chance For
Ad-Supported Music

Imeem Is On Life Support From Labels— But Don't Count The Service Out Yet

Let's not engrave a tombstone
for imeem just yet.

Conventional wisdom had
the company going out of busi-
ness before the end of the year.
The deathwatch began this
spring after it underwent a
round of layoffs and struggled
to pay its licensing obligations
to record labels. Following the
demise of other ad-based serv-
ices like Spiralfrog and Ruckus,
analysts began to question the
viability of the company and the
entire ad-supported music
business model.

Yet both are still around, sug-
gesting that the failure of pre-
vious ad-supported music
services was caused not just by
flaws in the nascent model, but
by defects in its execution.

One of the biggest criticisms
about using advertising to fund
free music is that the cost of
licensing liie mu.sic is too high
for the revenue that can be
gained from advertising to
support the model. Certainly
a key element to imeem's
continued survival is the fact
that it won concessions from
all major-label partners to
reduce licensing costs. But the
labels can't carry imeem and
other ad-supported services
forever: At some point, the
services have to be accountable
for their own strategies.

Most of the failed ad-
supported services tried to offer
a basic model where each song
streamed or downloaded was
attached in some fashion to a
display or video ad that was
solely responsible for paying
for the licensing cost of that
song and generating profits for

the service. It was an easy
model to explain to advertisers,
but didn't create enough value
to work.

From the beginning, imeem
has focused on the harder-to-
explain strategy of selling ex-
pensive, custom ad campaigns
that paired brands with artists
in unique ways. For example,
it teamed Dr Pepper with Flo
Rida for a campaign that let
imeem users remix the track
"Sugar" and share the result-
ing song with the imeem com-
munity. In another example,
it matched the Truth anti-
smoking campaign with Epi-
taph Records to provide a free
concert to imeem members
that signed the company's on-
line petition.

I meem also creates custom
playlists for the likes of Fuse
Energy Drink, breast cancer or-
ganization Susan B. Komen for
the Cure and Kia. Rather than
simply slapping a plain banner
ad against songs an advertiser
thinks its target audience is
listening to, imeem lets the
brand present those songs to
users through playlists that
appear in members' search
results. So if a fan was looking
for Sting, the search result
would include the brand's
playlist that includes songs
from Sting as well as other
music Sting fans may like.

The trick for imeem has
been to stay afloat long enough
for this model to take hold. Ac-
cording to the company's VP
of national sales David Wade,
it took a few years
for advertisers to
understand the

READING MUSIC

It can't all be about smart phones. Verizon
WIretess just introduced the new Razzle, which
It hopes will add just that to its lineup of
devices. Positioned as a text and music device,
the Razzle has a full Qwerty keyboard and
music controls on an adjustable bar that users can tilt
and turn to their preferred position. The device comes
with a 1 GB microSD memory card to store downloads
from the VCast Music Store, which Its Bluetooth
capability can use to stream music to compatible
headphones or speakers.

The Razzle is available now from Verizon Wireless
locations for $70. —AB

more complicated model it was
offering. In 2007, imeem exe-
cuted only 30 such custom ad-
vertising campaigns. Last year,
that figure grew to 1 30, and so
far this year it has done more
than 175 custom campaigns. It
has several more lined up
through year's end.

As a result, imeem's revenue
for the first half of the year was
50% higher than for the same
period last year, and it's up 30%
year over year so far for the en-
tire year. It recently scored a
new S6 million round of fund-
ing and expects to reach prof-
itability next year.

. And imeem's not
.ilnru'. MySpace Music
lias a similar model of
br;nid engagement and
artist interaction, and
tlic Vevo music video
joint venture among
Universal Music Group,
Sony Music and You-
Tube is expected to let
advertisers sponsor big-
name artist premieres. And
many eyes are watching how
the European streaming music
sensation Spotify will bring its
mix of ad-supported and pre-
mium music services to the
United States.

Meanwhile, ad-supported
music services are becoming

Go with the flow:
FLO RIDA worked
with imeem on a Dr
Pepper campaign.

more popular, which could help
attract more advertisers as the
model evolves further. Imeem
claims 20 million unique visi-
tors streaming "billions" of
songs per month. MySpace
Music's unique users have
increased by 169% since it
launched last September, and
more than 90% of Spotify's 6
million users opt for the ad-
supported free service over the
premium tier.

Does any of this mean that
the ad-supported music model
has legs, or that imeem has a
bright future ahead of it? Not
just yet. The revenue that ad-
supported music services bring
to the music industry remains
slim compared with paid down-
loads of full songs and ring-
tones. Arguments rage over
whether the model does more
to discourage sales or reduce
piracy. And imeem is far from
comfortable financially.

"I know ad-supported can
work," imeem's Wade says.
'It's just that you've got to ex-
ecute correctly. And that's
where it gets interesting. I'm
not saying we have the right ap-
proach, but we're getting close
to finding it." ••••

BITS&BRIEFS

KIDZ BOP GETS
COMPETITIVE
Kidz Bop Is launching a new
program where fans can
create their own online video
contests on the Web site
KIdzBop-com. The Super
Contest Maker lets kids
aged 5-12 design a contest
where other users upload
videos around a theme of
their choice and provide
the tools to set their own
rules, monitor voting and
entries, pick winners and
award virtual prizes. The
program will debut with a
video dance contest cre-
ated by Kidz Bop per-
former Dana. KidzBop.com
is a social networking site
geared toward young chil-
dren. The company says
users were already creat-
ing their own contests on
the site, which led to the
process being formalized.

PROMO MOTION
The mobile marketing firm
Mozes Introduced a free
iPhone app that lets fans
browse through the more
than 150.000 promotions

offered on Its mobile tex-
ting service used by 5,000
plus artists, labels and oth
ers. Fans can search for th<
newest or most populai
promotions, those offeree
by specific artists and typei
of promotion, such at
sweepstakes. Italsoallowl
them to send text mes-
sages and pictures, partic
ipate in real-time votes an<
polls, and receive news, up
dates and content fron
participating bands.

SPOT STORAGE
The European streaminc
music service Spotify keep
adding new features— mos
recently, the ability to
users to store a llmite<
number of songs on thei
computer for listening evei
when not connected to thi
Internet. This offline modi
Is similar to the cache<
streaming feature of its mo
bile app for the IPhone am
Android phones, but ap
plied to a home compute
instead. It's available onl;
to those paying for the pre
mlum subscription servic<

HOT MASTER RINGTONES

Blllbeard

§1

,.»..,,„,. kIsui
TITLE ., , 1 V

■jn RUN THIS TOWN

Wml -A- ! WJKAW»A & KUt*i MSI

FOHEVEH

l/^iff JitrURIW". KA-WWISI I IL WftVNT i (MKtU

OBSESSED

VIWIIA^ CABEV

BIG GREEN TRACTOR

EMPIRE STATE OF MIND

JAr-i • ALIi:tA Kt^j

DOWN

PARTY IN THE U.S.A.

UlLtV CVHU^

1 OOTTA FEELING

•

BEST 1 EVER HAD

i#iAK£

WHATCHA SAY

.lA^ON OfRlLO

Jay-Z runs thjschartinthequestforthetop 'tones for
the fourth week In a row, as his collaboration with
Rihanr^a aixj Kanye West, "Run This Town," remains
perched at the summit. The Roc Nation founijer also
Improves 6-5 with "Empire State of r4ind." which
features Allcja Keys Both songs also appear in the top 10
of the Billboard Hot 100, atNos.3and10 respechvely.

1&5

TOES

/AC (tfirrAti hMi:

PAPARAZZI

.'■DY r,Aj',

IMMA STAR (EVERYWHERE WE ARE)

JFHEIJIH

SUCCESSFUL

mm. lii-^mm my yjNG/ a lii Wayne

BREAK UP

MAHin 1 1 AlUfWO OUCGl MUIE « SEAN GAi^RErr

WASTED

UX.U MAW ItAIURING PtIES OR OJ DA AJIUUAfl

YOU'RE A JERK

NEwacrrz

YOU BELONG WITH ME

NUMBER ONE |

fi uar FurufliMC kehi msm

{

NEED YOU NOW

LAOVANTEBaiUM

For 24/7 digital news
and analysis, see
blllboard.blVdIgltal.

d on nwHr^^SSnSBSS^^dte^'SS^^'^

&c»n. « MTvto* of NMma ^4ebll•Sc•n. Chan •ndorMd by

OlA

10 I BILLBOARD I OCTOBER 17, 2009

Copyrigh'i r-- I'nria

GLOBAL
NEWS
LINE

rww.blllboard.blz/global

60 ALBUMS
ET IMPALA
\WARDS

The veteran Cuban act
Juena Vista Social Club
ops the latest list of
European sales awards
ssued by the
ndependent labels
rade group Impala. The
997 set "Buena Vista
Social Club" (World
Circuit) is certified
louble-platinum (1
lillion shipments across
urope), while the act's
ate vocalist Ibrahim
-errer's 1999 World
ircuit set "Buena Vista
iocial Club Presents

' is platinum
500,000 shipments),
mpala's 60-strong list
Iso includes platinum
ertification for the
>rodtgy's February
Ibum "Invaders Must
)ie" (Take Me to the
lospital/Cooking Vinyl)
ind diamond (250,000
hipments) for Placebo's
Battle for the Sun"
PIAS/Dreambrother).

MYSPACE IRKS
^USSIE INDIES

he independent music

ommunity is railing
igainst MySpace Music
or launching in Australia
vithout a licensing deal

overing the members of
he digital licensing

peration Merlin, which
epresents more than

000 indie labels
iternationally. The News
:orp. -owned music
ervice launched in
Australia Oct. 1.

WILLIAMS FOR -
REE in

tobbie Williams is
>suing a free compilation
itied "Songbook" with
he Oct. n issue of the
weekly Mail on Sunday
lewspaper. The album
ontains 12 songs in live
)r studio versions,
icluding international
lits like "Angels," "Let Me
Intertain You" and
Feel." The Mail on
iunday is Britain's
econd most popular
iunday newspaper
behind News of the
Vorld), with a circulation
)f slightly more than 2
nillion in August,
iccording to the Audit
iureau of Circulations. It
las previously carried
ree albums by Paul
IcCartney, Prince and
like Oldfield.

Reporting by Lars Brandle
tnd Tom Ferguson.

BY ANDRE PAINE |

Shop 'Til You Drop

U.K. Labels Mine Early Catalog For Hit Compilations

LONDON — Britain's prc-rock and early rock'n'roll
recordings are enjoying a revival, thanks to clever
marketing.

After the No. 1 success of wartime sweetheart Vera
Lynn's Decca/Universal-released "We'll Meet Again'
(Billboard, Sept. 26), Britain's first rock'n'roll star.
Tommy Steele, 72, is back on the Official Charts Co.
albums listing for the first time in 5 1 years with "The
Very Best Of (Spcctrum/UMTV). Released Sept. 21.
it debuted at No. 22 on sales of 8.500 copies, accord-
ing to the OCC.

Brian Berg, managingdirectorofUniversal's UMTV.
has been leading the monetization of pre-BeaUes rock-
'n'roll after internal research revealed an untapped 50-
plus audience.

"We found that market certainly wanted to buy phys-
ical CDs. They like the music they grew up with [but]
couldn't find it easily in the shops," Berg says.

A Marly Wilde compilation sold 80,000 copies in
2007. according to UMTV. followed by releases from
|oe Brown (100.000-plus sales) and the late Billy
Fury (150,000).

Brown, 68, is on an extensive tour this fall, as is 69-
year-old Cliff Richard, marking his 50th anniversary
with backing band the Shadows. Live Nation says
230,000 tickets have been sold for the latter tour, which
wraps Oct, 23 at London's Wembley Arena.

"Reunited" (EMI), Cliff Richard & the Shadows'

'^^DREAMBOATSAND
PETTICOATS THRE^

Sept, 21 -released album of rerecord-
ings, sold 32,000 copies in its first
week to debut at No. 6, according to
the OCC.

The success of the Wilde release
inspired the EM I TV/U MTV compi-
lation series "Dreamboats & Petti-
coats." It was so successful that it spawned a stage
musical, the first such Universal venture since ABBA's
"Mamma Mia!" in 1999. The musical, in which Uni-
versal is a partner, is on a second national tour along-
side a London run. with international shows planned.

The first " Dreamboats & Petticoats" album, released
in November 2007 and featuring British artists along-
side Buddy Holly and Chuck Berry, has sold 677.000
copies, according to the OCC. Volume two has sold
382.000; a third volume is due Nov. 2. Berg notes that
downloads account for less than 2% of sales.

Berg says a TV campaign is crucial for reaching the
older demographic, and UMTV will spend up to
£500,000 ($792,000), mainly on prime-time ITVl fam-
ily/detective shows like "Poirot" and "Heartbeat." as
well as breakfast show "GMTV."

"Regionally, we get an indication where it's selling
in the first couple of weeks," Berg says. "So it's quite
easy to target that audience."

With sales of compilations hit hard by the demise
of mass merchant Woolworths. Berg says supermar-

ck in time: TQIIMY STEELE:
inset: the thTrd volume of
Universal's 'Dreamboats &
Petticoats' compilation series

kets are now crucial outlets, as well as Amazon and
entertainment retailer HMV.

HM V head of music Rudy Osorio says such heritage
releases "sell consistently well for us." particularly
around gifting events like Christmas, Mother's Day
and Father's Day. Artist anniversaries orTV documen*
taries "can also act as a powerful catalyst," he adds.

Although many rock'n'roll-era classics are out of
copyright under the United Kingdom's current 50-year
term for sound recordings. Berg says it's the major's
"duty" to pay artist royalties, and he's confident Univer-
sal's marketing muscle can trump any rival, budget re-
leases of copyright- free material. UMTV says its "The
Very Best of Buddy Holly and the Crickets" compilation
sold 100,000 copies around the 50th anniversary of his
death in Febniary, despite numerous other releases.

Meanwhile, Berg is planning further albums in
2010. including some slightly later recordings.

"The gray brigade are still buying physical CDs,"
Berg says. "We are looking to pick up catalogs and li-
cense recordings from that period."

Digital darlings Down
Under: LILY ALLEN
and LISA MITCHELL
(inset)

DIGITAL
DIVIDEND

Australian Download Sales Surge

BRISBANE, Australia— Down-
load sales are up Down Un-
der, with digital growth moro

than compensating for de-
clining physical sales for the
first time during the first half
of 2009.

While wholesale sales of
physical formats slipped by
$10.5 million Australian ($9.2
million) to $141.5 million Aus-
tralian ($124.3 million), the dig-
ital market gained $11.2 million
Australian ($9.8 million) in
value to $37.1 million Australian

($32.6 million), according to
the Australian Recording

Industry Assn. Overall, the

recorded-music business grew
0.4% to $178.6 million Aus-
tralian ($156.9 million). Results
forthewholeof2008 showed
a 7.9% drop to $425.6 million
Australian ($367 million).

"The results are exciting,"
says Ed St John, ARIA chair-
man and president/CEO of
Warner Music Australia. "But
we've been around long
enough to not necessarily take

one set of six-month figures
as proof we've reached that
turning point."

Executives attribute the
success to factors including
the rapid growth of the
broadband network, the ar-
rival of new platforms like
Nokia's Comes With Music
and Sony Music Australia's
Bandit.fm, and the improved
Australian economy.

The bulk of the growth
came from online downloads,
of both single tracks— up
36.5% in value to $18.1 million
Australian ($15.9 million)— and
digital albums, which rose
56.8% to $9.3 million Aus-
tralian ($8.2 million). The for-
mat now represents 8% of
overall album sales, up from
4.7% in the corresponding pe-
riod of 2008.

"We're seeing the digital
album taking off," says Nokia
Australia music manager
Karen Farrugia, who spear-

headed the March 20 Comes
With Music launch. Industry
sources say Australian con-
sumers have warmed to
Comes With Music, contribut-
ing to a 135% gain in value to
$6.3 million Australian ($5.5
million) for ARIA'S "digital
other" category, which in-
cludes subscriptions.

Farrugia says 25% of Aus-
tralian Comes With Music
customers are downloading
full-length albums, compared
with 4% at Its a la carte down-
load store.

The No. 1 digital album of
2009 is Lily Allen's ARIA-cer-
Hfied triple-platinum (210,000
copies) "It's Not Me, It's You"
(EMI Music Australia), with dig-
ital accounting for 13% of sales.

EMI invested heavily in mar-
keting the album online, driv-
ing footfall to download stores
including its own Musichead
MP3 site. In its first week, dig-
ital accounted for 60% of sales,
according to EMI Australia di-
rector of consumer marketing
Karen Tinman.

Australian singer Lisa Mit-
chell's label credits flexible
pricing with boosting digital
sates of her No. 6-charting
debut, "Wonder" (July 31,
Warner Music Australia). Dig-
ital accounted for 20% of first-
month sales, according to
Warner, although unit sales

weren't revealed. It's available
in two formats on iTunes: a
IS-track $16.99 Australian
($14.92) version and a $20.99
Australian ($18.44) deluxe edi-
tion featuring a digital book-
let and three extra tracks. New-
release CDs typically retail
between $20 and $30 Aus-
tralian ($1756-$26.35).

"Flexible prking gives us the
ability to meet demand and
encourage people to sample,"
St John says.

Official digital-retailer mar-
ket share figures aren't avail-
able, but a survey by the Syd-
ney-based publisher/events
organizer Immedia saw 69%
of respondents name iTunes
as their favorite download
destination. Second was telco
Telstra's BigPond Music with
8%, followed by Bandit.fm
with 4%.

Bandit.fm is a label-agnostic
store overseen by Sony Music
Australia GM of digital and
brand development Gavin
Parry. He's confident the digi-
tal boom can be sustained, as
long as labels don't rest on
their laurels.

"If we continue to work with
[Internet service providers] to
reduce piracy and provide
incentives to bundle digital
music services with broad-
band accounts," he says, "the
future is a bright one."

OCTOBER 17, 2009 1 www.bUlboard.biz I 11

IIPFRnMT

BY DIANE COETZER |

The Digital
Continent

Broadband Comes To Africa At Last

JOHANNESBURG— Africa's music business
hopes a new online infrastructure and music
services will finally ignite digital sales in Soutfi
Africa and beyond.

Wfiile pliysical sales were still growing in
South Africa as recently as 2007, the expan-
sion has leveled off and started to drop re-
cently. Recording Industry of South Africa data
for the year to Aug. 31 shows a 7.2% year-on-
year drop in value across all physical formats
from 478.4 million rand ($63.9 million) to 444
million rand ($59.3 million).

RISA began monitoring digital sales
Sept. 1, with labels confident that a number
of new developments will boost online and
mobile downloads.

The most significant is the July 23 arrival of
Mauritius-based telco Seacom's undersea fil>er
optic cable, which delivers high-capacity band-
width to Southern and Eastern Africa. This will
bring high-speed Internet access to many
Africans for the first time.

"Cheaper bandwidth means we can start
maximizing our digital opportunities," says
EMI South Africa CEO Irving Schlosberg, who's
also chairman of RISA.

With three similar cables due to serve the
region by 2012, labels— which have long
stressed the need for credible music platforms
to help consumers take advantage of improved
broadband access— have also been buoyed
t>y the arrival of Nokia's all-you-can-eat Comes
With Music service in South Africa. The Sept.
21 launch followed the April 24 arrival of a local
Nokia Music Store.

While Comes With Music has seen mixed
results in other territories, Jake Larsen—
Nokia head of music for the Middle East and
Africa— is confident its extensive catalog,
low entry price and "exceptionally com-
pelling offering" will give it market penetra-
tion in South Africa.

All four majors and most local Indies are on-
board, with a high-profile marketing campaign
due before Christmas. While sales figures aren't
yet available, Larsen says the company is
"happy with take-up [sales]" on the Music
Store so far

Executives expect mobile formats— which

accounted for 83% of South Africa's digital
sales in 2008, according to the IFPI— to dom-
inate in the short term.

"Mobile is proving to t>e a growing income
stream," says Adrian Skirrow, owner of Johan-
nestxjrg-based indie ASP Records, local home
of techno act the Prodigy. "It's good to see
credible players like Nokia in the market. How-
ever, once broadband becomes quicker and
cost-effective, we will see real returns on our
digital strategies."

While sales of ringtones and rlngback tones
are falling in most major markets, the pres-
ence of so many entry-level phones in Africa
means such formats remain strong sellers. Jo-
hannesburg-based Independent digital music
monitoring company Aquidneck estimates
total monthly digital sales of 4 million across
Southern Africa (South Africa, Angola, Bot-
swana, Lesotho, Malawi, Swaziland, Tanzania
and Zambia), with rlngback tones the most
popular format.

Mobile music presents "a wonderful growth
opportunity," Schlosberg says. "We are work-
ing with different partners to exploit our cat-
alog and are starting to see income flowing."

While many labels are optimistic that new
platforms will kick-start the business, others
point to recent high-profile launches like online
media store Prefueled and mobile entertain-
ment platform Getmo, which have both strug-
gled to make an impact.

"In Africa, if there are too many steps in-
volved, music consumers just won't buy," says
Arthur Goidstuck, founder of Johannesburg-
based technology research company World
Wide Worx. "Complexity of platform equals
failure, which is why you've had several oper-
ators enter the market and achieve very little."

Meanwhile, others fear an explosion in
broadband access could lead to a parallel in-
crease in online piracy. RISA has moved to
head off such concerns by arranging an Oc-
tober meeting with the Internet Service
Providers' Assn. to broker an agreement on
dealing with file sharing.

"It's a start to what we hope will be an ami-
cable way forward on illegal downloads,"
Schlosberg says. ••••

Broadband torothers: Execs GOLDSTRUCK, SCHLOSBERG and LARSON (from left) are
hoping South Africa's digital market will take off in the coming months.

BILLBOARD OCTOBER 17, 2009

Fanatical: SHUNDA K
of Yo Majesty

True 'Fanatic'

Music Promo Company Partners With
EMI/Caroline To Launch Label

The
Indies

Starting a new label in 2009 would appear to be
a dicey enough proposition. But starting one
with a full-time staff of three while tending to
a thriving marketing business seems like an
impossible task.

Josh Bloom is a true believer, though. He
founded Fanatic Promotion in 1995 and has
since worked with My Morning Jacket, the
Decern be rists. Su^an Stevens, Girl Talk, Mi-
randa July. Of Montreal, Daniel
Johnston, Kings of Conve-
nience, Dirty Projectors and
VHS or Beta, among others. He
dabbled in management and
started a studio. Art Farm. But
through it all, he had one bigger
goal — a real record label.

Bloom and his partner, Sean
Boyd, are betting that Fanatic's
brand name will help them in the
sales arena. Boyd adds that the crashing econ-
omy helped force their hand after years of talk-
ing about whether to start a label. "We were
forced to downsize," Boyd says, "and we now
have a smaller roster, which josh is managing
personally, and we are developing deeper rela-
tionships with our contacts and getting better
results than ever because of it-"

As for Bloom, the label represents a natural
outgrowth of his core goats. "My biggest inter-
est has always been artist development," he
says. "I'm at a point where I can look at a pic-
ture of a band and immediately start thinking
of ways it can be translated to an audience. I 've
always been frustrated by situations where great
bands hit a wall and no one can figure out how
to cross them over to the mainstream and build
a bigger audience."

Bloom, who says that Fanatic Records has
yet to sign any artists, has partnered with EMI
Label Services and Caroline Distribution in
order to bring his acts to a wider audience.
"I'm old school," he says, explaining the de-
cision to partner with EMI. "Pari of my goal
is to find bands that transcend the indie rock
niche and to reach that wider audience of peo-
ple who arc still buying CDs and have more
traditional listening habits. EM I is really proac-
tive and they have a deep understanding of

the music business."

Dominic Pandlscia. senior VP/GM of EM
Label Services, says that teaming with Fanati
was a no-brainer, despite its lack of a roste;
"Fanatic has great platforms, and they knov
how to maximize revenue." he says. "Whci
you couple that with everything that EM 1 La be
Services has to offer, including our synch li
censing and branding opportunities, it's a grea
all-around deal."

In terms of which baiidi
might get to take advantage o
the deal. Bloom says he's look
ing for acts f rom a wide range o
genres, but lias a few guidelines
"I want to sign undiscovere<
artists," he says. "This coui
change, but right now, Tni look
ing for artists to sign with us be
fore anything else has happcnec
Once an artist is part of the biog hype inacliini
it seems like they've already happened."

To be able to focus on building careers am
artist development. Bloom says lie will sigi
bands to multi-album deals. "Artists will alsi
have a provision in their toni racls where if the
use our studio and use Fanatic to do market
ing and PR. the expenses ;issociaiod with iha
will not be recoupable." he says. "If an artis
does want to go outside of Fanatic and us«
someone else, they can, but those expenses wil
be recoupable."

Bloom says he'd like to start releasing album
at the top of 2010 and has ambitious plans fo
his schedule from there on out. "Ideally, wc'i
do one priority release a month," he says. "Am
then we'd supplement with some di^ital-onl
releases, or something by an artist we are al
ready working on the promo side."

One of the artists hoping to be part ol tha
schedule is Shunda K of the hip-liop act Y<
Majesty. "|osh helped Yo Majesty and me fo
two years," she says. "I want to sign to Fanati
and put out a record in February or March,
trust Josh, and he has such a natural ability t<
find great artists."

^ r For 24/7 Indies news and analysis, see
JIIZ blllboard.blz/indles or follow
blllboardindles on Twitter.

_py GAIL MITCHELL

THI= Rll I R»ARn^^^/^

ISLAND DEF
JAM MUSIC

Gouss

sEN?oR VP '^^^ recently appointed IDJ
OFA&R executive prepares to reignite
West Co^t hip-hop.

Max Gousse made the unlikely transition from sports taw to A&R early in his career, and
from all indications, he seems to have hit a home run.

The new senior VP of A&R for island Def Jam Music Group attended St. John's Univer-
sity in New Yori< and Florida international University in Miami in the early '90s, where he
planned to parlay his love of sports— particularly baseball— and interest in law into a ca-
reer as a sports attorney.

But he was drawn to music when he started worl<ing at the interactive music video
channel Jukebox Network under Les Garland while still in school. The job led to meet-
ings with key industry figures, including Sylvia Rhone and Irving Azoff, and Gousse was
eventually offered a New York A&R post at the Azoff-helmed Giant Records.

He segued from Giant to his own label, Mecca Don Records, before moving to MCA
Music Publishing as senior director in 1998. Joining Epic as senior director of A&R a year
later, Gousse signed B2K before being recruited by Mathew Knowles at Sanctuary Man-
agement in 2002 and then moving to Music World Entertainment in 2004. During his four-
year stint, Gousse served as senior VP of A&R before advancing to executive VP of A&R
and new business development, where he supervised Beyonc^'s multiplatinum "B'Day"
and "I Am . . . Sasha Fierce" albums.

The Los Angeles-based Gousse now oversees the entire range of A&R activities for Is-
land Def Jam on the West Coast, signing new talent— artists, producers, songwriters—
as well as working with acts already onboard. One of the first projects completed under
Gousse's watch: Amerie's new album. "In Love & War," due Nov. 3.

Why did the label decide to
increase Island Def Jam's
West Coast presence?

IDJ hasn't had an A&R presence
here for a while: not since early
2008. We've beefed up the West
Coast significantly, adding sen-
ior A&R directors Angelo
Sanders, formerly with After-
math, and David "Touch" Wright,
who was with the production
team the Underdogs.

My plan is to bring in four to
six new acts from the Western re-
gion who are culturally relevant
to Def )am, who can help shape
and make the label into more of
a lifestyle entity on the West
Coast. To do that, we have to sign
younger acts and push some of
the music trends that are devel-
oping up and down the coast.

What are some of those de-
veloping music trends?

Tht-r^-'s a new f nerjjy licri* thut'it

different from the rest of the
country; a movement of young
kids who don't necessarily buy
into traditional hits. They're ac-

tually more in tune with what's
going on in underground hip-hop
to the point where they create
their own style of dress and
speaking. If we can tap into that
youth culture, we can make sig-
nificant gains.

Is an example of this the
Jerkin' Movement, which is
being popularized by acts like
the New Boyz?

Yes. it's definitely a trend. Not just
a music thing but a culture and
lifestyle thing in terms of the jerk
dance, the style of dress [multi-
colored skinny jeans and foot-
wearl and the artists these kids
are listening to.

The New Boyz kind of opened
the gate and had a big single
["You're a jerk"). They were able
to get on local radio, then the
song blew up and spread nation-
ally— that speaks volumes for this

Irt-nd. 1 lliink we'll ace other

artists here continue to develop
along those lines.

Have you signed any acts yet?

We just signed YG , a 1 9-year-old
rapper from Complon, Calif.
He's a very talented kid with a
large following he's attracted
through MySpace. He speaks to
that audience. Although he has
no radio play yet, they go to his
club shows and know every lyric
to every one of his songs. YG isn't
a dancer per se, but he's kind of
an OG who's been at the fore-
front of the jerk scene. They've
danced to his music for the past
three years.

Is Los Angeles becoming a
creative hotbed again?
1 definitely see that. The quality
of the facilities here has a lot to
do with it. and there seems to be
more of a collaborative feeling
between producers and songwrit-
ers here versus other cities,
where there tends to be more
camps and cliques.

Tlicrc's a co tiiicii t ra t iun uf

producers here that songwriters
can work with without necessar-
ily having had a No. 1 record.
These producers include Wayne

Wilkins, who co-produced Bey-
onc6's "Sweet Dreams"; there's
also Soulshock & Karlin, Harvey
Mason jr.. the Stereotypes, the
Co-Stars, Dr. Luke and RedOne.
You also have Tricky Stewart and
the-Dream working here a lot
along with Sean Garrett, |im Jon-
sin and Rico Love.

What do you look for when
considering an act?

I look for confidence, even some
cockiness. If you're asking me
to invest in you, you have to be
able to carry the ball once we
make that investment. And if
you can write, that's all the bet-
ter. But it's not necessarily re-
quired because A&R [repsj are
supposed to bring songs. 1 also
look for stage presence: Are you
an artist who's out gigging and
building a fan base.^ If this is
going to be your craft, you have

lu be woikiit^ ill it every day.

The marketability of the artist
is important too. My team and I
have to quarterback the artist's
project, so that artist must be able

to convey what his vision is and
then together we can convey that
to the rest of the company so they
can help execute it.

How much time do you devote

to development?

It depends on the level of
development the act has already
reached. If it's someone with a
great voice and confidence but
who has never really recorded,
it could be a six- to 12-month
process as far as helping them
perfect their sound. You want
to be able to present the artist
along with a vision and not
just a bunch of random songs.
You want to paint a picture for
the label.

Is radio still relevant to break-
ing new acts?

1 definitely see radio station
playlists opening up; radio is ex-
perimenting with different
sounds. The barriers that were
once at pop have definitely fallen:
A lot of urban records are turn-
ing into pop records, and pop sta-
tions are playing country songs.
You have more consumers who
are into different genres. And
you'll find as that trend contin-
ues, radio stations will have to ad-
just their playlists.

What will be the final out-
come of the singles vs. al-
bums battle?

You have a segment of the
audience who still loves to buy
albums. But you also have a
younger segment of the audience
for whom it's all about the sin-
gle. Basically, the industry will
continue to adapt but cater to

bolh types uf coiibuiiiers — and

that won't change. The top 20
artists will sell a lot of albums
and everyone else will sell a lot
of singles. ••••

There's a new energy here that's different from IH
the rest of the country; a movement of young kids J
who don't necessarily buy into traditional ni^.

OCTOBER 17, 2009 I www.bmboard.blz I 13

Two months ago, Mexican superstar
Alejandro Fernandez stood before a crowd
fc-of nearly 200,000 in his hometown of
^ Guadalajara, performing one of two
massive free concerts he organized to spur
tourism to Mexico following the swine flu.

J fa If there was ever any doubt about
PPernandez's status as one of Mexico's
favored children, it was quelled here. A
slew of stars, including Gloria Estefan,
Enrique Iglesias and Luis Fonsi, took the
stage with Fernandez in an impressive
show of support. As far as free shows go, it
was unprecedented in the annals of Latin
pop. ■ And then, the coup. Fernandez took
the stage dressed in charro garb, the
traditional mariachi outfit of tight,
adorned pants and jacket and wide
sombrero and invited his father, icon
Vicente Fernandez, onstage for a mariachi
set. ■ In an instant, Fernandez went from
pop star to ranchera symbol, a dual role
that has been a constant in his nearly two-
decade-old recording career.

□

From Pop To Ranchera Alejandro Fernandez's
New Project Bridges Genres And
Two Of Universal's Labels BY LEILA COBO

14 I BILLBOARD 1 OCTOBER 17. 2009 PHOTOGRAPH BY DAVID FRANCC

Cni

OCTOBER 17. 2009 ivww billboard hi7 IS

Now. Fernandez is preparing to simultane-
ously release a ranchero album and a pop
album, each with different tracks, different pro-
ducers and different marketing and sales teams.
Tided "Dos MundosTradicion" and "Dos Mun-
dos Evolucion," the project is set to hit stores
Dec. 8, with the pop album out on Universal
Music Latino and the ranchera album out on
Fonovisa, both sister labels under Universal
Music Latin Entertainment{UMLE) — although
Fernandez is signed to Universal Music Latino.

Being split between two genres "is what
I've lived," he says. "I started in Mexican
music and later went on to pop, and did very
well. But I hadn't
released a ranchero
album in a long time.
This has been a game,
in a way: We've brought
ranchera [music] closer
to pop and pop a little
closer to Mexican
music."

Ranchera music, the
dramatic, gut-wrenching
Mexican songs that are
usually performed with
a mariachi band, is a
subgenre of regional
Mexican music that
couldn't be more differ-
ent from the more sub-
tle, romantic leanings of pop. Although a
handful of artists, most notably Marco Anto-
nio Solis, Pepe Aguilar and Ana Gabriel, have
tackled both genres (see story, below), having
two completely different albums be released
simultaneously has never been done in the
Latin realm, in any genre. But it's a move Fer-
nandez thinks will benefit his career.

"Alejandro lives, sings, enjoys the two
worlds — ranchero and pop," says Jesus Lopez,
chairman of Universal Music Latin America/
Iberian Peninsula, who also heads UMLE, Uni-
versal's Latin music operation in the United
States. "From the onset, Alejandro and I said

'We Ve brought

ranchera
closer to pop
and pop a
Httle closer
to Mexican
music/

—ALEJANDRO FERNAnDEZ

that if the two worlds coexisted on a daily basis
in his life and in his concerts, why not have
them also coexist on his albums?"

The two albums are titled "Dos Mundos
Tradicion" (Two Worlds Tradition) and "Dos
Mundos Evolucion" (Two Worlds Evolution).
Save for one track penned by Solis, the tradi-
tional album was written and produced by re-
gional Mexican star Joan Sebastian, who also
wrote an album for Vicente Fernandez last
year. The pop album brings together multi-
ple producers and songwriters, including
Kike Santander and Aureo Baqueiro. with
whom Fernandez had worked before on pre-
vious albums.

Both albums sound,
of course, like Fernan-
dez, whose trademark
voice — a potent tenor
that's one of the most
distinctive and down-
right beautiful in the
genre — can go from
pop crooning to bra-
vado mariachi with
equal conviction. But
the arrangements run
the gamut from the
familiar to total depar-
ture, with the tradi-
tional album often
veering into country
and Tex-Mex territory while the pop album
goes from the acoustic to what Fernandez's
manager Carlos de la Torre calls "Mexican
soul." given its mix of contemporary and
tradition.

This mix is at the heart of "Dos Mundos,"
de la Torre says. "Alejandro has that duality.
He can put on an Armani suit and ranchera
boots. And because he has those very Mexican
roots, you believe it."

That paradox, de la Torre adds, will be pres-
ent in every phase of the two albums' promo-
tion. Different singles, for example, are being
worked to each genre. The promise of dual

support was important to Feinindez, who
signed to Universal late last year after a life-
time on Sony Latin, and who was anxious to
release a ranchera album after years dedicated
to expanding his career overseas.

To date, Fernandez has sold more than 2.3
million albums in the United States, accord-
ing to Nielsen SoundScan. And while most
Latin acts talk about crossing over
from Spanish to English, Femdn-
dez is one of a handful of artists
who have managed to become
superstars by crossing over

from traditional ranchera music to pop. Thai
duality began in 1997 with "Me Esloy Enam
orando." a collaboration wnth producer Etnilic
Estefan |r. that sold more than half a niillior
copies in the United States, according tc
Nielsen SoundScan, and 3 million copitv
worldwide, according to the label, and cstab
lished Fernandez as an international star. Atu
Fernandez has been equally successful in rc
gional Mexican music.

"He represents what is iraditional ant
contemporary in Mexican music.
L6pez says. "Tliat's what makes bin
unique. No one else can live in thost
two worlds so easily and with such artis
tic quality."

In this case, it may be Fernandez bat
tling with himself for a No. 1; on Oct. 5
Fernandez's two singles were sent si
multaneously to radio. The pop track
"Se Me Va La Voz," was wriilcn b;
Tabare and produced by Baqueirc
while the ranchero song. "Estuve," w;i
written and produced by Sebastian. I Vr
n^ndez previewed both tracks for fans <ii
his Twitter account. Both albums will Ix
promoted digitally on iTunes' Count
down feature. "The marketing will In
done jointly between Fonovisa aru
Latino," says Universal Music Latim
president Walter Kolm. "The t ritiri
marketing strategy goes hand in hatid
Even when he performs on television, In
will sing both singles."

The albums will be sold separatt ly ant
as a set. In a second marketing phase
Kolm says, both albums will probablj
be launched together with cxt tusivt
bonus content.
"We have a unique situation here,'

■ f

Kolm says. "An arlisl with this duality with
a company like Universal that has two sepa-
rate labels."

On Ihc Mexican end, says Disa/Fonovisa
president Gustavo Lopez, "the regional pro-
duction is the most anticipated album this fall
in the Mexican music arena. Tlie combination
of Alejandro Fernandez and |oan Sebastian
producing is a dream come true."

The fact that Fernandez has been recording
more in pop than ranchera in the past few years
has no bearing on the album's possibilities,
Gustavo Lopez says. " He was a huge regional
iiar before breaking in pop."

Fernandez is the youngest son of Vicente
Fernandez, widely considered the most promi-
nent living ranchera singer and one of Latin
music's biggest icons. As Vicente's son. Ale-
jandro was pushed into the limelight early;
when he was barely 3 years old. he look the
^lagc with his father for the first time, pan-
icked and began to cry. The younger Fernan-
dez went on to study architecture but
^-ventually found his way back to music, re-
leasing his self-titled debut album in 1992 and
launching one of the most prolific, successful
and memorable careers in the Latin realm.

Fernandez traverses pop and ranchera with
case beyond his recordings as well. In his shows,
he performs pop and ranchera sets, first dressed
in jeans or a suit and accompanied by a pop
band, then dad in a full charro outfit and ac-
companied by a mariachi. While he can easily
play theaters in Spain andarenas in the United
Stales and Latin America, in Mexico. Fernan-
dez performs during traditional celebrations
across the country and in palenques, the circu-
lar theaters found in many Mexican cities that
can seat up to 15,000. In these settings, he al-
ways performs dressed in Mexican garb.

VICENTE FERNANDEZ (left) and
ALEJANDRO FERNANDEZ
perform in Guadalajara to
encourage tourism to Mexico.

Capturing the duality of both worlds in all
marketing material was important, de la Torre
says, and although each album has its own
identity, both the videos and the albums' art
and concept will come together at some point.

The albums' art, for example, which is still
in the planning stages, may depict Fernandez
divided between his two worlds, dressed as
an international artist in a traditional Mexi-
can hacienda or as a Mexican charro in front
of a modern building. But while in the past
Fernandez had pictures taken in different
cities and countries, this time everything will
center in Mexico, specifically in his home stale
of lalisco. It is, de la Torre says, the contrast
of something very modern with something
very Mexican.

Universal ts still in the process of aligning
sponsors and media partners for the album re-
leases, including partnerships with mobile car-
riers in different Latin American countries.
Fernandez, however, has never been big on
sponsorship deals, and those he strikes hit close
to home, as is the case with Grupo Modelo, the
maker of Corona Beer which sponsored his
last tour and with whom conversations are be-
ginning for his next tour.

Although sales are down and the economy
is ailing, de la Torre says that securing a spon-
sor still isn't essentia! to Fernandez's proj-
ect, "i think we have to show fans that we
stand by who we are and we will continue
to record good songs. ' he says. "Our com-
mitment to the fans has to continue, and
times like this are when you most have to con-
centrate in releasing great songs. We have to
continue to think positive. They say winners
aren't those who do things differently. Win-
ners are those who do different things. That's
what we're doing." ••••

THE BILLBOARD Q&A:

ALEJANDRO
FERNANDEZ

As Alejandro Fernandez prepares to release " Dos Mundos Tradicion"
and " Dos Mundos Evolucion," he's doing double duty as a singer of
ranchera music and one of Latin music's leading pop stars.

Why release two albums simultaneously?

We planned it to attack the two markets
and the two targets. Normally, when you
release an album in one genre, it takes at
least three years to return to it. and you
could lose your other audience. What we
wanted to do was reach both markets at the
same time. I hadn't recorded a Mexican
album in almost six years and 1 had that
need to do it— and I think the fans were
anxious for it as well. Although I've done
very well with pop, and in a way. the pop
that we do sounds very Mexican.

Doing such a release has never been
done. Are you nervous?

No. On the contrary, I think it will be ex-
cellent for my career. Universal is in love
with the project, the album, the songs.
]esus [Lopez, chairman of Universal Music
Latin America/Iberian Peninsula and head
of Universal Music Latin Entertainment)
has made me feel at home.

You're working on the album imaging
now. What's the idea?

We're playing a little with the album con-
cept. It will bring you close in a way to the
two worlds that I've lived: the countryside,
the farm, the animals, but I've also lived
an urban life in the city. It's the first time
we're working with the photographer and
the art designer at the same time.

Your Mexican concerts in your home
state of Jalisco to promote tourism were
a huge success. Did their planning have
anything to do with your albums?
No. That was about supporting the secre-
tary of tourism, particularly because
Guadalajara was going through a very
rough time. And (hen, with the swine flu,
no one really knew what could happen.
What we wanted to do was tell the world
that everything was OK.

You play almost every weekend, and
you play many shows during Mexican
festivities around the country and In
palenques, but you also perform in are-
nas and theaters. Are the shows com-
pletely different?

The theatrical presentations have far more
production value, but the vibe that you have
live in a palenque is incomparable. It be-
comes addictive. Those concerts are more
relaxed, more bohemian. You can tell that
people are really there lo enjoy themselves.
We also play pop in the palenque shows.

but we don't have any changes. I perform
dressed in charro garb the entire time. But
we do have great lighting production,
screens, that kind of thing.

Initially you were thinking of releas-
ing only a pop album, and then you
had an encounter with producer/song-
writer Joan Sebastian. What can you
say about that?

We knew we wanted to record a ranchero
album. In fact, we'd thought about )oan Se-
bastian [to produce it], but then he did the
album for my father and we shelved that op-
tion. As we were looking for a ranchero pro-
ducer, loan came up to me during a show
in a palenque and said, "Alex, I've come lo
say hello and to tell you I want to do an
album with you. It's something I've been
planning for a longtime." And I said, "Oh,
come on!" Because we didn't want to repeat
[what my father had done}. And he said. "No.
no. no. Alex. I have 1 1 songs. Let me play
them for you and you tell me if they sound
like your Dad's." And he'd brought a CD
player and he played the songs, and my jaw
dropped. They were totally different from
what he'd done with my dad. So I had to do
it. And on the other end. tlie pop album was
already well on its way.

Some of the songs arent traditional mari-
achi. Some tracks sound almost country.

It's a universal mix. That's why I say that
what wc did was bring pop closer to Mex-
ican music and Mexican music closer to
pop. But there are songs that are totally
mariachi, And you do hear the mariachi in
full, but performed in a different way and
with different instruments.

When you record pop and ranchero,
do you have to be in a different mind-
set to do each?

You sing them in a completely different
way. They are two completely different gen-
res. Ranchero is stronger, more passion-
ate, it has more energy. If you sing a pop
song in that manner, it doesn't sound well.
You really have to change your mental
channel when you go from ranchero to pop.
But with this album, doing two sets of ma-
terial, truth is. I'm exhausted.

Could you live, say. In Miami?
For a bit. Maybe on vacation for four, five
months. But leave behind Mexico, my
home, my roots and all my culture? Tlial
would be hard. — LC

OCTOBER 17. 2009 I www.billboard-tiiz i 17

TCJCiO HOTEL HAS ALREADY CONQUERED EUROPE.
CAN THE ELABORATEUrCOIFFED GERMAN BOY

,n r.FT BIG IN THF U. K AND AMERICA?

BY MARK SUTHERLAND
PHOTOGRAPH BY OLIVER GAST

Sometimes, much weirder things happen at the MTV Video Music
Awards than Kanye West interrupting an acceptance speech. Take
the 2008 VMAs ceremony, for example, when the A-Hst glamour of
Hollywood's Paramount Studios red carpet was upset by the en-
trance of four teenage cyborgs with preposterous hair that stood
atop an enormous monster truck. Emblazoned with their band name
in foot-high letters, the truck was the cyborgs' not-particularly-sub-
tle way of telling America what the rest of the planet already knew:
Tokio Hotel had arrived. So far, so Eurotrash gatecrasher. Tokio
Hotel — a curious electro-Goth-glam-emo boy band that had climbed
no higher than No. 39 on the Billboard 200 — had what seemed a
token nomination in the fan-voted best new artist category. It was
up against the creme de la creme of U.S. female pop: Miley Cyrus,
Katy Perry, Jordin Sparks and — oh, the irony — Taylor Swift. The
likelihood of Tokio Hotel winning seemed about equal to that of
Satan ice skating to work the next day. "We were at the awards
watching it outside on a massive screen," recalls Martin Kierszen-
baum, chairman of Tokio Hotel's U.S. label, Cherrytree Records,

as well as president of A&R for pop/rock at Interscope and head
of international operations for Interscope Geffen A&M. "I was
half-distracted because I didn't really expect them to win — it just
seemed a little . . . hopeful. But they announced it and suddenl)
[Interscope marketing executive] Bob Johnsen just punched mc
as hard as he could on the arm. Boom!" The band and most ol
the audience were similarly dumbstruck. Yet no one saw the need
to interrupt singer Bill Kaulitz — the one who looks like a cross be
tween a Bratz doll and a cockatoo — during his incredulous accept
ance speech. "To be honest, it would have been a good moment
if someone had come onstage," Kaulitz reminisces a year later. "I
was onstage at the VMAs and I was speechless." "We got ver)
drunk," says his guitarist twin brother Tom with a laugh — he's the
one who looks like a cross between Predator and a Jonas Brother,
"Even though we can't drink in the U.S. until we're 21." ^ The ncxi
day, they weren't the only ones suffering. "Man, I had a charle)
horse from that night," Kierszenbaum says with a laugh. "But IT
take a charley horse any day if it means winning an award."

.;/v- >7x/*/<; r Hi-: MOTHER tongue

One suspects many in the Tokio Hotel camp have been sport-
ing similar injuries in the last four years. The band acknowl-
edges the VM A win as "the biggest thing in our entire career,"
but in truth it was just another moment in a career trajectory
that has defied conventional wisdom, international bound-
aries and. at times, logic.

Formed in the East German town of Magdeburg, the band —
which also features bassist Georg Listing and drummer Gus-
tav Schafer, the two who look like they've come to fix the Kaulitz
brothers' car and computer, respectively — began playing under
the name Devilish in 2001.

A deal with Sony BMG followed. But Tokio Hotel was dropped
in 2005 when the members were just 15 — a decision that, in
pure commercial terms, is starting to compare to Decca's re-
jection of the Beatles. Undeterred, the twins signed with Uni-
versal Music Germany and quickly became a hot property with
their 2005 German-language debut. "Schrei."

And there, frankly, the story should stop. German-language
pop music is right up there with English cuisine and Ameri-
can diplomacy as concepts that shouldn't travel and usually
don't. At all. Not since Nena's 1983-84 hit "99 Luftballons"—
cited by Bill as a formative influence — had songs with umlauts
made it beyond the Maginot Line.

Yet "Schrei" didn't just reach No. 1 in Germany and Austria
and top three in Switzerland. It hit the top 10 in Greece, Hungary,

the Czech Republic and Poland and, almost unprecedentedly. No.
12 in France — a country that traditionally regards German pop
music in much the same way it looked at George Bush — while
peaking on Billboard's European Top 100 Albums chart at No. 5.

The foUow-up, 2007's "Zimmer 483." did even better, peak-
ing on European Top 100 Albums at No. 4. It hit No. 1 in Ger-
many and No. 2 in France: went top 10 in Austria. Switzerland,
Greece, Hungary, the Czech Republic and Poland: and charted
everywhere from Finland to Italy. The band even performed in
Tel Aviv — a rarity for German-speaking artists — after Israeli
fans launched a petition demanding a concert.

"It was strange," Tom says with a shrug of such cross-bor-
der success, "but cool. Our fans started to learn German so they
could sing along."

At the same time, however, executives and band members
alike were at something of a loss to explain the group's appeal.
Bill cites the band's formidable online presence as a factor,
while executives cite Bill's exotic look as crucial in attracting
media attention and a vocal female fan base.

Any time that might have been used to contemplate this puz-
zle the twins spent learning English in a bid to conquer the coun-
tries that hadn't yet embraced the group's cyber-Goth persona.

In 2007, Tokio Hotel released its first English-language album,
"Scream," featuring songs from the first two German albums
sung in English. It has sold 175.000 U.S. copies, according to
Nielsen SoundScan, spending 21 weeks on the Billboard 200. It

was also a hit across Europe, bringing the band's first top 1 0 s iii
cess in Italy, the Netherlands, Portugal, Sweden and Flander
The French sent it to No. 6. They'll be eating English cheese next

Tokio Hotel's new album, "Humanoid," came out almost s
multaneously around the world — Oct. 2 in Germany and con
tinental Europe, Oct. 6 in the United States — in both Germai
and English versions.

"It's necessary we stick to the German -language origins ii
some markets," says Cornelius Ballin, the Berlin-based direc
tor of international exploitation at Universal Music Germany
"But English is the international language of music and liit
band wants to be heard in that language as well. Each torritor)
will focus on one version but as they have fans who want to ge
their hands on everything, [most countries] will put both out'

In the United States, a Best Buy-exdusive version of the albun
will feature the German albimi alongside the English one in a
two-CD package. This time the band recorded two versions o
every song at once.

"It's not a one-to-one translation this time." Tom says. "Tht
songs are around the same topic but we had to view them a;
different things really.

"We're working twice as hard as any other band." Bill say;
with a laugh. "I feel comfortable with the English versions tiii;
time. I'm a perfectionist, so the first English record was ver>
hard for me. 1 don't want to sound like a German guy trying Ec
sing in English."

18 I BILLBOARD 1 OCTOBER 17, 2009

"Humanoid." which is more electronic than previous al-
bums, is heavy on the science fiction (think "Terminator" or
'District 9"). The first single is "Automatic" {or, if you prefer,
'Automatisch"), a brilhantly ludicrous techno-rock anthem with
3 video featuring fast cars, robot sex and Bill looking like Bjork
if she had played the Tma Turner role in "Mad Max Beyond
rhunderdome." The rest of the album is almost equally over
ihe lop. and the fist-punching rock of "Noise' and the Depeche
Mode-style electronica of "Human Connert to Human" are
catchy enough to appeal to teens from Berlin to Boise. Idaho.

For the album release. Universal has partnered with Media
Markt, a Pan-European consumer electronics and entertain-
ment retailer. The chain will give an item of band merchandise
to consumers who preorder the album at stores in Germany.
France, Spain, the Netherlands, Austria, Switzerland and Bel-
gium. It will also set up displays dedicated to the act. and 13
outlets across the seven territories will present 3-D broadcasts
of the band performing tracks from the new album. The band
will play a live showcase at the opening of Media Markf s new
flagship store in the Paris suburbs at the end of October.

"We need (enterlainmcnil specialists in the market in Eu-
rope because that's the way we break acts," says Romain Del-
naud, the London-based director of operations for commercial
affairs at Univereal Music Group International. "Media Markt
have an international presence that allows us to coordinate the
campaign across the markets."

The deal could help Media Markt as well. "Tokio Hotel is a
good fit for us," says Wolfgang Kirsch. chief procurement of-
ficer of Media-Saturn Group. "Both of us started our career in
Germany and expanded into other countries very successfully.
The combination of music, innovative technique and a live ex-
perience is a perfect fusion."

The band members might also want to look at alternative
uses for the 3-D technology if it can help them be in more than
one place at the same time. Such is the devotion of the group's
rabid fan base — either hyperventilating teenage girls or more
intense emo types, depending on the territory — that the Kaulitz
brothers can no longer have a quiet drink anywhere in Europe.

'It's not a job for me," BUI says with a shrug. "It's my life.
Tokio Hotel is Ian extension of] my personality and the whole
look comes from that.'

"It's totally cool that he gels alt the attention," jokes Tom,
who bickers — good-naturedly rather than violently — with his
brother. "As long as I get more girls than him."

WOPLDWfDE SUCCESS COULD 8£ 'AUTOMATIC

Tokio Hotel's global sales are now at 3.5 million copies, plus
1 million DVDs, according to Universal. The international
scope of the band's marketing campaign is obvious, and the
act's official Web site is available in 1 1 languages. "Automatic"
is a worldwide MTV video priority. The band will appear at
the network's European Music Awards Nov. 5 in Berlin and

headline MTV Day 09 — broadcast worldwide as an MTV World
Stage presentation — Oct. 9 in Athens. Regular European tour
dates will follow early next year.

The band wilt be in the United States Oct. 10-19, and Kier-
szenbaum expects to confirm appearances on major TV shows.
{One already confirmed is MTA''s "It's On With Alexa Chung,")
With early media support from Rotting Stone, Seventeen and
the New York Times, he intends to delay a major radio push to
top 40 formats until "we've got real traction in the marketplace. '

"The sky's the limit," Kierszenbaum says. "The band has
turned in a great record, we did a tot of groundwork last time,
and people are opening up to new kinds of music. Bill's an ab-
solute worldwide superstar — it's just a matter of time and we're
going to make sure it happens,"

Universal Music Germany's Ballln says South American
markets are also a priority this time around, and an initial push
in Asia is planned for next year. Even the United Kingdom,
which now stands alone in declining to embrace the band, will
receive the fijtt Tokio Hotel treatment in 2010.

"Success is like a drug." Bill says. "We want to be successful
everywhere. Bui if not, at least we can go on vacation to London."

Best not to book that holiday just yet, though. If anyone can
make the Brits love German pop music, it's Tokio Hotel. Noth-
ing— not even Kanyc West — can stop them now.

Additional reporting by Wolfgang Spahr in Hamburg.

OCTOBER 17, 2009 I www.billboardJ>lz I 19

'I think we
have a better
experience and
a better offer.
We wouldn't do
it if we thought
we were going

-GUSTAV SODERSTROM >

See Spotify Run

The Swedish Streaming Service Has Taken Europe By Storm.
Can It Translate That Buzz Into Popularity— And Profit— In The U.S.?

BY ANTONY BRUNO I ILLUSTRATION BY PETER HOEY

MTV Urge . . . Yahoo Music Unlimited . . . Virgin Digital . . . Since 2003 — when ITunes
launched in the United States — all of these digital music services have come and gone, without
challenging Apple's market dominance, despite the backing of resource-rich parent companies.
^ Add in all the startups that have crashed and burned in the same time period and it starts to
look like no service could ever rival iTunes' traction with customers and critics. * Until now.

The Sweden-based startup Spotify. launched for public ac-
cess in October 2008, has momentum like no other digital
music service of the last six years. 1 1 offers on-demand music
streaming, in both free and premium services, and now claims
to have more than 6 million users in Sweden. Norway, Fin-
land, the United Kingdom, France and Spain. Atone point it
reported signing up new members at a rate of 50,000 per day,
although that figure has fallen since September, when the
service restricted its free version to invited guests in the
United Kingdom.

Spotify has won high marks from reviewers for the ease with
which it provides access to a catalog of more than 6 million
tracks from majors and indies alike and the unobtrusive way
it delivers advertising.

Spotify's recently launched mobile version — available for
the i Phone and Android-powered devices in Europe to pre-
mium subscribers who pay the equivalent of around $15 per
month — has won similar praise. Although Spotify doesn't com-
ment on its fund-raising activity, it has reportedly won $50 mil-
lion worth of backing from investors — at a valuation of $250
million, an almost unheard-of sum for a music venture in today's
stingy venture capital environment. The European service also
has the full support of the major labels, which reportedly ne-
gotiated a collective 18% slake in the company.

Yd this momt-ntum will be tested severely as the company
prepares lo enter the United States — the No. 1 music market
in the world — with a launch expected either late this year or
early next, depending on how fast it completes its negotiations
with the majors.

"It's been talked about so much I don't think it can meet
everyone's expectations," says Forrester Research analyst Sonal
Gandhi. "If the Spotify experience can be as good as hyped, it
has a lot of potential."

With negotiations ongoing, U.S. labels are reluctant to com-
ment on the service. According to music industry sources, the
labels are impressed with Spotify's achievements but want the
service to start generating real revenue. To do so, it must take

care not to let the usage model outpace the business model.

TTiere are certainly early signs of success. In August, Per
Sundin, managing director of Universal Music Sweden, told
the Swedish press that his company now earns more revenue
from Spotify than iTunes. But that's in Sweden, where the serv-
ice was born and where iTunes doesn't have the dominant hold
on the digital music market it does elsewhere.

"We've seen income from Spotify follow a steep growth curve
since launch," says Paul Smernicki, director of digital and di-
rect-to<onsumer at Universal U.K.'s Polydor Records. "Exclud-
ing mobile, they are pretty high up the list as a revenue stream
for us. But we're certainly not in the same position as Sweden."

Scott Cohen, the London-based founder /VP of international
at the digital distribution and marketing company the Orchard,
says Spotify is already boosting income for labels in two ways.

"First, the more tracks are streamed on Spotify the more
downloads occur on other services," he says. "We are not see-
ing any cannibal ization. Second, revenue streams from adver-
tising have been steadily increasing and have overtaken many
niche stores in Europe."

But the ad-supported free service alone can't generate the
revenue Spotify needs to pay for the music it plays. The com-
pany reported a net loss of $4 million last year, and its decision
to limit its free service in the United Kingdom to invited guests
implies a high bum rate.

That means Spotify has to increase the number of users for
its premium service. So far, however, music subscription serv-
ices like Rhapsody and Napster haven't been able to reach a
mass audience. In its most recent quarterly earnings report,
RealNetworks said Rhapsody has about 750,000 subscribers.
Napster had 700,000 subscribers when Best Buy acquired the
company last year, but hasn't released updated figures since.

While Spotify plans to make mobile access a key element of
its conversion strategy, the mobile music market has also yet
to take off. Sjwtify has confirmed it will launch in the United
States with a "slightly different model" than in Europe, although
it has yet to disclose details. »>

OCTOBER 17. 2009 I www.blllboard.biz | 21

THE AD-FUNDED MODEL

Calling Spotify a free ad-fiinded music streaming service would
be accurate but unfair. The company has paying customers,
but they number less than 10% of its user base, according to
comments from CEO Daniel Ek at a recent London conference.
And company executives say that's unlikely lo change.

"We expect the large majority of our users to stay with free,"
says Gustav S6derslr6m. who left his job as director of busi-
ness development at Yahoo to join Spotify as its head of mo-
bile. "We're monetizing it through ads and through selling
downloads [through its partnership with 7digitaij, so it's a sig-
nificant revenue source."

So far, no ad-funded service has been able to turn a profit
from advertising and download revenue alone. Which is why
Spotify doesn't intend to. Using the "freeinium" model, the
company hopes to convert a portion of its free user base to the
premium tier.

The free Spotify service could be seen as a customer acqui-
sition play — and perhaps not the most expensiveone out there.
Napster once estimated ii.s customer acquisition cost at SlOO
per user, due to all the advertising needed to explain its sub-
scription model.

"It makes the [customer acquisition] process easier than [it
would be] if you start with no users." Soderstrom says. 'You
have to put a lot of marketing dollars into getting users' atten-
tion to even consider signing up. We don't have to do that."

Free access to any song on demand is powerful bail and Spo-
tify offers what amounts to an indefinite trial period. Rhapsody
and Napster usually limit their trial periods to about a week,
after which users either need to pay or use only 30-second sam-
ples. (Rhapsody allows non-paying users to stream 25 free songs
per month,) Tliat may not be enough time to get users hooked
on the access model.

Despite the popularity of Spotify's free tier in Europe, Rhap-
sody America VP of business management Neil Smith doubts
il will roll out the same way stateside.

"The reason Spotify blew up so big and so fast was it was free."
he says. "That model isn't going to happen in the U.S. anytime
soon, maybe ever. The U .S. is the market where the labels make
all their money. They can't afford to have a service tliat doesn't
generate substantial revenue suck up all the usage, [fit was $15
(per month] out of the gate, it wouldn't have a million users.
Once you take the free piece away, we compete pretty well."

So Spotify will have to ensure its ad-supported service re-
mains worthwhile and not degrade it in order to push users to
the paid version. Devaluing the free service would risk losing
users , which in turn would threaten its function as a tustomcr
acquisition tool as well as limit any hopes of generating rev-
enue from it.

THE SUBSCRIPTION MODEL

For all the hype Spotify gets for the popularity of its free tier,
there's no guarantee it can match that success as a paid service.

Until its mobile option launched. Spotify's premium tier
only offered the elimination of ads — which weren't very intru-
sive to begin vrith — and slightly better audio quality. The iPhone
and Android apps add portability to that mix, but it's still not
much different in price or function to portable subscription of-
fers from Rhapsody and Napster.

"The value proposition of subscription has to change,' For-
rester's Gandhi says. "There has to be ownership. Tliere has to
be something besides just renting music. "

Gandhi specifically points to subscription plans that allow
users to keep a certain number of songs per month . such as the
five tracks Napster gives away as part of its $5-per-month stream-
ing plan and Zune's 10 free downloads.

Another option comes from Pali Capital analyst Richard
Greenfield, who recently suggested that mobile operators and
Internet service providers should bundle the Spotify premium
service into their data plans. The idea of bundling is nothing
new, but Spotify's ability to synch content across the different
platforms makes it a more viable option.

Soderstrom says Spotify- would consider such options, but
only if they weren't exclusive.

22 I BIU.BOARD I OCTOBER 17. 2009

AfOUs: (1 3) Ma tpoqae • MMt Ma • C4anm B«IU •
Mil HoiTt • selta ctao • IcWi Coosy • Smno Oi BcHj
• RourK) n Mia > B«4U V Oicura • The teUi Fayn •
Cill«t telknure. Let Cdlttons Orcttesira MU ino2

j: F—m

Ji Chant (u^nr Fv*nln4

J", Akintd GHbtns tat
aadra Nu->ux Lounp*

Bella

• klU Dcrrij ... ■ U-U Mujer . . - -

Jovanom

< 1«

ana

RL Mia rou

Froi Ramanom

■mi :

ErtM

la7ar««]9hMUM>

>-a7

fMbOao-taadeoMgiMaladu film

775

Thug 1 ij* 0«r Tw«MiJ

iincim. T«4m

4 11

Mi.lr

1 ■ Iflla Malta

«l*aa) FfMKia

Ihm gMom tn panMrM^mpifu

MUCUo

I «

A Snqfong arm a Snap

IC»nlOothe<Stnn9M...

7 W

Ska imanza Cn** Siudlo Om S

Thf >jnp Off (hu. Mr nawk^

tincim. Ur ChMhi

nil

Il MU Malta

Mb noniia

S«

Mb Oom

Mb Pnndimu

Mta Mu|M

]»

MtaMufcr

Mb n9ura

nil

MbF^ura

Mb More

Clv)«M f>{i9r«<i

?»

Mb Dam R*qulMii

S4«

Mb Donna

MUOao

MbOae

41?

On kn tlnrur

ttttiMu fttnU)

Oaam Mia

? 19

CbnM Mia CarMtala

Fnni MU

Frtf 'MoMv' Uorrtt

■1 '

Sea Innaiva mw SniM) Ona S. .

MU Cnm* ft

Onjpl

4 t«

MaFStT*9a

MUESm^a

Dn<pl

Y7\

MaESm^a

Mbosuom*

Ho«o<apbn«

4fl?

MUnaMortra

LaltaitnaMa

ICamortMTMa

^57

U teihuMa

Hnnda Brta lloMa

1 Canton iMTMa

t'49

■

latatinaMto

Mb V»ner« (Radki lltx)

Frank H*atf

MbV*»-»»

Mb Vrfwr* (Altam Ml)

FrwitHfatf

>41

Mb Vffwr*

Mm Ma

1 :W

a. MM* MOM / SmmMigM

eoo

See Spotify run on multiple platforms: The company's Web interface (above) and mobile app (below)

THE MOBILE MODEL

Spotify is hanging its hopes of converting free users lo paid
users on the mobile application. But it doesn't want to position
itself as a mobile service.

"I wouldn't say Spotify is a mobile service first." Soderstrom
says. "You're going to do the maiority of your browsing and dis-
covery on your desktop, at least for some time. But if you want
to use Spotify as your primary music service, then you're going
to need the mobile option."

Previous portable subscription options required transferring
tracks from desktop to portable device, which users needed to
synch with an online service at least once per month to refresh
the licenses. Services were based on digital rights management

technology from Microsofl lliat had a re pulalion for being unre-
liable— and the dominance of the i Pod had made them irrelevant.

Spotify gets around this by using mobile phones to stream the
music rather than download it. Since mobile networks arc noto-
riously unreliable, it createda way to temporar-
ily cache more than 3,0(X) songs on supporting
mobile phones, without using the 10 GB of
storage normally required to do so — although
users must still connect to Spotify every 30 days
to verify their premium subscriber status.

Mobile options have already paid huge
dividends for music services like Slacker,
Pandora and Clear Channel's iheartradio.
Pandora, for example, says more than 45.000
of the 65,000 new registrations it gets every
day come from its various mobile apps.

"Our future is going to be more mobile-
centric than I had even thought, and sooner."
Pandora founder Tim Westergren says.

But those are free applications. Rhapsody
beat Spotify to the U.S. market with an
iPhone app that lets users paying $15 per
month stream any song from the service's
catalog as well as their playlists and Internet
radio stations, but to date it doesn't have a
local caching option.

The U.S. mobile music market is also much
tougher than that of Europe, where Spotify

nranoMIMrMd

-j1 ■-.■•■fj'-i I 0« c:o'r^>uio (CoUKlari E

AnttroMt

Paranoid Android

launched its mobile service in early September. According to a
Forrester Research study. 27% of U.K. mobile subscribers with
Internet access use their phone to play music at least monthly.
In the United States, that figure is only 10%. U.S. mobile oper-
ators and labels alike hope Spotify will help goose these figures.

"There's definitely potential there," says one mobile opera-
tor. "I think we'll get the typical technology hype curve — lots of
hype going into market, pause and then either decline or hype
again based on reality. Spotify has a chance to be a big deal."

THE EUROPEAN MODEL

Spotify's European success is impressive, but the U.S. market
can be more competitive — and more fickle.

"Spotify hss. a good chance of success in the States if they can
make the right distribution partnerships." the Orchard's Cohen
says. "But it will require a different strategy than in Europe."
And a win stateside would do much more than just ce-
ment Spotify as a legitimate player in the
global digital music game. It wilt finally
broaden the digital music market beyond
iTunes and add a new usage model be-
yond track sales.

"Spotify is not the first streaming serv-
ice in the world, just like iHincs wasn't the
first digital download store," Cilohen says.
"What it does that is so special is make a
fairly complex model seem easy to execute.
They have a great team running the com-
pany and I wouldn't bet again.st them."

And while other U.S. music industry
sources remain only cautiously optimistic,
Spotify has confidence.

"There are certainly more music services
in the U.S. than there are in Europe." Soder-
strom says. "So. yes. it's more competitive.
But I still thinkwehave a better experience
and a better offer. We wouldn't do it if we
thought we were going to lose. " • • • ■

Additional reporting by Andn Poine

in London.

"For marketing purposes, if [the act is] from a TV show, every-
Iwdy will know that show and they'll be drawn to it. whether
it's someone from 'Saturday Nighl Live' or a half-hour comedy
special on Comedy G^nlral." he says, citing a recent show with
"SNL" comic Kenan Thompson.

Booking comedy is also sometimes a safer move because it
ha.s a wide appeal lo studetiLs from all walks of life. "Everybody
loves to laugh." Erickson says. "So with comedy, it's not like
you're trying to appeal to a certain pcrsoti who may like hard
rock or hip-hop and R(4B."

Even top-priced comics are considered a safer economic play.
The 17,000-seat Frank Erwin Center at the University ofTexas
in Austin saw recent success with such top-name comedians
as Robin Williams. George Lopez and Jeff Dunham. "Those
major comics seem to play pretty well in this environment,"
says center director )ohn Graham, who also cites upcoming
shows by Dane Cook and Larry the Cable Guy.

Even in a tough economy, campuses are an attractive target
for top music acts, such as )ay-Z, whose 20-plus-date fall lour
will primarily play college arenas.

Frank Russo, senior VP of business development and
client services at the facility management firm Global Spec-
trum, says business is growing at the 10 university venues
the company manages. But digital marketing is key, "as op-
posed to radio, TV and newspapers." he says. E-mail blasts
for events are effective, he adds, noting that students "live
in their own world" and are difficult to reach through tra-
ditional forms of advertising. So Global Spectrum often
works with student entertainment committees to find al-
ternative methods of spreading the word. "You have to re-
sort to different ways to get them aware of shows, which
might even be putting chalk on the sidewalk on the paths
from dorms to classrooms,' Russo says.

Other colleges are taking a similar grass-roots approach to
reaching students on campus. At Clemson University in South
Carolina, concert organizers have moved the box office for
the 10,000-seat Littlejohn Coliseum to various hubs on the
school's campus. "They don't even have to get in the car —
we're where they want to be." coliseum G M/director of major
events Marty Kern says. To help sell tickets to shows. Kern ad-
vises her students to "get in front of the library late at night
where we know the students are," she says. " It's in-your-face,
old-school marketing."

OCTOBER 17,2009 www.blllb4Mrd.btz I 23

Campus Concerts Adjust To Tight Economy
BY MITCHELL PETERS

Live entertainment is still a major draw at uni-
/ersity venues across the country, but the chal-
enged economy in 2009 has forced some schools
:o cut back on student activities budgets desig-
lated for bringing musical acts and comedians
:o perform in campus buildings. As a result, many
loUegcs are reviewing the types of acts they book
IS well as the frequency of campus concerts,
ndustry observers say.

"The upper administration at colleges is definitely paying
ittention to budgets a little more due to this recession," says
fodd Erickson. an agent at the More Music Group, a company
hat serves as the middle agent between colleges and talent. ' I
:aw an impact from the economy for this fall semester ... but
think things will change back in the spring."

Jamie Kelsall. a booking agent at the Agency for the Perfonn-
ng Arts, says campus entertainment committees are spend-
ng their money more wisely. "They'll do two or three of the
;mall [bands] , rather than putting all their money into one act, "
<elsall says, noting that the events are then transformed into
1 more festival-type environment. "It's certainly no surprise,
>ecause their budgets have definitely been cut."

In tight of tighter entertainment budgets at many col-
eges. some developing artists have agreed to lower per-
ormance fees to play campuses and build stronger student
an bases, according to |on Shyer, director at StarPolish
^resents, another middle agent that assists colleges with
looking concerts.

They're definitely flexible on their numbers," Shyer says,
declining to name specific acts. "(Booking agents] don't want
to express that initially — because of negotiation reasons — but
we get one e-mail a week saying. This band is looking to fill
these dates.' '

Kelsall agrees that the challenged economy has forced some
artists who rely heavily on touring as their primary source of
revenue to re-evaluate how much they charge for shows.

"The smartest bands realize that in order to remain on the
road, they have to work as much as they can with the buyer,"
says Kelsall, who books college-friendly acts like Jack's Man-
nequin, Eric Hutchinson, Three 6 Mafia, Flo Rida. Hogging
Molly and the Gaslight Anthem.

In addition to being more flexible with guarantees, many
artists ofTer additional services to colleges, including lectures
and afternoon performances.

"Numerous artists are willing to come to schools early and
promote their show by playing a small acoustic performance
to bring more students to the show," Shyer says. "And from our
roster, the Kicks and Craig Cardiff use their experience in the
music business to teach students in a two-part lecture and per-
formance on college campuses."

Adam Tobey, senior VP at the middle agent company Con-
cert Ideas, say.s more colleges are booking comedians because
their material is viewed as a sure bet, compared with hit-driven
music acts.

College events featuring comedians from popular TV shows
usually result in successful ticket sales, because students are
more likely to attend events that are tied to something they're
familiar with, according to Erickson.

*★★★*★★★*★*★
BILLBOARD STARS

irs Your Artist's Time To Sliine!

Is your artist celebrating a milestone?
Launching a major worldwide tour?
Ready to drop a mayor new release?

Get the word out through Billboard STARS...

The ultimate opportunity to hove an editorial section of
Billboard magazine completely dedicated to your artist's
career achievements.

Experience the buzz when key decision-makers and peers
read about your artist in the pages of Billboard!

Billbfa

Bitbcxsrl

For more information, please contact:
Aki Kaneko • 323.525.2299 • akaneko@billboard.com

Billbcxird

EXPERIENCE THE BUZZ

Agencies Address
Top Challenges
n Today's Market

BY RAY WADDELL

The booking agent's job
has always been complex.
Hfficicntly routing tours;
choosing the correct time,
promoter, venue, capacity
and market; and cutting
intricate deals with talent
buyers, buildings and
producers are painstaking
tasks in the simplest of
times. ^ Despite the old
joke about agents, this has
never been about throwing
darts at a map. But in
today's concert industry,
wiicn one asks agents what
the most pressing issues
are that they face, the
answer is more likely to be
about mergers, 360 deals,
new models, dynamic
pricing and secondary-
market ticketing than
moving the act from point
A to point B.

Like promolers and managemenl toi
panics, agencies have evolved inio multilevel
L-nttTtaininent companies. The major agen-
cies are making moves into the label busi-
ness and other areas of the content world
lM.-yoiid live per form an CO. Many agencies arc?
more involved in marketing than ever.

Ultimately the agents" biggest concern re-
mains building headliners and
"selling lickcls." according to
Marsha Vlasic. senior VP at In-
ternational Creative Management
.indhead of ICM's contemporary
rock department.

"Selling tickets," she repeats.
Developing new artists. Creative
inarketing. Those arc my issues."

Marc Geigcr, contemporary
music head at William Morris En-
deavor, says that ticket pricing, the
"altering of the secondary' market"
and the proposed merger of indus-
try giants Live Nation and Ticketmas-
ter Entertainment all loom large as imporiair.
Issues today.

The Agency Group agent Ken Fermaglich cites
the economy and 360 deals as concerns, partic-
ularly as the latter relates to labels entering the
concert business. "As labels sign more bands to
ifiO deals, and therefore have a small piece of
the touring, the label being the promoter, too.
l ould t>e an issue." he says.

Other agents echo that sentiment. Tm really

lotuerned how labels are involving themselves
in touring." ICM agent Dennis Ashley says. "I'm
not sure that this would always lie in the best in-
terests of the artist."

Vlasic thinks the trend toward multirightf
de;iis will "filter out." but she's not as quick tc
dismiss the impact of a Tickctm aster/ Live Na-
tion merger. "It's something we re-
ally need to be concerned about,'
she says.

Rob Bcckliatn, Nashvillc-bascd
agent for William Morris, agree;
that artist development is a con-
cern. "Till- biggest problem I se«
in the country business is tht
lack of developing hcadlinrrs,'
he says. "We had Taylor Swift
blow up and take the world bj
storm. She is an amazing stai
a I id has worked very hard to be-
> nme the headliner she is.'

But Swift is the exceptior
rather than the norm. "Becaust
.ii : .(ieshavecomedownsofar.andsingles
take much longer to be hits, we just have a very
difficult road ahead in developing those arena-
type hcadliners," Beckham says. "There will be
others that emerge, but nothing like we have
seen in the past KM 5 years."

Like other agents, Bruce Houghton, pres-
ident ofthe Skyline Agency, sees ticketinga(
a thorny issue. "Less-than-transparent tick-
eting fees that drive continued on »p2C

UNIVERSITIES

TOURING

BILLBOARD OCTOBER 17, 2009

Cri

^^'O BETTER THAH

SAME GREAT
SERVICE WITH
A BIGGER AND
IMPROVED VENUE

New Digital Signage throughout the 100 and 300 concourse

Updated concession and merchandise stands

30' X 50' Outdoor High Definition videoboard 1

Expanded Smirnoff Ice Box Bar

Better traffic flow in and out of Air Canada Centre

New Broadcast Studio at Gate 5 - Ask us about Gate 5 LIVE!

^ OPENING IN MAY 2010 - MAPLE LEAF SQUARE

Hotel Le Germain Fine Dining Restaurant Sports Bar and Grill New Retail Team/Event Store

^ Y Y Patti-Anne Tarlton, Vice President, Live Entertainment 416.815.5847

BMoQfield R'^SH _^ENX ■titmitb theaircanadacentre.com Tricia Silliphant, Maf7a3e/; evenf Pragramm/ng 416.815. 5763

Hannah Wise, Manager Event Programming 416.815.5569

Cni

from >>p24 up prices are frustrating consumers and de-
stroying efforts by artists, managers and agents to create
value for the fans," Houghton says.

Joey Lee. president of the 360 Artist Agency, says fees are par-
ticularly an issue with "bubbling headliners" — acts moving up
to larger venues that don't yet have the clout to ne-
gotiate a break with ticketing companies, venues
and advertisers.

Paradigm agent Aaron Pinkus says the live busi-
ness overall hasn't done a good job in developing
new acts to back up the heritage artists that have
been the core of the touring industry for years.
"So the onus on the agency side is to develop new
talent at an affordable cost that will get butts trans-
ferred from couches into stadium seating," he
says. "To that end, we are getting killed by tick-
eting service charges."

While he understands the costs of rolling out
a new ticketing system or operating an existing
one. "I still can't understand how it costs $8.35
to process what was originally a $10 general admission
ticket for a 500-capacily club show," Pinkus says. 'And as the
venue sizes increase, so does the ticket price, and consequently
the service charge."

When it comes to high ticket prices in general, "as agents, we
have had a large hand in creating this problem." Pinkus says. "We
have driven guarantees to the point where promoters could not
break even on a show solely based on ticket sales. Promoters were
forced 'underground' iiUo making their money through ancillary
means: hot dogs, beer and ticketing service charge rebates. So we
don't back down from guarantees, and promoters don't back down
from ticketing fei's. because everyone needs their money, and
we're efTectivcly in a stalemate."

That status quo has to change, especially at the developmen-
tal level. Pinkus asserts. "Maybe that means we don t push for the
same guarantee in exchange for lower ticketing charges, but I can
teli you sornetliing has to be done to prevent the llrsl concert by
any new band in any given market to have more than 50% of their

univers;t/es

ticket price going towards service fees."
he says. "It's killing the goose before
it's out of the egg, and there are a ton
of talented bands that will not get the
chance to turn into the proverbial golden
goose if we out-price them in the mar-
ket as they try to plant their
flag in your town and in
your mind."

Industry cuts have led to
less effective promotion of
, artists, Houghton believes,
j "Who is left to market the
' shows in more than a cookie-
cutter fashion?" he asks be-
fore answering his own
question. "Noone — promot-
ers, managers or agents — has
been willing to fill that void.'
Though attendance largely
— held its own, the summer of
2009 did see an industry-wide trend of
consumers waiting longer to buy tick-
ets. William Morris agent Kirk Sommer
would like to see advance sales stimu-
lated through premium inventory incentives with presales and
such old-school (but effective) messaging to the public as "only
area performance" or "last area performance" if these state-
ments are in fact true. Sommer says increasing demand by
being more conservative in choosing venue capacity, earlier
on-sales and keeping ticketing programs to a minimum could
also help advance sales.

One of the most pressing issues for 2010 will continue to be
ticket scaUng for new and established touring artists, according
to agent David Zedeck of Creative Artists Agency.

"It is important that we take the lessons learned from this
past year, which was arguably the toughest economy in 30 years,
and understand what worked and what didn't — for the artists.

Top row (from left): ROB
BECKHAM, William
Morris Endeavor; BRIAN
JONES, Bobby Roberts
Co.; JOEY LEE, 360 Artist
Agency; bottom: AARON
PINKUS, Paradigm;
MARC GEIGER, William
Morris Endeavor

the promoters and fans," Zedeck says. "We need to continu-
ally work to market and sell tickets to the fervent fan, as well
as the casual fan."

Brian )ones, VP at the Bobby Roberts Co.. sees today's market
as "loo many artists looking for work and not enough ticket buy
ers who will pay the amount for a ticket it takes to cover promot
ing the show," he says. " Like many products in today's economy
it's a buyer's market. The fans are in control."

Still. )ones says he's not overly concerned about the long-tern
viability of live entertainment. " People will always go to live shows
it's just finding the right formula to make it affordable for tht
promoter, artist and the ticket buyer." he says. "We've all adjusted
and we will adjust some more."

Mil .

DEL

face 2 lace

Hiaiiks lor an uiiMUIe niM ol songs nndtr Ihe slars al HIelle Sladinni

xJ \J \]J

l,\

Jiiiii III, i\m i;jiii!iii! siiiiiiiiiii ri)\i)uriiiii|ii, \\\
Allciidaiicfi: [;;!,(ll)7 llross: $G,;!00,342.00

KRAFTenteptainment

26 I BiLLBOARD , OCTOBER 17, 2009

IMS A NAG EM Eln

FUNIVERSITYO?

PATRICK L. McGREW
capacity: 8,000
5.284.8244//pmcgrew@miami.eclu
BankUnitedCenter.com

KMBaiiliUnited

CENTER

At the University of Miami

Ste Sell Mid-Sizt iknai 3n jit W,,td!

.D DOMINION UNIVERSITY

DOUG HIGGONS

capacity: 9,500
7.683.654i//clhiggons@odu.edu
ConstantCenter.com

.tl

CONSTANT

CONVOCATION CENTER

QID DOMINION UNIVEftiTrr
^ y ^

ST. LOUiS U

MIKESCANLON '
capacity: lO,6oo
314.977.50oV/mscanlon(a)slu.edu
TheChaifetzArena.com

CHAIFETZ

ARENA

SAINT LOUIS UNIVK.RSITY

RSITY OF SOUTH CAROLINA

TOM PAQUETTE
capacity: l8,000
803.576.9050//tom paq uette@sc.edu
ColonialLifeArena.com

UNIVERSITY OF MASSACHUSETTS

TROY FLYNN
capacity: 10,500
413.545.3336//tf1ynn@admin.umass.edu
MullinsCenter.com

MULLINS CENTER

UNIVERSITY OF MASSACHUSETTS AMHERST

GLOBAL-SPECTRUM.COM

UNIVERSITY OF RHODE ISLAND

TERRY BUTLER
capacity: 7,700

40l.788.3220//tbutler@theryancenter.com

TheRvanCenter.com

Cni

BOXSCORE

Concert Grosses^

Attendance

>153,032

'.1CM,000 vw»)

B
B
B
B
B
B
B
B
B
B
B
B
B
B

,131,056

'tS4 99

,618,519
,583.140

&n.507,754

,471^0

".96'i,0OO ym\)

1^28,924

$1,286,565

I2!iCi..*l55D

K|1,2S7.B24

:49,502

1,190.726

l,Tt8,100

1,076,082

,005,340

,003

B
B

$956,981
$943,852

135,772

B|s
B

099

COLDPLAY, ELBOW, WHITE LIES

Phoenis Park. OuMn. S^iL M

MCO

IL DIVO

Bodokan. Tokyo, Sept. U-IS, 17 ..n ■

Live Nation Global Touring. Udo Artlsn

THE BLACK EYED PEAS, LMFAO

Ac«» Amu, Sydney. Oct. 3-J ,

Frontier Touring

DAVE MATTHEWS BAND, ROBERT RANDOLPH « THE FAMILY BAND

Susquehanna Bonk Canter, 41.K2

Cwndan. N.j,. Sept. 19-20 r- T^ir. • /„

Uve Nation

The Coloii^eum M Caesars Pelece, 13.747 > 'i '
Las Vegas. Sept. 29- JO. Oct S-A ,

Concert* West/AEG Live

KEITH URBAN, LADY ANTEBELLUM

PenCKowIh Saddledome, 22J!97
Catgary, Alberta. Sept. 18-19 - <i. .,r .

Live Nation

KEITH URBAN, LADY ANTEBELLUM

Reull Place. Edmonton. AlberU, 2S.460
Sept 20. 22 u--.. ■■...■lioui ,

Live Nation

PEARL JAM, BEN HARPER & RELENTLESS?

KeyArana. Seattle. Sept. 21-22 i**-®*?!,,,,,.

Uve Nation. AEG Live

KEITH URBAN, LADY ANTEBELLUM

Credit Unmn Centre. Saikatoon. 22.194
Saskatchewan. Sept. 23-24 iw. spiiouis

Uve NatMn

IL DIVO

OHk»-Jo Hall. 0*»k». Japan. 11,528
5ept.9-10 LMf.

Uve Nation GkituI Touring. Udo Artists

BLUE MAN CROUP

Credlcafd HaN. 5te Pauto. Brazil. 25.843

Sopt.2-I3 .IV,': - ,(„,^^,

T4F-TWne For Fun

MAXWELL, COMMON, CHHISETTE MICHELE

Had4son Square Garden. 11,540
New York, Sept 28 vth-^f

Uve Nation

KEITH URBAN, LADY ANTEBELLUM

MTS Centre. Winnipeg, 20,601
Manitoba. Sept 3«-27 tv-o »n.>'ir,

Live NatKm

KISS, 8UCKCHERRY

Cobo Arena. Detroit. Sept 2S-26 ,

Concerts We»t/AEG Uve

DAVE MATTHEWS BAND, WILLIE NELSON

Rnt Midwetf Bank Amphitheatre; 28 085
Tmley Park, Sept 26

Live Nation

DAVE MATTHEWS BAND, ROBERT RANDOLPH S. THE FAMILY BAND

Principal Park, Oes l4oine>, Iowa, 17.646
Sept. 25 -.''lout

Jam Production*

BLINK-182, WEEZER, FALL OUT BOY, TAKING BACK SUNDAY S OTHERS

Verizon Wlretets Amphitheatef. 29.874
Irvine. Calif.. Sept 17-16 -.v. . n.^ui ,

Uve Nation

MILEY CYRUS, METRO STATION

Staples Center, Loa Angelet. 14.584

Sept. 22 .■..iio'ji

AEG live

BRUCE SPRINGSTEEN S THE E STREET BAND

BankAttanttc Center. Sunrlie. 11.586
Fla.. Sept 14 ]'.^. -.h

Uve Nation

MILEY CYRUS, METRO STATION

Tacoma Donte. T^me. WMh, 15.242
Sept 16 1',

AEG Live

BRUCE SPRINGSTEEN t THE E STREET BAND

Ford Amphittieatre, Tampa. Fla., 1S,76S
Sept. t2

Uve Nation

RICARDO ARJONA

Nokia Theatre L.A. Live, 10.453
Loi Angetes. Aug. 2)-23 thrv^- xM<<xit->

Goidanvoice/AEG Uve

MILEY CYRUS, METRO STATION

Jo^n^^m^renA Glendala. 13.75S

AKO Civs

JENNI RIVERA

Nokia Tbeatre L.A. Live, (2.356
Los Angalu, July 31-Aug. 1 > /.:

Goldenvoico/AEG Live

MILEY CYRUS. METRO STATION

Honda Center. Anaheim. Calif.. 12.658
Sept 23 -.fh.ni

AEG Liva

BRITNEY SPEARS, GIRLICIOUS

Coppc CollMunv Hamilton. 16,629
Ontario, Aug. 20 ,i-ii:.ui

Concerts Wost/AEG Live

ALEJANDRO FERNANDEZ

MaiMJalay Bay EvenU Center. 8.291
La* Vegai. Sept 15 it <.Sh

Live Nation. Andrew Hewitt Co.. Latino Event 8
Marketing Service*

BRITNEY SPEARS, JORDIN SPARKS

PaUce or Auburn Hill*. Autmnt 12,572

Hins, MKh.. Sept 8 ,r ll .,jt

Concert* W««t/AEC Live. Palace Sport* 8
EntertaNwnent

BRITNEY SPEARS, JORDIN SPARKS

Don HetkInK Center. El Paio. T1.531
Teus,SepL2l ■.'■■■<:<.,i

Concert* West/AEG Live

MILEY CYRUS, METRO STATION

Oracte Arena, OaUand, CaW., 13.881
Sept 18 -'-./.Hii

AEG Live

BRITNEY SPEARS, JORDIN SPARKS

American Atrliim Arena. Miami. 14,S02
Sept 2 '.c-.v.jt

Cortcens We*t/AEG Live

Ahoy. Ronardam. The I0392
Nethorlandi. Aug. 13 t; nt

Uve Nation intematMnal

NICKELBACK, HINDER, PAPA ROACH

SAVING ABEL

Cynthia Wood* MtcMI Pawlltoa 16,520
The Wbedland*. Tcxa*. Sept 12 .<- :>.,t

Uve Nation, in-bouie

BRITNEY SPEARS, JORDIN SPARKS

155

9,983

,952

.. ' General Motors Place.

iWVB w Vancouver. Sept 16

Concerts West/AEG Live

KEITH URBAN, LADY ANTEBELLUM

RAY WADDELL

rwadde'lio billboard com

JEFF KEITH {left) and
FRANK HANNONof
Tcbla, a band playing
Club Passport venues.

TAKING IT
TO THE CLUBS

Live Nation Debuts Strategies
For Smaller Venues

Clubs and small venues are the lifeblood of the
concert business. It's wliere acts create buzz,
lionc their chops and build the foundation of a
touringcarcer. Historically, promoters were will-
ing to make less or even lose money on an act at
the club level with hopes that the artist will stay
loyal as it tlimbed the ladder into larger venues,
reaping more profits in the process.

Live Nation is now following its summer pro-
motional schedule for its amphitheaters with
two new club-level promotions.

The first, which the company describes as
moreofa new "product" than a promotion, is
the Club Passport. For $49.99. including fees,
music fans who purchase a passport can see every
show at Live Nation clubs in their city for the rest
of the year, subjetl to availability. A source at Live
Nation says sales of the Club Passport are "solid."

On Oct. 5. Live Nation announced a second
club-Ievel price promotion, a "two-for-one"
deal that will encompass 200,000 tickets to
JSO concerts in 29 U..S. Live Nation venues.

The company says its No Service Fee promo-
tions at J in phi theaters saved fans about Si 4 mil-
lion on nearly 800.000 tickets during the summer.
I he Live Nation source says the club programs
are a response to requests from agents and man-
agers for the promoter to offer similar induce-
ments for small venue tours. Both programs are
available at Live Nation's I louse of Blues and
Fillmore clubs across the country, as well as Live
Nation clubs like Bogarl's in Cincinnati, the
Tabernacle in Atlanta, the Gramercy in New York
and the Hollywood (Calif) Palladium.

Among the acts playing venues covered by
the Passport, according to LiveNalion.com, are
the Black Crowes, the 8-52s. Tesia, Gov't
Mule. Hanson. Andrew Bird and others.

Mcauwliile, the club sector seems pretty
healthy, even in tough economic times.

Seth Hurwitz, president of independent pro-
moter I.M.P.. which owns and books the 9:30
Club in Washington, D.C.. says he hasn't seen a

28 I BILLBOARD OCTOBER 17. 2009

downturn. "The shows that people want to see
do well and the ones that don't, don't.' he says.
"Bands run their cycles of popularity, and when
that is down, bands and their representatives
like to blame the economy. Sorry, that ain't it."

I lurwitzsays he doesn't spend much time de-
veloping price promotions. "Fact is. I've never
seen Ipricc promotions) turn a dog show around.
'Fhey are usually done to placate someone who
refuses to believe that their act isn't selling tick-
ets or to create cash flow for reasons other than
net business."

It's more about 'promol ion" in the true sense
of the word, according to Hurwitz. "Our respon-
sibility as a promoter is to gel the band's image
and music represented as they intend and to
make sure everyone isawa re and reminded about
the show.' he says. "After that, the campaign has
Ix^n run and the votes come in."

Iliere are plenty of acts to "vote" for. certainly.
Kirk Sommer, the William Morris Endeavor
agent for acts like the Killers and Paolo Nutlnl.
says the clubs are "completely oviTsaliirjIed al
the moment." TTie current economy means peo-
ple have less discretionary incomeand more en-
tertainment options. Sommer says. And he
observes that there isn't any sign of less traffic
in the futxire.

"People need to pay particular attention to
packaging, timing, size and ticket pricing," Som-
mer adds. "Tliere must be value."

Red Ryder Entertainment agent Erik Selz
(Andrew Bird) says he isn't seeing the artist de-
velopment at the club level he once did, or even
consistency. "A few years back, one could rely
on a sold-oul show in March, on the heels of a
new release, translating into a sold-out show at
a larger venue in September," he says. " ' I (ere
today, gone tomorrow' has never been more
true, and I'm seeing those September shows,
on the second lap through a market, suffer badly.
The saturation doesn't help, and it's only get-
ling worse." ••••

Cni

FREAK SCENE
Devendra Banhart takes
his sound to the masses

STEADY FLO
Florence & the Machine
cross the ocean

ONCE MORE
The Swell Season
Jumps off the screen

CREATIVE 'AGONY"
Breaking Benjamin
delivers fourth album

IT'S ABOUT TIME
BeBe a CeCe Winans
reunite after 15 years

Reborn: Flyleaf's SAMEER BHATTACHARYA,
PAT SEALS. JAMES CULPEPPER. JARED
HARTMAN and I^CEY MOSLEY (from left)

hen Flyleaf chose to call its second album
^^^L "Memento Mori, "itwasn'tatossed-offphrase
V ^ft^V or an attempt at pretension. After a spate of

^ftw tragedies and illnesses, the band's mindful-
ness of death is a constant theme on the album,
which will be released Oti. 20 on Octone/A&M.

" 'Memento Morf was very fitting, given everything we've been
through over the past seven years," singer Lacey Mosley says.
"We've seen a lot of everything."

Certainly, the band has seen plenty of success. Its self-titled
debut was released in 2005, spawning the hit singles "I'm So
Sick," "Fully Alive" and "All Around Me." The album stayed on
the Billboard 200 for 1 33 weeks and sold 1 .2 million copies, ac-
cording to Nielsen SoundScan. In 2006, the Texas band released

ihc four-song EP "Music As a Weapon." and the following year
it issued a limited-edition two-disc version of "Flyleaf."

Rather than rush to release new music, the band (Mosley, gui-
tarists SameerBhattacharyaand Jared Hartman, drummer James
Culpepper and bassist Pat Seals) focused on touring. Mosley says
the primary reason the band took so long between albums was
that the group wanted to tour heavily and get to know its fans.

The delay was also exacerbated by members coping with per-
sonal tragedies: Bhattacharya's 22-year-old cousin battled can-
cer, Culpepper lost his mother and his aunt, and Mosley had a
health scare.

"There was a possibility that I might have an illness, but it
ended up that I came out fine," she says, "It was a possibility that

BY DEBORAH EVANS PRICE

LIFE AFTER
DEATH

Flyleaf Confronts Mortality
On Its Second Album

1 might have cancer. 1 don't want it to be a big deal."

Bui in the next breath . Mosley reveals that the scare affected
her lyrics. "It was just a situation that shook me and made me
think, 'Is this what I want to live my life for?' " she says. "Am
1 living my life for the right thing? I f I died tomorrow, would I
be satisfied or would God be satisfied If I met him tomorrow?
That's the whole point behind 'Memento Mori." I hope it's not
too depressing.

"The thing that is so phenomenal about getting to record
music or write a story or take photographs or whatever is thai
you can look back and remember that time and be filled with
that purpose again," she adds. "I'm so glad we got to do that."

When the band decided to head back to the studio, it again
turned to producer Howard Benson. "He's always looking for
ways to make a song a pop song," Mosley says, "and we're always
looking for a way to push that boundary so that it makes him
happy but it also makes us happy creatively as artists and rock
lovers. I think you could hear both of that."

To promote the new album, Flyleaf took its usual "fans first"
stance and let them decide ihe cities where the band would per-
form before the release. "HThere's so much more to these shows
than just the band playing an acoustic set," Octonc/ A&M market-
ing director Val Pensa says. "Fans will get to see the video premieres
of the two videos [ for the first single, "Again," and a track called
"Beautiful Bride"] before anyone will ever be able to sec them on-
line or on TV, they'll be able to listen to six or seven songs from the
new record, and they'll have a chance to preorder the album."

Pensa says there will be a deluxe edition available, with four
additional tracks, and an iTunes special release. "Fans who pre-
order will get an instant free track, 'Beautiful Bride,' " Pensa
says, "and they'll also have the opportunity to gel a digital book-
let, the video and a cover of 'Stay' by U2."

"Again" is being promoted to active rock and alternative
radio and is No. 28 on Billboard's Alternative chart and No. 21
at Active Rock.

Though not generally categorized as a Christian band, the
members are Christian and have attracted a Christian fan base.
Therefore, Octone has enlisted EMI Christian Music Group to
market and distribute the album to the faith-based market.

Mosley is confident that both believers and nonI)elievers will
be able to relate to the message of "Memento Mori." "The album
is about recognizing that our life is short and precious and the
people's lives around you are short and precious as well," she
says. "Il might be your last opportunity to talk to them and it
might make you choose your words more carefully." ••••

OCTOBER 17. 2009 I www.billboard.biz | 29 ,

I LATEST

Liuzz

»>'IDOL' GIVES
BACK AGAIN

"American Idol" Is
bringing back its "Idol
Gives Back" charitable
special April 21 after a
yearlong hiatus. The
special, airing during the
top-seven Wednesday
results shovkf. w/ill benefit
Children's Health Fund,
Feeding America, Malaria
No More, Save the
Children and the United
Nations Foundation. More
than $140 million was
raised in two previous
specials. "Al" will return
for a ninth season in
January with host Ryan
Seacrest and judges
Simon Cowell, Randy
Jackson, Kara DIoGuardI
and Ellen DeGeneres.

>»UNRELEASED
JACKSON 5 SONGS
ON ITUNES

Motown/Universal Music
Enterprises is celebrating
the 40th anniversary of
the Jackson S's first single
with "I Want You Back! Un-
released Masters," a new
collection of 12 vault re-
cordings due Nov. 10. A
single, "That's How Love
Is," was released Oct. 6 on
iTunes; the song was written
and produced by the
Corporation, the team that
wrote the Jackson S's
early material, and has
been remixed by original
Motown engineer Russ
Terrana. Motown/UMe is
also releasing "The Jack-
son 5 Ultimate Christmas
Collection" Oct. 13.

»>GNR SUED FOR
PLAGIARISM

Two independent labels
have sued Guns N' Roses
for $1 million, claiming the
group used portions of
two songs by a German
musician on the band's last
album, "Chinese
Democracy." The band
and Universal Music
Group's Interscope Geffen
A&M label were sued by
the British label
Independiente and the
U.S. arm of Domino
Recording, which own the
licensing rights to songs
by German electronic
musician Ulrich Schnauss.
According to the lawsuit,
singer Axl Rose, his
bandmates and album
producers copied portions
of Schnauss' "Wherever
You Are" and "A Strangely
Isolated Place" for the
song "RIad N' the
Bedouins."

Reporting by Gary Graff,
Evan C. Jones and
Christine Kearney.

^^^^^^^

BY RICHARD SMIRKE |

ringing beards to the masses:
DEVENDRA BANHART

BY EVIE NAGY

Trading Up

Devendra Banhart And Warner
Take Freak Folk To The FM Masses

"I can see my songs in a movie," Devendra Ban-
hart says, "as long as it's a movie no one will
watch." The singer/songwriter, who says his
eclectic, world-influenced folk rock is usually
considered more "exotic, esoteric or idiosyn-
cratic" than commercially focused, will release
his major-label debut, "What Will We Be." Oct.
27 on Warner Bros. Records.

After releasing five studio album.s and sev-
eral EPs on independent labels. Banhart says
the transition to a major occurred for almost
counterintuitive reasons. "They were the only
ones who offered to let me do what I want," he
says, adding that "What Will We Be" was nearly
completed before it was shopped, and it was
important to sign with a label that wouldn't
make changes to the music. "You think an
indie, yeah, they just let you do anything and
you're in control, that's the heart of it, that's
the point," says Banhart, who released previ-
ous albums on Young Gods and XL Record-
ings. "But I think with the birth of a new
business model in the music industry, it's led
the majors to actually be kind of humbled, so
I was shocked they were treating me like the
indies when I was meeting with them and the
indies were talking to me like a major."

Warner Bros, executive VP of marketing
Diarmuid Quinn says that signing Banhart
was as much about "having him in the fam-
ily because of his sensibilities" as the specific
material he brought to the table. "There are
some artists who are more commerce-driven
than others, who have more mainstream suc-
cess, and then there are some artists who are
just brilliant who we need to have here to keep
a certain artistic sentiment thriving, and De-
vendra fits that perfectly," Quinn says. "He's
a true artist, his music is genius, his visual

art is incredible."

Visuals were a key issue for Banhart in his
deal with Warner. A visual artist as well as a
musician, he designs all of his own album art-
work and insisted on the right to approve all
images associated with the release. "It's funny,
because on the smaller labels, so much media
would leak out that I had no control of and
didn't approve." he says.

Banhart's manager Elliott Roberts was in-
strumental in the pairing, as he also manages
Neil Young, a longtime Warner artist. "He's
like an interpreter who speaks the label's lan-
guage very well, and that's a helpful thing be-
cause it's a language I just don't understand,"
Banhart says.

While the marketing plan will focus on the
album as a whole, the radio campaign will focus
on the lead track, "Baby," a breezy love song
that, according to Quinn. "everybody felt was
a pretty accessible step for him, while main-
taining what he does so well and his identity."
The song will go to triple A, noncommercial
and college radio stations Oct. 13; a video for
it will follow the album release. Touring plans
include major-market dates in November, as
well as a European press tour in December,
due to "fantastic international feedback to the
music." Quinn says.

As for Banhart. it's clear that marketing isn't
his primary concern. "Whether I'm on a major
or an indie. I don't think this is important, but
at the same time 1 do," he says. "I thought that
the minute I was on a major's roster, I got a key
to everyone's house and we all had dinner once
a week ... it kind of wasn't so true and it was
disappointing, but I still believe there's a con-
nection to those people and you feel like a ptart
of something." ••••

FLO
RIDER

Florence & The
Machine Surf U.K.
Success

Not many artists get to win
awards before they've even
recorded an album, let alone re-
leased one.

But having picked up the
BRIT Awards' Critics' Choice
prize in January while still in
the studio working on her debut
album, Florence Welch of the
current U.K. chart sensations
Florence & the Machine didn't
shed too many tears when the
finished product missed out on
the Barclaycard Mercury Prize
to the U.K. rapper Speech De-
belle (Billboard.biz, Sept. 8).

"1 could do without it, to be
honest," Welch says with a
smile. " It would have been a bit
too much. I don't think 1 could
handle it."

The act's debut set, "Lungs" —
relrased by Island July 6 in the
United Kingdom and making

its full U.S. bow Oct. 20 on Uni-
versal Republic after being
available on iTunes since July
7 — may have arrived on a wave
of hype. But at home, sales have
lived up to those expectations.
The album has sold 253,000
copies, according to the Official
Charts Co., and was only kept
from No. 1 by Michael Jackson.

" Lungs" is a beguiling mix of
haunting melodies, rich orches-
tration and Welch's Kate Bush-
esque vocals, illustrated on
punky guitar stompers like
"Kiss With a Fist"; more rhyth-
mic, electronic songs like "Rab
bit Heart (Raise It Up)" and
"Drumming Song"; and a
show-stopping cover of Candi
Staton's "You Got the Love,
retitled "You've Got the Love.'

It's a combination that Kim
Gamer, Universal Republic sen
ior VP of marketing and artist
development, expects to go dow n
well stateside after the digi ta 1
lease — which has sold 7.00(

GLOBALPULSE

EDITED BY TOM FERGUSON

»>MANX CAT

The artists found on Billboard's
Top Blues Albums chart come
from all over the United States,
but rarely from the Isle of Man.
SInger/gultarist Davy
Knowles and his band
Back Door Slam might ^
hall from the tiny Is-
land In the Irish Sea
off the coast of north-
ern England, but his
reputation is growing
across the States.

Named after a
Robert Cray song, the
group has played
some 400 gigs in the
past two years, sup-
porting such acts as the Who
and Buddy Guy. Those gigs
helped Its second Blix Street
album, "Coming Up for Air,"
hit No. 2 on Top Blues Albums
In July. In his first production
for another artist, the album
was helmed by fellow Brit
Peter Frampton.

Knowles says his birttiplace
is a frequent talldng point in
the United States, "but It's

probably helped, more than
anything. There must be hun-
dreds of American guys doinc
the same thing, but because
I'm l»1anx [from the Isle of

Man], it kind of stands out."

Blix Street, to which
Knowles and Back Door Slam
are signed worldwide, is
readying a Nov. 9 U.K. release,
with Europe following in Jan-
uary. The label Is distributed
by the Alternative Distribu
tion Alliance in the United
Kingdom, Ireland and the
United States; Universal in
Canada; and various other

30 I BILLBOARD I OCTOBER 17, 2009

topics, according to Nielsen
SoundScan — built plenty of
buzz amonfj media tastemakers.

The campaign begins in
earnest this month when Weldi
makes her first major U.S. trip
to play Creative Artists Agency-
booked shows at New York's
Bower)- Ballroom (Oct. 27) and
ios Angeles' Troubadour (Oct.
30). Appearances on "Late
Show With David Lettcrman."
")immy Kimmel Live!" and
MTV's "Ifs On With Alexa
Clumg" havealsobeen booked
f(jr release week.

At radio, sessions are sched-
uled for KCRW Los Angeles
and New York's WFUV and

WRXP. "Rabbit Heart" has
gone to triple A radio while
"Kiss With a Fist" has been serv-
iced to alternative — a two-
pronged approach that Gamer
says will maximize exposure
for the artist.

"She's not a pure pop artist,"
Gamer says. "She's a little left
of center, yet her record is acces-
sible enough that a wide demo-
graphic of people will really like
it once they're exposed to it."

At retail, Best Buy will carry
an exclusive deluxe version of
"Lungs" featuring a bonus
DVD. while iTnnes will launch
a different deluxe version of
the album Oct. 20.

A :

Gamer cites Florence & the
Machine's "phenomenal" live
show as a key piece of her arse-
nal. Welsh wrapped her latest
U.K. tour with a three-night
stand Sept. 27-29 at London's
Shepherds Busli F.mpire. She
plays European dates through-
out October before ftirther U.K.
dates in December and a full
U.S. lour in spring 2010.

"I'm just surfing the wave
of whatever is going on here."
Welch says. "What I'm really
happy about with this album
is that people have really lis-
tened to it objecliveiy. felt
something from it and taken
it to heart." • ■

partners internationally.

"Coming Up for Air" is also
making inroads in Australia,
where the band will play
Perth's One Movement Festi-
val Oct. 17, aftera London show
at the Borderline Oct. 7.

—Paul Sexton

>>>OSIBISA BUSY

Long before the term "world
music" was coined, Osibisa
was taking its energetic blend
of African, Caribbean, disco,
rock and Jazz musical fusions
across the world. Now the
band, formed in 1969 in Lon-
don, is back, still led by Ghana-
ian-bom multi-instrumentalist
Teddy Osei.

Osibisa's first two albums,
"Osibisa" and "Woyaya"
(MCA, both released In 1971),
hit No. 11 in the United King-
dom. But later albums on var-
ious labels failed to repeat
that success, and the group
eventually disbanded. Osei
put together a new lineup in
1996, releasing "Monsore"
(1996), "Aka Kakra" (2000)
and "African Dawn, African
Flight" (2003) on the U.K.
Indie Red Steel.

The band's first studio
album in six years, "Osee Yee"

(Golden Stool/Cadiz), gets a
U.K. release Oct. 19, rolling out
in Europe the same week. A
U.S. release through El follows
Oct. 27.

A compilation, "The Very
Best of Osibisa," will be issued
simultaneously with the new
album. "We thought we'd
celebrate our 40 years by
releasing 'The Very Best Of,'
and at the same time, give our
fans our new album," Osei says.
The new set includes an Afro-
jazz-tinged cover of George
Harrison's "My Sweet Lord"—
"A song I've always loved,"
Osei says.

The band is published by
Osibisounds. It's booked by
the U.K. -based Tomtom Music
and will tour internationally
during 2010. —Kwaku

>»STACKEDUP

Short Stack's mastery of so-
cial networking has paid off
Down Under.

Hailing from Budgewoi in
New South Wales, the teen-
agers bowed at No. 1 on the
Aug. 23 Australian Record-
ing Industry Assn. albums
chart with their debut, "Stack
Is the New Black," a feat
achieved largely without

conventional marketing.

The trio galvanized an enor-
mous teenage fan base on You-
Tube, where its homemade
"Short Stack TV" episodes
have been viewed more than
2.5 million times. The act's My-
Space streams have generated
more than 4 million plays, and
fans cast 400,000-plus votes
to anoint the band music TV
specialist Channel [V]'s artist
of the year in 200B.

"They were the first band in
Australia to grab hold of so-
cial networking and make it
work," says Trevor Steel, CEO
of Short Stack's label, Sunday
Morning Records, which li-
censed the album to Univer-
sal Music Australia. "Radio and
TV haven't been hot on us, but
they're catching up. We've
done it all ourselves."

The band's focus is currently
domestic, but Steel says work
is under way on a follow-up
album, which he aims to intro-
duce to the U.S. market. Short
Stack's self-published works
are administered by Mush-
room Music in Australia. The
Harbour Agency has booked
the band's third national tour,
beginning Dec. 11.

—Lars Brandfe

QUESTIONS

with GLEN HANSARD

Irish folk-rock duo the Swell Season is perhaps more commonly known as the duo from "Once,"
the 2007 indie musical that won critical acclaim and a number of awanJs, including the Acad-
emy Award for best original song. But Glen Hansard, who also fronts Irish rock band the
Frames, and his partner Marketa Irglova are determined to move past their film notoriety with
the release of their fotlow-up to the "Once" soundtrack, "Strict Joy."

Out Oct. 27 on Anti-, the album features the soulful single "Low Rising." which sounds
more like Van Morrison than the delicately melancholy acoustic songs that first made the
duo famous.

1 You were just in Africa. What were you
doing there?

Edward Norton is running this conversation
camp for the Maasai Tribe in Kenya. Among
many of the great people that we've come across
in this whole madness of what happened to us
after "Once." there were a couple of people that
stuck and became pals. I'm very happy to say
that he's one of them.

% "Strict Joy" shares its title with a James
Stephens poem. Did his writing influence
the album?

James Stephens just hit me between the teeth
on "Strict Joy" with the idea that the poet
makes grief beautiful. When you really care
for your grief and channel it through song or
through art, if you do it right, oftentimes the
art that you make doesn't emit sadness but it
emits beauty. I've often battled with the idea
that I go onstage and sing about stuff that's
wrong with me and people pay money to hear
those songs.

3 On the new album you worked with
producer Peter Katis, who's known for
working with indie rock acts like the Na-
tional and Interpol. Did he push "Strict
Joy" In that direction musically?

Peter has a very strong personality, but he
knows when to step down from a fight. He's
definitely an indie rocker, and we did have a
little trouble with that initially. I wanted to make
an Elton John record and was influenced by
early-'7()s stufT. There were times when Peter's
eyes glazed over for sure, but there were times
when he would get really excited.

4 You've worked on two soundtracks. Is
writing for that medium something you
particularly enjoy?

I completely stumbled into working on sound-
tracks. One of the first questions I was asked
after "Once" got big was, " So when are you mov-
ing to L.A.? You've got to move to L.A. to write
songs for movies." I was like, "No, no, no. I'm
a guy in a band." Then I was invited to move
to Nashville to be involved with one of those
songwriting circles — to be a part of Tin Pan
Alley, essentially — writing songs for famous
people. 1 was asked to write for Miley Cyrus
and to me that was hilarious. I was delighted
to be asked, but of course I didn't. It doesn't
feel natural to the path I've always seen myself
on as a musician.

5 You weren't originally cast to act in
"Once" and only did so after Cillian
Murphy dropped out. Would you try
acting again?

1 'd be very happy to act again — I really enjoyed
"Once" — but me. [director] John Carney and
Marketa were pals. I wonder to myself if I would
be able to act otherwise because I was pretty
much playing myself. It was very natural for

me to take out a guitar and play on the street
and hang out with Mar, who was already a friend
of mine. As proud as I am of "Once." it doesn't
give me much confidence as an actor because
we are just drinking beers and bluffing. I've
had a few offers to be in films, but all of them
have been for me to play a charming 1 rish guy
who plays guitar, which I wouldn't do again.

6 The Swell Season won an Oscar for the
song "Falling Slowly"— and has been im-
mortalized in an episode of "The Simp-
sons." Which was more surprising?

"The Simpsons," of course. "The Simpsons"
is the one thing that binds the world together
in a way. People don't watch the Oscars neces-
sarily in India, but they watch "The Simpsons."
Wliat really struck me was that they were doing
a little bit of a joke on "Once." but "Once" was
a tiny film in the world. It did OK in America,
but in the world of cinema, it hardly got recog-
nized. I said this to the people at "The Simp-
sons" and they said, "We don't care. If we like
.something, we'll parody it. It's up to the rest of
the world to figure out what we're parodying. "
When you've been on "The Simpsons," you
know something has shifted, • •

OCTOBER 17, 2009 I www.billboard.blz ] 31

ALBUMS

JOSS STONE

Colour Me Free
Producers: various
Virgin Records
Release Date: Oct 20
On "Free Me," the lead single
from Joss Stone's fourth studio
album, "Colour Me Free," the U.K. singer Indirectly
addresses critics who've suggested that her sound
isn't wholly original. "There's nothing that you
can't do/'Cause it's all about your attitude/Don't
let them get to you," she growls assertively on the
track. The notion that swagger trumps all seems to
have guided Stone throughout her career— and it's
no different on "Colour Me Free." She continues to
hit each note with the precise amount of retro
pomp that one would expect, and there are again
moments when the '70s soul love affair gets a little
carried away. The arrangement of the song
"Parallel Lines" is every bit like Stevie Wonder's
"Higher Ground," and the protest "Govern-
mentalist" (featuring rapper Nas) may as well be
about Vietnam. Elsewhere, the sublime track "Big
Ole Game" (featuring fellow soul revivalist Raphael
Saadiq) almost sounds like an old Al Green record-
ing. But what's the harm in that?— AfH

N*DAMBI

Pink Elephant
Producer: Leon Sylvers Iff
Stax Records/Concord
Release Date: Oct 6

SlngerAongwriter N'Dambi
has been a darling of the
indie-soul movement since
the release of her 1999
debut. "Little Lost Girls
Blues," With the arrival of her
major-label debut. "Pink Ele-
phant," the mainstream au-
dience can finally hear her
gut-rousing brand of soul. A
former backup singer for
Erykah Badu. N'Dambi pos-
sesses a rich, earthy voice
that grabs the listener from
the very first note. Coupled
with lyrics that keenly ob-
serve life's frequent ironies,
her vocals add a striking
depth to each song. Helping
the singer pleasingly bridge
her contemporary and clas-
sic soul influences is R&B
veteran Leon Sylvers.
Whether discoursing on pur-
suing your dreams ("Nobody
Jones"), reaffirming the
bonds of love ("What It
Takes") or sarcastically be-
moaning the inability to
sever a bad relationship
("Can't Hardly Wait"). N'-
Dambi proves that she's
every bit the real deal— one
of the talented few who can

truly make the listener feel a
song.— GAf

LIGHTS

The Listening
Producers: various
Warner Bros. Records
Release Date: Oct. 6

Canadian singer Valerie Pox-
leitner looks like a pop star
and writes songs like a pop
star, but her name didn't
make her sound like much of
a pop star. A quick change
to the snappier moniker
Lights, though, and she's
ready to actually be a pop
star, at least as evidenced by
her major-label debut. "The
Listening." Building on a
well-received EP and some
low-budget. space-age
videos, the new album
comes on like a more acces-
sible version of the current
buzz-worthy wave of U.K.
electronic artists including
Little Boots and La Roux. Ex-
uberant vocoder vocals pep-
per the album, most notably
on the current single "Sav-
ior," which is reminiscent of
the U.K. act Saint Etienne.
Most tracks on the set are ir-
resistibly catchy, from the "I
tried to do you right" refrain
of "Ice" to the danced-up
beats of "Loins!" The singer's
early Canadian radio hits—

"Drive My Soul" and "Feb-
ruary Air"— also appear on
the album, along with the
gorgeous ballad "Pretend,"
which is presented in both
frosty electronic and warm
piano versions.— MS

BRANDI CARLILE

Give Up the Ghost
Producer: Jason Lader
Columbia Records
Release Date: Oct 6

Brandi Carlile knows how lo
wring every last emotion
from a lyric. On her third stu-
dio album. "Give Up the
Ghost," the singer/song-
writer channels heartache,
fear, nostalgia and joy in
nearly the same breath, cre-
ating a vivid pastiche of alt-
folk pop. The best evidence
of this is found on the song
"Before It Breaks," a haunt-
ing post-breakup ballad full
of Robert Frost-like imagery,
where she sorrowfully sings,
"Will the collar on my coat.
Lord help me, kill off the
cold/Will the rain drops
sting my eyes or keep them
closed?" By contrast, the up-
tempo track "Caroline" soars
merrily, with a welcome
cameo on vocals and piano
by Elton John. Meanwhile,
the cut "Touching the
Ground" is more subtle but
no less arresting as Carlile

sings over simple guitar
strums, "Why do my trou-
bles turn true/Whenever I
rest my eyes on you?" "Give
Up the Ghost" is another rich
offering from this distinctive
female talent.-MH

COUNTRY

LUKE BRYAN

Doin' My Thing
Producer: Jeff Stevens
Capitol Nashville
Release Date: Oct. 6
Luke Bryan's recent single
"Do I" (which first appeared
on his latest EP and is now on
his second album, "Doin" My
Thing") is a bona fide three-
hanky lost-love ballad. But
the listener won't be sniffling
through the spirited ll-song
"Doin' My Thing." which be-
gins with the winking witti-
cisms of the Brad Paisley-like
song "Rain Is a Good Thing."
followed by the buoyant pop
of the title track. "Welcome
to the Farm" is kind of a con-
temporary take on "Green
Acres" that blends Bryan's
country and rock sides, and
the cover of OneRepublic's
"Apologize" allows the sing-
er to explore more soulful ter-
ritory. Meanwhile. "Drinkin'
Beer and Wastin' Bullets" is a
hard-driving Southern rocker
about deer hunting, while
"Every Time I See You" and

"Chuggin' Along" should
keep Bryan's country creden-
tials in good standing.— GG

l:M>!!l

JOE PERRY

Have Guitar, Will Travel
Producer: Joe Perry
Roman Records
Release Date: Oct. 6

At the beginning of 2009,
Joe Perry didn't plan to
record a solo album, but the
guitarist wound up making
the most fully realized set
he's created outside of Aero -
smith. Started after Steven
Tyler's health problems halt
ed sessions for the band's
next album, "Have Guitar, will

^■^^ TIM MCGRAW

^ Southern Voice
\ Producers: Byron Gallimore. Tim

TlVl McGf^W McGraw. Darran Smith
^ cW^^'-'^ Curb Records
■»SA — ^^B) Release Date: Oct. 20
Tim McGraw Is one introspective SOB. or so it
seems on his latest album, "Southern Voice." He
doesn't reveal any new sides to his personality on
the mostly down-tempo set, but he does prove
that when It rains, it pours. On the song "If I Died
Today," the singer wonders who would or wouldn't
miss him after death, while "1 Didn't Know It at the
Time" ponders the knowledge that life brings.
"You Had to Be There" is a reflection of living
without a father and "Love You Goodbye" is more
of the same. Standout tracks include "Ghost Town
Train." which echoes the work of Glen Campbell,
and "Good Girls," a dark tale of cheating with an
unexpected twist. On "I'm Only Jesus." McGraw
offers an interesting take on personal responsibil-
ity while singing from the perspective of Jesus
Christ. "Southern Voices" Is done well overall, but
listeners may want to keep close a copy of
McGraw's upbeat hit "I Like It, I Love It" to lighten
the mood.— KT

32 I BILLBOARD I OCTOBER 17. 2009

DEAD BY SUNRISE

Out of Ashes

Producers: Howard Benson.
Chester Bennington
Warner Bros. Records
Release Date: Oct 73

There's a question that lingers when listening to the
debut album from Dead by Sunrise, the new project
from Linkin Park's Chester Bennington: What can he
do musically in this setting that he can't in his day
job? The answer, apparently, is quite a bit.
Bennington's emotive vocals and a similar quiet-to-
loud dynamic identify Dead by Sunrise with Linkin
Park, but "Out of Ashes" is grittier and more punk-
driven. This Is best displayed on the punchy groove
of "Crawl Back In." the blistering cadence driving
"Inside of Me," the three-chord attack of "My
Suffering" and the butt-kicking rock of "End of the
World." Bennington and his Dead by Sunrise band-
mates (who hail from the electronic rock band
Julien-K) also display a deft touch with atmospher-
ics and textures on tracks like "Too Late," "Give Me
Your Name" and the goth-tinged "Let Down,"
among others. On the opening track, "Fire,"
Bennington searches for "a way to keep my pain
from burning down to the bone." But his agony is
the listener's sonic gain, so let it burn.— 66

Oct

nuiBUJj

Travel" finds Perry following
up his self-titled 2005 album
with 10 songs that travel
happily and energetically,
from the sinewy synthesizer
groove of "We've Got a Long
Way to Go" to the blues-
rooted shuffles of "Slingshot"
and "No Surprise." "Do You
Wonder" isa rootsy nunnber.
while the instrumental

Wooden Ships" Is a dedica-
tion to the late Les Paul. Perry
gets strong backing from a
cast that includes German
singer Hagen (a YouTube
find), periodic Aerosmith fill-

n bassist David Hull and
drummer Ben Tileston. Perry
tosses out a few lyrical mes-
saqofi in tracks like "Free-
dom." the hymn-tike "Oh Lord
C21 Grams)" and the epic

Heaven and Hell." but the
star here is the titular guitar,
which is as enjoyably un-

eashed as it's ever been on
any Perry project.— GG

BUILT TO SPILL

There Is No Enemy

Producer: Dave Trumfio
Warner Bros. Records
Release Date: Oct 6
Three years after the release
of its last album. "You in Re-
verse." Built to Spill returns
with its seventh release.
There Is No Enemy," which
finds the band exploring
new influences outside of
the familiar indie-rock terri-
tory while still indulging in
the transcendent guitar
solos it's become known for.
On the country rock-
flavored single "Hindsight,"
frontman Doug Martsch
sings in a wistful tenor over
a mix of languid and urgent
guitar riffs, while "Life's a
Dream" features an ex-
tended guitar solo against
horns that provide a soulful
demeanor. The haunting "Oh

REVIEWS-

SINGLES

Yeah" opens with F^artsch
singing, "And if God does
exist, I am sure he will forgive
me for doubting," whereas
the frantic-sounding "Pat"
offers a dose of punk rock to
the set. Martsch has hinted
that "There Is No Enemy"
could be the band's final
album. If that's the case, the
set's multifaceted melodies
and experimentation would
be an inspired sendoff,—

GUSTAVO CERATI

Fuerza Natural
Producer: Hector Castillo
Sony Music Latin
Release Date: Sept 29
"I never felt so fine," Gustavo
Cerati sings on the title track
to his new album. "Fuerza
Natural"— and then proves it
with a set of intricately
crafted and introspective
folky melodies, psychedelic
splashes and power pop.
Cerati's storied past as front-
man of the seminal Argentine
pop-rock trio Soda Stereo
hasn't overshadowed his solo
career, On his first album after
the group's successful 2007
reunion tour of Latin America
and the United States, he
echoes the sound of Soda and
honors the Beatles ("He Visto
a Lucy," "Naturaleza Muerta"),
while moving forward with a
pared-down acoustic sound
incorporating subtle beats
and celestial strings. From a
sort of galactic country song
("Convoy") to a more typical
driving guitar track ("Dom-
inb") to a perfect rock ballad
("Cactus"). Cerati's musical
sophistication reaches far be-
yond your average Latin pop
fare. But his South American
heart and soul come are
revealed in the lyrical beauty
of the hypnotic songs on
this set-JCN

CHRIS BROWN
FEATURING LIL
WAYNE AND SWIZZ
BEATZ

I Can Transform Ya (3:50)
Producer: Swizz Beatz
Writers: various
I Publishers: various

On his first officially released
track since his February alter-
cation with ex-girlfriend Ri-
hanna. Chris Brown takes a
break from performing com-
munity service to brag about
his riches. "Need a ride? I can
Range you up/Money. I can
change you up/What you
need, you can have that/My
black card— they don't decline
that." Brown boasts on "I Can
Transform Ya." the alleged first
single from his upcoming
"Graffiti" album. Littered with
referee whistles and hand
claps. Swizz Beatz' production
is high-energy and appropri-
ately robotic. Still, it's collabo-
rator Lil Wayne who comes off
the wittiest. "She's gonna
transform like Optimus Prime
. . .tell your man he better get
his Voltron up," Wayne raps
over electric guitar, giving a
literal nod to the '80s cartoon-
turned-blockbuster movie
"Transformers." Whether Brown
can transform public sentiment
with his new output, however,
remains to be seen.— MC

EDITED BY MITCHELL PETERS
(ALBUMS) AND MONICA
HERRERA (SINGLES)

CONTRIBUTORS: Judy Cantor-
i. iv i , Mariel Concepcion, Gary
itt. Monica Herrera, Michael

r-1 - r „i,_h.:ni, Gail Mitchell, Keisey
P.-iinr. Deborah Evans Price.
Bcdjririiin Sheehan. Mark
Suthrrl.Tnd, Ken Tucker

CRITICS' CHOICE *: A new

roloasc, regardless of chart
potential, highly recommended
for musical merit.

PICK A new release predicted
to hit the top half of the chart in
the corresponding format.

All albums commercially available
In the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard. 5055
Wilshire Blvd.. Seventh Floor, Los
Angeles. CA 90036 and singles
review copies to Monica Herrera
at Biiltxjard. 770 Broadway.
Seventh Floor. New York, NY.
10003. or to the writers in the
appropriate bureaus.

Producer: Dann Huff
Writers: D. Hall. J. Oates
Publisher: not listed
Valory Music

Anyone who has followed
Jimmy Wayne's career knows
the North Carolina native has
a history with "Sara Smile." His
resurrected version of this
'70s Hall & Oates classic
helped him land his first
record deal and has been a fa-
vorite during his live shows
and radio promo visits. Now
the song is here for the
masses, and it's gorgeous.
Easily the most soulful of
today's young country croon-
ers, Wayne delivers an earthy,
sensual performance. Song
originators Daryl Hall and
John Oates lend their back-
ground vocals, and producer
Dann Huff remains true to the
R&B-flavored essence of the
original, while interjecting
subtle fiddle and steel
touches that make it a solid
fit for country radio. "Sara
Smile " has strong hit poten-
tial and is a great launch pad
for Wayne's new album of the
same title, due Nov. 24 — DBP

SHINEDOWN

If You Only Knew (3:45)
Producer: Rob Cavallo
Writers: a Sm/f/i, D. Bassett
Publishers: Driven by Music/
EMI Blackwood Music (BMI).
Two of Everytfiing Music/
Music of Windswept (ASCAP)
Atlantic

Shinedown follows up its

FOO FIGHTERS

Wheels (4:38)

Producers: Butch Vtg. Foo Fighters
Writers: Foo Fighters
Publishers: various
Roswell/RCA

Dave Crohl quietly rails against all things monotonous on
"Wheels." one of two previously unreleased tracks that
appears on Foo Fighters' upcoming "Greatest Hits" album.
The song has a Weezer-meets-tho-Fray v)bo. and it flies
out of the gate with feedback-laden riffs, well-timed stut-
ter stops and a gentle balance of electric and acoustic gui-
tars. Four-chord loops nicely underscore Grohl's frustra-
tion as he mourns life's failure to meet his expectations.
Foo Fighters' sly, ever-present self-awareness is still at
play on "Wheels," though not quite as cleverly as it
appears on the band's classics like "Everiong." "Times Like
These" and "My Hero." Grohl sings during the opening
verse, "I wanted something better, man/I wished for some-
thing new." For an act of this stature and talent, it's hard
not to agree just a little.— S5

BRITNEY SPEARS

3 (3:21)

Producers: Max Martin. Shellback
Writers: M. Martin. Shellback.
T. Amber

Publishers: Maratone admin, by
Kobalt/Universal Publishing (ASCAP/BMI)
Jive

At this point, the formula for a Britney Spears hit has
been nailed a dozen times over The proof will be in
large supply on November's "Britney Spears Singles
Collection," and "3"— the lone new song on this great-
est-hits set— has all the right ingredients, too. The Max
Martin- and She II back- produced track opens with sput-
tering synths and builds to a climax of wildly pulsing
bass that summons fans to the dancefloor. She teasing-
ly sings about threesomes with her signature coy deliv-
ery, asking her partner if he's game for some "love In the
extreme" while evoking numerology and references to
Peter, Paul and Mary. The metaphor— and Spears' vocals
—may be as thin as ever, but if the past decade is any
evidence, "3" will be another notch in this pop provoca-
teur's belt-MH

biggest hit to date ("Second
Chance") with another mod-
ern rock gem. "If You Only
Knew" is the first love ballad
that singer Brent Smith wrote
for the band— the song was
inspired by the day Smith
found out he was going to be
a father, and his powerful
vocal exudes a sense of pure
joy He and songwriter Dave
Bassett have crafted relat-
able. yet open-ended lyrics
that are colored with affect-

ing guitars and a stadium-
ready sound, bringing to
mind some memorable rock
ballads by Bon Jovl. Aero-
smith and Goo Goo Dolls.
Centering on Smith's vocal.
Grammy Award-winning pro-
ducer Rob Cavallo (Green
Day, Paramore) blends a
lively drum kick with equally
spirited guitars and emo-
tional string instrumentation,
making "If You Only Knew" a
sure bet for success.— MM

OCTOBER 17, 2009 I www.billboard.biz | 33

Mii.<sir

_UAPPI

;t\llt\IG MOW

BY JASON LIPSHUTZ

Brain Power

Breaking Benjamin's 'Dear
Agony* Debuts At No. 4

"Dear Agony," the fourth full-length album from
the Pennsylvania post-grunge band Breaking
Benjamin, enters the Billboard 200 at No. 4 with
134,000 copies sold, according to Nielsen Sound-
Scan. While the act's last two Hollywood Records
albums have gone platinum, this is the group's
best sales week — the result of savvy marketing
and a commitment to change that starts with
lead singer Benjamin Burnley.

Since forming in 1998, Breaking Benjamin's
pummeling alt-rock has earned heavy airplay
on modern rock radio. The singles "So Cold"
and "Sooner or Later," from the 2004 set "We
Are Not Alone." each peaked in the top 10 of
Billboard's Alternative chart. Meanwhile, the
2006 disc "Phobia" debuted at No. 2 and led to
a successful joint tour with Three Days Grace
in the fall of 2007.

While the band — whose lineup includes gui-
tarist Aaron Fink, bassist Mark Klepaski and
drummer Chad Szeliga — was gaining a sizable
following and sales momentum, Burnley was
living as a "functional alcoholic" and had devel-
oped neurological problems.

"I've suffered permanent brain damage
through alcoholism," says Burnley, who has been
sober for more than two years. "I don't want to
say that I'm proud to have stopped, but I'm glad

I realized that I wanted to stick around for a while. "

After he quit drinking and started writing ma-
terial for "Dear Agony," Burnley decided to use
his struggles with alcohol and subsequent re-
covery as recurring themes. The first album
Burnley recorded sober with the band is also his
most personally revealing and features a scan of
the singer's brain on the album cover.

"All the tests and hospital visits stick with you,
so I thought the scan was an effective image to
use," he says. "It was a dangerous situation to
be in . . . thankfully, I was able to reflect what
was going on in my life within the music."

Produced by David Bendeth, "Agony" draws
on Burnley's emotional experience to create an
1 1-song set of anthems with blistering lyrics.
The lead single. "I Will Not Bow," is No. 40 on
the Billboard Hot 100 and features stirring lines
like "Take the path that leads to nowhere/All is
lost again, but I'm not gi\'ing in" over chugging
guitars and cymbal crashes.

Aside from its affecting content, the new
album's success can also be chalked up to
Breaking Benjamin's unique marketing strat-
egy. "1 Will Not Bow" has received exposure
from its placement in the Touchstone release
"Surrogates," while three tracks from "Agony"
have been made available as downloadable
songs for "Rock Band." A deluxe edition of the
album is available exclusively at Best Buy. It
comes packaged with a bonus DVD that in-

cludes all of the group's music videos.

"We've tried to find a balance between tradi-
tional marketing tools and new media," says Hol-
lywood director of marketing Line Wheeler. "The
industry might look at a follow-up record and
see a falloff. but the band has been eager to em-
brace new ways of getting closer to fans, espe-
cially through new technology."

In September, the group released "Altered Ben-
jamin," an online flash videogame that was de-
signed and submitted by a fan. The parody of the
arcade game "Altered Beast" features Burnley as
a character and the other band mem bers as bosses.

The game, along with the band's fan-run Web

HOORAY FOR HOLLYWOOD

With a pair of top 10 debuts on the Billboard 200 from Breaking Benjamin (No. 4, 134,000 copies sold) and
Selena Gomez & the Scene (No. 9, 66,000) joining Miley Cyrus' "The Time of Our Lives" at No. 11, Holly-
wood Records owns three of the chart's top 15 for the fourth time in two years. Breaking Benjamin has its
best sales week yet, as "Dear Agony" surpasses the rock band's previous best week, when its 2006 album
"Phobia" launched with 125,000 sold. Gomez is the latest Disney Channel actor to transition from a star-
ring role on the network ("Wizards of Waverly Place") to a position behind the microphone. ^ Additionally,
Breaking Benjamin and Gomez give the label a pair of concurrent top 10 debuts for the first time since Oct.
16, 2004, when Rascal Flatts' "Feels Like Today" (Lyric Street/Hollywood) came in at No. 1 followed by Hi-

lary Duff's self-titled set at No. 2 (Hollywood).

-Keith Caulfield

Ml LEY CYRUT""" — ^
"Hintuh Hentaiu 2

Ho»rwood/WallDisiWT

ATREYU

"Lead Sails Paper Anchor"
Hollvwftnd

JUNA^ BKUmtKA

"Jonas BroDien"

Hoarwod

1
1

MILEY CYRUS

"Hannah H«[ilana/HII(v (rrus:
Set 01 BoOi Worlds Canmt"

IWIrnoil/WallDlsiKf

JONAS BROTHERS
-lUtlKtlllaigtr

MILEY CYRUS
■Initoal'

BREAKING BENJAMIN

SELENA GOMEZ 8, THE SCENE

MILEY CYRUS
"Die Tint Olllurlln!"(m

9/15/07

34 I BILLBOARD I OCTOBER 17, 2009

4/S/08

8/30/09

10/17/09

site, demonstrates the act's online inlcraction
with its followers that Burnley believes helps
keep the act grounded. "Musically, we're a seri
ous band," he says. "So it's cool for stuff like the
game to show that we have a sense of humor and
are open to fan contributions."

Starting Nov. 29 in San Antonio, Breaking
Benjamin will hit the road on a bill that includes
Sick Puppies and Rev Theor\-. While Burnley says
that pressure used to hamper him onstage, now
he focuses only on having fun. ** Nowadays, bands
are a dime a dozen." he says. "At this point. I'm
just very thankful we've lasted this long and can
continue to perform."

■r;vni .'Vr';

BLUEGRASS

BY KEN TUCKER

Father's Day

Ricky Skaggs Nets
Fifth No. 1 With
'Songs My Dad Loved'

\Vho knew that 50-plus years after he
}egan singing and playing music.
Ricky Skaggs would be celebrating
lis fifth straight No. 1 debut on Bill-
xwrd's Top Bluegrass Albums chart?
Perhaps his father, Hobcrt Skaggs.
After all, he's the inspiration behind
'Ricky Skaggs Solo: Songs My Dad
Loved' (Skaggs Family Records/

Fontana), which recently topped Uie
bluegrass tally and is currently No. 4.

Skats' parents recognized his tal-
ent at an early age. Td been singing
since I was 3.' says the 14-time
Grammy Award winner. "I knew the
harmony parts; just knew them in my
head- 1 would hear my mom singing
with my dad and I would sing what
she sang."

The Kentucky native received his
first musical instrument at the age of
5. "My dad went to a pawnshop and

bought a mandolin," Skaggs recalls.
" It was in my bed when I woke up one
Saturday morning. My first real touch
of metal and wood together, strings
and wood . . . That electrified me."

When Hobert returned from
working out of town to find young
Ricky making chord changes and
singing along, he was so excited by
his son's progress that he bought
himself a new guitar. ( He'd lent his
old one to a family friend.) And the
rest, as they say, is history. Ricky Sk-

WELCOME
BACK

lftheexuberantaudiencereactiontoBeBe& CeCe
sVinans' recent live performance on Steve Harvey's
syndicatecl radio morning show is any indication, tt>e
gospel duo still has the touch. And with the single
"Close to You" notching its fourth week at No. 1 on
Billboard's htot Gospel Songs chart (also No. 11 on
Adult R&B), the welcome mat Is primed for the ar-
'Ivat of the pair's aptly titled new album, "Still."

Released Oct. 6, "Still" Is BeBe & CeCe's first
album in 15 years. It also doubles as the first proj-
ect on the siblings' independent label, B&C
Records, in association with Malaco Records.
Signed to Capitol in the late '80s. BeBe & CeCe—
numbers of Detroit's legendary gospel ^mily the
Winans— logged several gospel and R&B cross-
over hits <"Lost Without You," "Addictive Love,"
Til Take You There"), gold albums (including
"Heaven") and a host of industry awards.

Opting to take a break, the pair pursued suc-
cessful soto careers. By the tin>e the idea of reunit-
ing crossed their minds, 15 years had elapsed. But
with the help of manager and album co-producer
Ron (^illyard of Strategic Artists Management and
Lionel Ridenour, head of Malaco Records' urban
music divlston, the reunion became a reality.

"We didn't sit down and say, 'We're coming
tuck in 15 years.' " BeBe says with a laugh. 'This
wasn't planned." CeCe adds, "By the time we fi-

> /

aggs was playing with Bill Monroe
at the age of 6 and with Flatt &
Scruggs on TV a year later.

After honoring Monroe and other
fathers of bluegrass in recent years
with other albums, S kaygs dec idi-ti \ \
was lime to pay tribute to his fatia r,
who died in 1996. When he started
the recording process, "memories
flooded my soul," Skaggs says. "These
are songs we used to sing that my dad
really loved."

The set includes versions of the
Monroe Brothers* "What Is a Home
Without Love" and "Sinner. You Bet-
ter Get Ready" as well as songwriter
Albert Brumley's This World Is Not
My Home." Roy AcufF's "Branded
Wherever I Go," the hilarious "I Had
but 50 Cents" and the classic hymn
"God Holds the Future in His Hands"
round out the album.

Skaggs plays every instrument
(mandolin, banjo, fiddle, guitar, bass
and piano, among others) and sings
every note on the self-produced
album. The arrangements are pleas-
antly simple — just as he and his fa-
ther used to play them.

"My daddy introduced me to good
music." Skaggs says. " Everything he
liked had class and quality to it."

He adds that there also might be
a sequel. "After I got the record cut.
all these other songs came to mind,"
he says. "Ifthere's a volume two, I'll
have to bring my mom in |who died
in 2001]. She was an equally impor-
tant influence."

nally got everything [the label and album] done,

we realized how long It had t>een."

While the industry has changed radically since
1994, the duo's natural chemistry remains Intact
Working with longtime producer Keith Thomas
and others including Warryn Campbell, Percy
Bady and Mario WInans, the intent was. In CeCe's
words, "to be who we are but also current to gain
new fans." Overall, the pair followed Its tried-and-
true formula: heartfelt spiritual songs about life
that can stand the test of time. In fact, BeBe
penned the soulful "Close" several years ago.

-When I put It away, I said then that If we did

Natural
chemistry:
BEBE (right)
and CECE
WINANS

another album, this would b« the first single."
BeBe recalls. A second sir>gle. "Grace," is being
promoted to gospel radio.

To further spread the word atjout "Still," BeBe
& CeCe are traveling ttie radk), TV, online and print
circuit, inckjding The Oprah Winfrey Show" (dur-
ing which BeBe Introduced "Oprah's Karaoke
Challenge"), AOL Black Voices, the Associated
Press and the "Yolanda Adan\s Morning Show." A
national tour is being planned for 2010.

"Our intention has always been to record the
best music we can," BeBe says. "After that, we sit
back and watch what God does." —Gail Mitchell

HEAVEN
SENT

Listen to Tercer Cielo's latest album,
"Gente Comun. Sue^s Extraordinar-
los" ("Ordlrwry People, Extraordinary
Dreams"), and it might take a minute
to realize that one of Latin music's
most promising acts is a Christian
group. The album's pop/urt>an sound
and broad messages have found ap)-
peal beyond Christian radio and re-
tail—as well as a first-time home on
Billtward's Top Latin Albums chart.

The Venemusic/Universal Latino
release is No. 17 on the chart, while
the single "Mi Ultimo Dia" is No. 23
on Latin Pop Airplay. With the excep-
tion of a few spins, the song's airplay
has t>een limited to Puerto Rico.

Tercer Cielo has taken the inde-
pendent route for years and has re-
leased five allHjms. "With Venemu-
stc, however, we were able to get into
places we weren't able reach before,
like Wal-Mart and secular radio,"
songwriter/producer Juan Carlos Ro-
dnguez says. He and his wife, Evelyn
Herrera, make up Tercer Cielo.

"We thought for years that Christ-
ian music only played on Christian
stations," he adds. "Now secular sta-
tions are playtr>g our music even more
than Christian ones."

The act's latest album Is the third
orw by Tercer Cielo's lineup. Prior to
Herrera joining, one of the act's co-
founders left to pursue a solo career.
Since then, Tercer Cielo's sound has
evolved from adult-leaning ballads
to a more youthful style. Despite the
duo's religious inspiration, there are
universai themes in its music.

The same Bitile that we Christians
use as a guide talks about many
things like love, family and mortey,"
Rodriguez says. "We find all sorts of
subjects to sing about."

A case in point Is "Mi Ultimo Dfa." A
bright, catchy midtempo song with
soaring strings, guitar and plar>o. the
track was inspired by the birth of the
couple's daughter eariier this year.
Rodriguez says, "It's about taking ad-
vantage of the time we have with bm-
ily and friends and living each day as
if it's your last."

Tercer Cielo will spend the remain-
der of 2009 on tour. Its trek includes
two dates each In Puerto Rico and
Florida plus stops throughout Latin
America. —Ayala Ben-Yehuda

www.blllboard.blz 1 35

Billb#ard connect with the music industry's most important decision maker

MARKETPLACE

For ad placement in print and online call Jeff Serrette 800-223-7S24/iserrette etbillboard.com

WANTED TO BUY

BUSINESS OPPORTUNITIES

WAI

immediate Payment

American Royal Arts, celebrating 24 years in
business, is looking to purchase music memorabilia . .

HUUnt Concert Awards

Set Lists Concert-Used instruments

Autographs Signed Contracts

Memorabilia Original Posters

Contact .je.f?y Gladstone 561 -869-0600

AMERICAN ROYAL ARTS

SIGNEDR0CK.COM * entertainment fine art * Since 1986

jgladstone@americanroyalarls.com

Recording Studio & Theatre
Management Services RFP

The City of Malibu is seeking proposals for the management
and operational services for mixed-use performance facility
with a theatre, recording and video production in Malibu.

Project includes: Acoustically designed 500-seat theatre.
Recording studio w/API Legacy concole & Pro Tools.

To register: contact rfeldman(a>cl.malibu.ca.us
Proposals due November 5, 2009
for more information
www.ci.malibu.ca.us

MUSIC
MERCHANDISE

MASTERING

BUY DIRECT AND SAVE!

While oI^et people ate faeing their prices, we
3te sldshirrg ours CD's. LP's, Books, Cassettes
as low as M cents. Your choice from the most
extensive Itstlngs available

For free catalog call (609) 890-6000.
Fu (609) 890-0247 or write
Scorpio Music, Inc.
P.0.BOX A Trenton, NJ. 08691-0020
•malt: scorptomus9aol.cocn

tangerineMASTERING.com

Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

BILLBOARD CLASSIFIEDS

www-IEiiMboard,coin

for man Mb call: aoO-223-7S24

REAL ESTATE

New Li XI rv LA
Ap.\rtments

ONsrrt Tradur Joe's MAHKirr,
8,500 SQt-r HiiAisH Spa, CkUiBRnr
TuAINliK ONsm-i, iNHsm- ftxM,
Gu«o Gated OutMUNnv
Stakhnc S2,500

u\\\\.PAi.\y./o\\i:sn\ ooD.coM
Call: (888) 482-9084

CALL US TODAY AND ASK

ABOUT THE

BILLBOARD CLASSIFIEDS

INTRODUCTORY OFFER

FOR NEW ADVERTISERS!

jserrette0biUboard.com

Billboard Classifieds Covers Everything

^^g^ DUPLICATION
REPLICATION
VINYL PRESSING
CD ROM SERVICES
I DVD SERVICES FOR SALE
f PROMOTION & MARKETING
i SERVICES

MUSIC DISTRIBUTORS

AUCTIONS
RECORDING STUDIOS

REAL ESTATE
INVESTORS WANTED
STORES FOR SALE
EQUIPMENT FOR SALE
STORE SUPPLIES

FIXTURES
CD STORAGE CABINETS
DISPLAY UNITS
PUBLICITY PHOTOS
INTERNET/WEBSITE
SERVICES

BUSINESS SERVICES
MUSIC INSTRUCTION
BUSINESS OPPORTUNITIES
COMPUTER/SOFTWARE
MUSIC MERCHANDISE
T-SHIRTS
EMPLOYMENT SERVICES
PROFESSIONAL SERVICES
DJ SERVICES

FINANCIAL SERVICES

LEGAL SERVICES
ROYALTY AUDITINGTAX
PREPARATION
BANKRUPTCY SALE
COLLECTABLE
PUBLICATIONS

TALENT
SONGWRITERS
SONGS FOR SALE
DEALERS WANTED
RETAILERS WANTED
WANTED TO BUY
CONCERT INFO
VENUES

NOTICES/
ANNOUNCEMENTS
VIDEO
MUSIC VIDEO
POSITION WANTED
LISTENING STATIONS
FOR LEASE
DISTRIBUTION NEEDED
EDUCATION OPPORTUNITY.^
HELP WANTED
MASTERING
AUDIO SUPPLIES
ROYALTY PAYMENT

PRINTING
MUSIC PRODUCTION

r print and online contact Jeff Serrette: 800-223-7524 or jserrelteiabiUboard.

36 I BILLBOARD | OCOTBER 17. 2009

Cri

THE
BOX

A WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

'he arrival of Paramora's
and New Eyes" at No. 2 on
Billboard 200 with
,000 (Old gives the act Its
t sales week and highest-
rting album, it also bows
o. 1 on Top Digital
urns with a whopping
>00 downloads-41.5% of
>verall first week.

ynyrd Skynyrd returns to
Billboard 200 after a slx-
r absence with the studio

God ft Guns" bowing at
18. It's the veteran band's
lest-chartlng studio album
e 1977's "Street Survivors"

5).

Iranda Lambert Is the third
it In the Nielsen SoundScan
;i991-present) to bow at
I on Top Country Albums
I hor first three chart
les, as "Revolution" starts
66,000 copies. The other
e-peaters7 LeAnn Rimes
Gretchen Wilson.

Streisand Leads A Record Eight Debuts In Top 10

Barbra Streisand triumphs with her
ninth No. 1 on the Billboard 200 as
"Love Is the Answer" debuts atop the
chart with 1 80.000 copies, according to
Nielsen SoundScan. The achievement
extends her lead as the female artist
with the most No. Is in the history of
the chart.

Over The
Counter

The opening sum is also her best
sales week and highest-charting album
since 1997, when "Higher Ground"
started at No. 1 with 207.000 sold. All
told, the debut sum of " Love Is the An-
swer" is the artist's second-biggest open-
ing week since SoundScan began
tracking data in 1991.

"Answer" beats the arrivals of
Paramore's "Brand New Eyes" at No.
2 (with a career-high 175,000 sold) and

Mariah Carey's "Memoirs of an Im-
perfect Angel" at No. 3 (with 168,000).
They join Breaking Benjamin's "Dear
Agony" (No. 4, 134.000) and Alice in
Chains* "Black Gives Way to Blue"
(No. 5, 126,000) in an all-debut top five.
It's the first time five cur-
rent albums have each
sold at least lOO.OOOcopies
in a week since Christmas
week of 2008.

And those titles are just
five of the record-breaking
eight entries in the top
10. Until now, seven top
10 debuts were the most
the chart had seen. It
most recently happened on the June 6
Billboard 200, when Eminem's "Re-
lapse" led the debut party at No. 1 . How
much would you bet that we'll have an
entire top 10 full of debuts before the
year is over?

STREISAND SUPERSTAR: Barbra
Streisand is the only artist to collect No.
1 albums in each ofthe past five decades.
Her first came in 1964 with "People,"
then she returned to No. 1 three times
in the 70s with the 1974 "The Way We
Were," the 1976 soundtrack to "A Star
Is Born" and the 1978 "Greatest Hits.
Volume 2." I n the '80s, she notched No.
Is witli the 1980 "Guilty" and tlie 1985
"Broadway Album." Finally, in tlie '90s,

she claimed a pair of chart- toppers with
the 1993 "Back to Broadway" and the
1997*'HigherGround."

"Answer" was produced by Diana
Krall and features Streisand accompa-
nied by Krall's jazz quartet on classics
like "Smoke Gets in Your
Eyes" and "In the Wee
Small Hours." The al-
bum's handsome open-
ing-week sales sum was
powered by a half-hour
sitdown on "The Oprah
Winfrey Show" Sept. 24
and interviews on CBS'
"Sunday Morning" Sept.
27 and N EC's "Today" on
the album's release date. Sept. 29. The
set was also stocked in Starbucks stores
and sold through QVC and Streisand's
official Web site.

Many industry prognosticators — my-
self included — focused on what was
thought to be a battle for No. 1 between
Paramore and Mariah Carey. Those
who look into their crystal balls to proj-
ect first-week sales figures had esti-
mated that Paramore would finish
ahead of the two divas. As it turns out,
Streisand surprised many with how
well her album sold in nontraditional
ways — Starbucks, QVC and her Web
site — and tliat tlirew a wrendi into fore-
casting sales.

I thought Streisand was going to

debut strongly, although No. 1
seemed somewhat unlikely. When I
heard about "Love Is the Answer"
and how it was being introduced into
the marketplace, 1 knew this was
going to be an event album. I sus-
pect sales will remain strong as the
holidays approach.

DIVA DISCUSSION: Mariah Carey's

"Memoirs of an Imperfect Angel" be-
gins its Billboard 200 life with 168.000
sold — a drop from the 463,000 opening
of her last set. 2O08's "E-MC2." The lat-
ter album bowed at No. 1 with her
biggest first week ever.

The stunning opener of "E=MC2"
was powered by the singer's release-
week stop on "The Oprah Winfrey
Show" and two nights on "American
Idol." Additionally, the album's lead
single. "Touch My Body." was an across-
the-board radio smash. It peaked at No.
2 on the all-format Hot 100 Airplay
chart, reaching a one-week high of 125
million in audience impressions.

"Memoirs" didn't have release-week
visits to "Oprah" and "Idol" to help it.
though Carey did perform on the Sept,
18 edition of "Oprah." And its first sin-
gle. "Obsessed." isn't a runaway radio
hit like "Touch My Body." "Obsessed"
has so far peaked at No. 6 on the Hot 100
Airplay tally, with a one-week high of
84.7 million in audience.

Market Watch

Weekly Unit Sales

UBURS

tlCUHS-

nGITU
TIUOS

This Week

6.876.000

1.567.000

19,410.000

last Week

5.931.000

1.454.000

19.267.000

Change

15.9%

7.8%

0.7%

Re IM last tar

7,506.000

1.302.000

18,734,000

Oiaogt

•a.4%

20.4%

3.6%

jlio coiinleiJ wifiiin -ill

A Weekly National Music Sales Report

Year-To-Date

;0M OK OttNG!

OVERALL UNIT SALES

Albums 305.372.000 263.432.000 -13,7%

Digital Iiatts 814,527.000 903.583.000 10,9%

SIOK angles 1.304.000 1.383.000 6.1%

Total 1,121,203,000 1,168,398,000 4.2%

M«m«/IH* 336.824.700 353.790.300 -8.5%

niclscn

CtXtitfiiilftBWi •nMontf twnatt of fwail nor* and fact.

solM raporu coMcud and pKMdod bv SoundScan

im im (HAHG!

YEAR-TO-DATE SALES BY ALBUM CATEGORY
Oimill 174.070.000 142,535.000 -18,1%

Catalog 131.302.000 120.898.000 -79%

Deep Catalog 94.261.000 90.427.000 -4.1%

Weekly Album Sales (Miiiion units)

Diim Mto^ (If A) I

25
20

2008

aoot

ALBUM SALES

•o»l

iiMlli^mllllnnl

CURRENT ALBUM SALES
■09I

,174.1 millionj

263.4 million

CATALOG ALBUM SALES

•08 131.3 million t

■09 1

120.9 million

AMJJASOND

SALES BY ALBUM FORMAT

CO 255,389.000 204.501.000

DigiUI 48.560.000 57019,000

Vinyl 1.317.00O 1,866.000

OUief 107.000 46,000

-19.9%
17.4%
41.7%
■57,0%

Nmlien SoundScan count* m cutroM only lalM arilhin trie fir»l IS monSm ot ai
album 1 r«l«a«« 03 morAfn lot claMNal and lazf albuim) Tiltv^ I'tat »tay tn tTH
top nail of tfw BdRMMm) 2O0. howwr, ranum ai curivnt Tir-«% otdai tlun 18
months ai« catalog Oe«p cataioQ x a tuD^M ol catalog fo* iitin oui mon itu

Go to www.billboard.biz for complete chart data |

.terial

:hart

BEAT

n the Aug. 29 Billboard Hot
the Black Eyed Peas broke
■nark for most consecutive
ks at No. 1, and Jason Mraz's
Yours" likewise rewrote the
rd for most weeks spent on
:hart. All good things come to
nd, however. This week, the
i cede the summit after 26
ght frames (see Between the
ats. page 43>, and Mraz's

:iformat smash departs after
<eeks.

Dreigner is back on familiar
jnd. The venerable band
rns to Adult Contemporary
r a 14-year absence, as
len It Comes to Love" bows
o. 28. With a debut at No. 29
he Billboard 200, "Can't
» Down" generates the
IP's highest rank on the list
e 1988.

Il^ Read Chart Beat
W every week at

BARBRA STREISAND
mTM ■ ■! T.iiwr MUSIC luui

Lov« It Th« Answ«r

PAHA MO HE

Brand New Eyes

MARIAH CAHEY

Memoirs Of An Imperfect Artgel

BREAKING BENJAMIN

Dsar Agony

ALICE IN CHAINS

Black Gives Way To Blue

JAV-Z

The Blueprint 3

MADONNA

Celebtatton

MIRANDA LAMBERT

Rsvolutton

SELENA GOMEZ & THE SCENE

Kiss Anti Tell

PEARL JAM

•■ ■.■ ■ : > ■ ■ 1 :e Ml

Beckspacer

MILEY CYRUS

The Time Of Our Lives <EP)

AFI

Crash Love

WHITNEY HOUSTON

t Look To YCHJ

1 HARRY CONNICK, JR.

Your Songs

■ ULlllllLOK

H ftlLIMMS 9TUET UCDMUIll T i < i 9»i

Melalocalypse: Dettialbum II (Soundlractt)

WK
m&

■

Hj THE AVETT BROTHERS

l|B 'urni(i'j^i>,(,«M^ y.'?^^ sow «uc-c . i? ge

1 and Love and You

■IS
mm

Q THREE DAVS QRACE

Ufe Starts Now

wSf

■

Q LYNYRD SKYNYRO

God & Guns

Q TAYLOR SWIFT

Fearless

■ ^1

D °™*I!5.i.c>s»iic«l.ii«vI«s»ii«ra«Ni™i4u»R0|«H) So For Go<» <EP|

Q KINGS OF LEON

Only By The Nighl

■ HI

■

Q THE BLACK EYED PEAS

The E N D

PI 2AC BROWN BAND ,,,, ponndfilkin
U- 1 ■,u3«o»«.ii.«i,[ villi ») in«TOunoaiK)n

■^M

■w

M LADY GAGA

' ^^'TRIl'INtEllSCOPl Dl

,12 91! The Fame

n MUSE

U :f- UHOS (1l9a> *'

The Resistance

■f

■

in FRED HAMMOND

Love Unstoppable

n MAXWELL

BLACKSummers'nlghl

m GHOSTFACE KILLAH

Ghostdini: Wiiwd Of Poilry In Emerald City

in FOREIGNER

\Wm < ' ^ ^> CQ'DVDt f

CmI Slow Down

n FIVE FINGER DEATH PUNCH

U -^ii 'i; I lUflSl *

War Is The Answer

D „ 1 ....RSA. Mo-cwH on,«...M,c M3 w, Man on Th. Moon: Tht Efifl 01 Day

If TREY SONGZ

Ready

Q SOUNDTRACK

Hannah Montaiu: The Movie

■ 1

Q JASON ALDEAN

Wide Open

Q OWL CITY

Ocean Eyes

g KAREN 0 AND THE KIDS

lAnivre The Wild Things Are (Soundtrack)

g HATEBREED

Hatebreed

IM VARIOUS ARTISTS

tkm--" [.ifivsoh-y MUSIC lUWt

N0W3t

H COLBIE CAILLAT

mM i.'ir.':';r,L -;|['uui'. in i:'Jt'UM<lC HI 91i f

Breakthrough

M BROOKS & DUNN

mm ' .--v^iwoiSB^

«ts ... And Then Some

Pt LADY ANTEBELLUM

III - ' )?m

L^dy Antetellum

■ 1

Q DAUGHTRY

Leave This Town

Funhouse

■ 1

n BRAND NEV/

981

143

Q MONSTERS OF FOLK

Monsters Of Folk

Q NICKELBACK

Dark Horse

B 2

H GEORGE STRAIT

Id M 1 I- LMliMUMi

Twang

• 1

Q DAVID GRAY

Draw The Line

H DAVID CROWDER BAND

mM ^I'lSTji-^ :ii!'i')ip&cinciw I" Mt

Church Music

EMINEM Helaoa&

"PtiMil4~ Mmlii
mlautedilKoJ
wiltffi.0OOiiiU.

\i\t band vliit^lhe
tDp to for ttK nnl
Itme In 1! fun a
iti llnl album with

Willum DuVj'I

bOWiWlt'il.'

itsbsi lonlJ
apptdfWKe, when
rt spent two we«ta
in ttie upfwt ti« tn
Au9iAtm6.

Wittl4S.0OO»M.
the ifilnuled nwl^l
band troni tlw Uult
SwtmTVshow
uttpdsses the peak
position and best
ales weeh ol lb
first lefThe
DeltiaSium wtii<h
lilt Ho. ;i in 2001
with i rygh ol
14.000 copies.

Ihft (itin, Jul;
16statni(ji! '
uuiKltrdck 'I

begin wiri i'
sou. Th« '.: :
stvtsatNu :
the lop Soui:

CtHll.

viewable at bill-
boinl.bb/(harts.

ARTIST

I'.i' i- HI t HMfun ; [MStmautiM uwi tPnct)

Title

- J
8 ii

REBA

:-iMMiiLi;* ui)i£«i.v*u)R*iH.S«i*

Keep On Lovirtg You

MSKILLET

U ir-iiM |i,r- J,TI IKIIC S19IQ7,'«li MS Ml

Awake

□

h'l"' .ws. nesa) SuperBad: The Return Of Boosie Bad Azz

BEYONCE

UiM, v, I';- 1 ■.!. ^.!l^■.MUSlC('!Ml

1 Am ..Sash a Fierce

■|

VAfllOUS ARTISTS Tlx- Mountain 103.7 FM: LNt From The Mountain tAtx UM^ 15

4«

MARK KNOPFLER

.-■■.1 . . an

Get Luchy

I2t

□

SOUNDTRACK

Fame

PI VARIOUS ARTISTS

ii t-J .'ii.. . |f|M)

Now That s What 1 Call Club Hits

VARIOUS ARTISTS

n- V. MiisiCfliaS)

NOW Thai's What 1 Call Country Vol 2

SHINEDOWN

.>Mr.-|i -M.il,H-., 18981

The Sound Of Madness

e B

RAEKWON

Only BuMI 4 Cuban Unx Pi II

□

DARIUS RUCKER

L^arn To Uve

■ |

Q SUGARLAND

Love On The Inside

■ 1

118

UilUI PETE YORN a SCARLETT JOHANSSON R».k ii»

MARQUES HOUSTON

Mr. Houston

CHRIS YOUNG

The Man 1 Want To Be

TAYLOR SWIFT

Taylor Swilt

□

MEGADETH

" '.[II. N ■. ■|,ri iiutiai

Endgame

.»

GREEN DAY

21st Cefllury Breakdown

• |

BOYS LIKE GIHLS

L-iLHdIt «li;.Sl)N> WISIC 1'^ Ml

Love Drunk

CHEVELLE

Sci-R Crimes

PITBULL

I.'- ■ .. _■■ ',: ■ i.viii |U Ml

RebeluiKMi

KEITH URBAN

Defying Gravity

PLAYAZ CIRCLE

[.'I'l.M 'iM :':i.,"i!DJMiiiTDeg|

Flight 360:the TakeoH

Jig

SOUNDTRACK

...VMi- ."L-- iNi>- VUIKTII; SI&KS'lADIiaSII Si

Twillghl

■

7«

DAVE MATTHEWS BAND

-..-..i ^LA 4B7i;- RUG lISMi *

Big Whiskey And The GrooGrux King

■

MIKA

i ^'.Ct, liWVTHlM AtrvBIIC >l]31]iUWn« (11 981

^ The Boy Who Knew Too Much

PHOENIX

' :ia»-«iASsiioit 111 »)

Wolfgang Amadeus Phoenix

FABOLOUS

- -TORH-VEF JAW DHOW-VUMO 03 99) $

LOBO's Way (Soundtrack)

SOUNDTRACK

.-.i.r n-viv iw.-iTD tiR.SB!

Hannah Montana 3

SOUNDTRACK

ii«'.f» Vi = ri>. r;;r,- < i'RfiMll'eWERKOPf Dn.lJJ.

c* |t3 991 More Than A Game

BRAD PAISLEY

American Saturday Night

ROBERT EARL KEEN

■ 1 ; ?Bi

The Rose Hotel

SEAN KINGSTON

MUSIC 111 9*.

Tomorrow

!l8

KENNV CHE5NEY

GrealHl Hits II

□

THE BEATLES

r.-.:^ -..1 1 .-4? -a ;?43 98 COi'tMl) «

TtM BMtles In Stereo

SOUNDTRACK

Otsney: Phineas And Ferb

JASON MRAZ

i-:i.'(T : -i-l.l.f i,a|lB.9«l*

We Sing. We Dance. We Steal Thlngs.

■

JIM BRICKMAN

Beautrlul World

No Lirte On The Horizon

PATTY LOVELESS

Mountain Soui i

RODRIGO Y GABRIELA , , , ,

THEORY OF A DEADMAN

Scare & Souvenirs

JUSTIN MOORE

Justin Moore

MICHAEL MCDONALD

■"i-M'i". .■]r,pi;iiBS!)nll9((

TTils Christmas

STATE RADIO

■:-:rTi«Fw (IJ 98)

Lei It Go

DEWI LOVATO

Here We Go Again

JEREMIH

^ J»MD1J0BS',«U*l(t:W)

Jeremih

THE FRAY

.■ >.'.i'..i[: ir> 99. ♦

The Fray

100

□

KELLY CLARKSON

All 1 Ever Wanted

THE BILLBOARD 200 ARTIST INDI

:0I' I tl'. AvtllLm

IMiAviirWDIItBii

BARUWQIRL

JASON AmM
tUCSMCMMNS.
ALLTtKlCW 1B7 hlEBCKUS

AfCnCMQNKlYS "

t05 BHtinOI

Tl€ BLpIC- a.u
WIHUfl

IK SLACK CRDMS UJ

ItCBLACKtVIDPtAK TJ

135 LLBOOSf S3

M BOt^llKEGIRlS JO

tlB ORAM) NEW 4*

14B M vnoiuut n

...Aa CHCKEMFOOT 139

...m ERccMflCH tea

....23 KaLVCUWKSOH 100

. . in coBiu sTARaw iw

im cotopiAv i»

HAPRVCONMCX. JR U
MVOCRCMjCefiBW «

CMEncamwr m mrajwHcim id

atosiMctMow

OCVBIE..

Go to www.biilboard.biz for complete chart data

TB FOREIGN^
1S1 MCMCL FWNTI i

' TKWY

KKKraPKIOS
KINGS or LEW
SEWKMISTOIl

__ . tW HSWOWfilflSSE

WtHCmVHMAlIlM 19i
mtDnAUWOK) M

IBD LAOCWTfBClUM
31 LAlrrGUjA

URAHDALAIWRT

104 UOSI
56 LEltriA
1l» UlfHXt
167 UL
UKAO
DEM10VMI..
WTTtLOVRSW
IWVTOSINWTO

Data for week of OCTOBER 17, 2009 I CHARTS LEGEND on Page A

Cr.i

THIS
WEEK

3»

ARTIST Title

I I M & riUUBEH 1 OlSmiBUTING LABEL (PfllCE)

101

71 ^

SUGARLANO iiuc r,- Ti,» i , h

,1 II 1 1 1.^ II 1, * uvE On The Inside

>[«

1 ^m!^^^ ? Silky Soul Music An All Slat Tribulo To Maze Feat Frankia Beverly

•n

■ VARIOUS ARTISTS ,

104

64 n

LipM;njNiiit«s*i nrryBLic Dni62 umug ii3 98i ' Around

■EW 1 1

AUSTRIAN DEATH MACHINE n™.hi. o,i„,i
Mw.i.mi.ftiiisTO Double Bruial

106

LMFAO Pnrtv Rork
PARlYBOCKmil*MCH£flHnHEL1SIEHStOW012SJ»l«il(tOB81 *

107

NEIL DIAMOND u« ...... »ji„hi uvr

(HiiMH.ui. ;i„ , <:iii- i>^0«y»usiC(l.BlCM)W>l8e Hot Augusl Night, NYC

(g)

121

« □ Epiphany

10B

m Bl HOtLVWOOD UNOEAD „„„„.
" y| .«oai»ED..i3i,K.,i!9i, SwanSongs

110

56 Q

if .1.., „.„i« B.OS Skinny Jeanz And A Mic

111

95 □ 8'^^. ,„ ,„ Ultl. Bit 0< Evarything

112

SOUNDTRACK wu^i„ .,

114

57 I

"h""'- "^r^- Unstoppable

lis

36 H

UNCLE KRACKEH „„,„

lie

55 M 30HI3

117

103

60 •

LIL WAYNE TK. Ill
, , .,i5«M<iimitnmr7-/iiMBO(t3 9«) inai,aneriii

JOSHUA BELL ^^^^^^ ^^^^^ f^, P,^„„^,

'-i BUILDING 429 B.,iiHi„„ t-ya
^ , stMUM, Building 4J9

120

70 1

',C"*EL JACKSON The D.llnltlve Colle<:llon

121

on n JOHN FOGERTY THE BLUE RIDGE RANGERS oih.. »„„„

122

109

62 1

h^J°T*,..,.. Lady Love

P.!f:i^h"''^"^" ,..„,ci,.,., Feel The Steel

124

125

59 □ KWZ Bop .6

SKYZOO ^^^^ The Salvation

127

102

104 i

"S JAMEY JOHNSON i •

A « >-J.ir.iiF.M;jrwsi.ll3M. Thai Lonesome Song

•

128

116

"2 □ "°f J"^,^!;^^."*'*^ Caga Th. El.phan,

129

" D wu ^Ki?^!'*'^'*: 1, Wizards 0) Waverly Place

130

112

-D

THEY MIGHT BE GIANTS „,„ (-„„., Science

luiimiji./,'. .■, i .,,««>LioMEyiH9iico;Dvtir* Mere oomes science

131

60 Q

■""'S" Jov

132

93 Q

"""^ La Grania

133

114

" D "^^^^^ ^""'^"^"^ Lines. Vines And Trylna Times

134

i?n

*VENTURA TheLasI

I3S

108

86 ,„. ,„„, Ellipse

134

'O»0!f^:'""'^f°'' lnAPe.ec,World,,.

137

106

102 Q

OLORIANA Ol

iiiPHiiE AAMHER BBOS (HUSHVIILEI SlBreaWRB H39B)

138

104

J, m THE USED ^

139

Mil

CHICKENFOOT Chlckenlpot

d ^°^.™?f«?,,3,., Love,yCraa,u,es

143

111

B l'^.^ CROWES g^l^jj jfij Frost...Unlll The Freeze

144

LARRY THE CABLE GUY Tailoale Party

«««m.:iri . v. ji.iiiEiii-jjii'MN 118,911 laiigaie rarty

145

130

tooQ

!;™H!.L.,n.,..-rv, ij.„. Turn Me Loose

146

126

109 1

MATISYAMU 1^

1 n',IB ::il EPIC .".vrO SON* MUSIC 111 9fll

ri°?m'?.MM HMiM ,.. 98, "0 End In Sight: The Very Best 01 Foreigner

f'Scf w^," .iv,uE, si,r«,.«.. „. 9.1

14t

140

142 iia

VARIOUS ARTISTS NOW 30

UNlVtflSAL [Ml SONY MUSIC 70MB* meSM'Wt (18 981

•

ISO

27 1

ACE FREHLEY Anomaly
1 B»i)ioB0B»9»irs- (15981 Mhomaiy

AslLaYNng'sTim
lambesis is partly
behlnit this projeci.
a sort Dl parody
tribute to Auslrtan
Arnold

SchwarmregQer.
The album, wtiKh
bows at Melon
Heatseehers
Albums, intludes
tunes like ") Need
your Clothes. Youi
Boots and Your
Motorcyile/'

The soiiJtr'u-.'-
lo itiis Dms
B^rrymQfo-ciri-tli,'!.
film ir>cliides musx
from the Ramones.
Peaches, Tilly 2 the
Wall. Clap Your
Hands Say Yeah and
one or the movte's
(O-stars. Undon
Pt99 (pictured, with
Ellen Page).

•I Ho. m,ricniMh
es a Bllboard albiini
chart 00 his own fw

!*iL' fir-J time, as

1. 11

UIKA

MODEST MOUSE ,

NOBETTES

PHOEMX

,78
.1H

REBA

nSCAGAKST

161

M0NSTEnS0FF01.K

MILAB

189

OARUSRUCKEfl

.62

UtYUMV

Ift?

JUSTIN MOORE

>WflENOANDT>€HO&

PINK

.43

mSVflHU .

1. 16

JASON MRA7

0/i-L riTV

PITBULL

.72

MWTTHmSBAND

Muse

PLJWAZ CIRCLE

,74

HOre SAMXrVAL & THE

WWEU

POflCUPINE IR£E ,

,179

WARM INVENTIONS

160

CNAa MCDONALD

BRAO PAISLEY

EARNEST PUOH

SOeSCHNEKR .

140

EGADETH

.6a

NEEOTOBfltATHE

168

PARAUORE - .

SEAMMa

100

BRIO uowasoH

169

WUIENaSOS

i;;

PEARLJAM

SHADOWSFAU

(RISC TIE UCHELE

lOH

NEW80VZ

KAIVPtBRY

Ufl

smeoowN

WCKEIBACK

PHSH

131

RASCAL f LATTS

114

SICK PUPPIES

SKVZOO

jOftoMsnuucs ,

REGINASPEKTOR .

via

'3 SS

ARTIST

cipntsi & tiuUSEn , DISiniHuTiHG LAflCl (PRICEl

Title

£ 3i

1B1

111

r.o

INSANE CLOWN POSSE

Bang* Pow! Boom!

1S2

HAWK NELSON

,'3 981

Live Ufe Loud!

■

127

127 , ,

COLDPLAY

Viva La Vida or Death And Alt His Friends

135

122

HALESTORM

', ■ ■ 1 1

Halestorm

■

IBS

115

ARCTIC MONKEYS

Humbug

147

139

VARIOUS ARTISTS WOW Hits 2009: 30 01 The Ytar's Top OirKttan A/Usts And Hits

' , i I,H1I> SiJTJ.' WORD CURB <ir 981

125

JORDIN SPARKS

Batlleriald

LIL ROB

LjDM&Hate

,■,0,13 98)

- 9

ISO

124

THOUSAND FOOT KRUTCH

Welcomft To The Masquerade

HOPE SANDOVAL » THE WARM INVENTIONS ^he Devil Softly

Hi*'

166

150

RISE AGAINST

1 1 ' IGA i 1 3 9Sj

Appeal To Reason

162

149

MARY MARY

M. ' ■ ;ifl7'i50NV MUSiC n 1 4i

The Sound

Mm.

168

123 Q

TWISTA

Categorv F5

164

136

-0

GIRLS

1 AM .', . ■ !■ ., .'II h. ', ' ;i Ut f'trilNtfl SODMCtS ( M'

la. Album

190

146 Q

CHARLIE WILSON

i " i' j 98)

Uncle Charlie

168

154

ERIC CHURCH

Carolina

■

■i

KRIS KRISTOFFERSON

Closer To The Bone

168

141

124

NEEDTOBREATHE

The Outsiders

199

INGRIO MICHAELSON

Everybody

170

156 162 ^

GAITHER VOCAL BAND

Reunited

ITI

1SS IM Q

YO LA TENGO

Popular Songs

BUCKCHERRY

Live & Loud 2009

1T3

101

»EI

TRICK DADDY

Finally Famous: Born A Thug, Still A Thug

174

110

39 p;

NELLY FURTADO

i:'331fi'UWiC (11

Ml Plan

— !

17S

« si-;;

THE BLACK DAHLIA MURDER

Deflorate

176

148

135 , .

StLVERSUN PICKUPS

Swoon

1TP

137

itoQ

WILLIE NELSON

American Classic

178

146

'18?:*5

KATY PERRY

One Of The Boys

■n

iTi

25 Q

PORCUPINE TREE

•(■itli[;r\NHi lAlfji (18 9S|

The Incident

tab

177

155 Q

KELLIE PICKLER

■S fl«A ?:(lit SMN (11 «8|

Kellie Picttter

«•!

131

121 Q

BOB DYLAN

COLUMBIAUGACV 42S42<SaNV MUSK (7.98)

Playllst: The Very Best 0( Bob Dylan 709

188

160

152 PJ!

ALL TIME LOW

Nothing Personal

168

BROTHER ALI

199

FRANK SINATRA

■ 1 , 1 ■. i'..-. ■, n BROS |IB 98>

Nothing Bui The Best

iaa

157

128 01

BARLOWGIRL

■ ■ 1 i:.M.MV»Hf((H ftHO!, il39a

Love & War

' B

iaa

171

161

MICHAEL FRANTI & SPEARHEAD

.■i -■ ■.' -,:.lt,- lflT«f» pi&9ai ♦

All Rabat Rockers

lar

187

EARNEST PUGH

UVE; Rain On Us

120

SHADOWS FALL

. ■ - - . i-H!: vi; i ,1JM»

^ Retribution

180

192

1'.^,

iii

DIANA KRALL

Ouiet Nights

196

157 gj

TOBY KEITH

35 Biggest Hits

LANDON PIGG

The Boy Who Never

188

NOISETTES

Wild Young Hearts

174

142 Q

REGINA SPEKTOR

Far

104

144

125 i;s"t

COBRA STARSHIP

' L. .L :;. -ii-UiH (13 3S)

Hoi Mess

ANTHONY HAMILTON

The Point Of It All

■■■ Jt' 23JB:i',-Lii(13M)

STnuNG OUT

I'll ■ t ■■,:i ■-■'}• (99BI

Agents OI The Underg

107

169

132 Q

THIRD EYE BLIND

Ursa Major

100

150

MODEST MOUSE

■ -11 . -.r ;;l^hv wusic i9M)

No One's Rrst. And You're Next (EP)

too

PILLAR

,. iii^OJi'SOKV MUSIC ll39fli

Confessions

200

151

107

SEAN PAUL

^Hmtr.'AB II8 9BI )^

Imperial Blaze

19 67

AirARni; of WAuFHLy ins nrwFS nfi Nnftn

^^^^^H CLUB MTS it

129 «32

NOW THAT'S WHAT 1 CAU Otf-HLif Wlisnti ^
TTTTT -.r-.; i COWTRVVtJL 3 59

, ,12B OeNEY PVWeASAND

157 FJftH

.193 FAME

. . .96 KUWiAH UOHV.NA 3

. 123 KVMAH UOriTA-HA THE

47 MOVIE

. . 1 MOR{ T)UM A GAMC

,196 TWIIQHT

y THpTMIBHTBEeiAms

63, 101 m? n

TMRO FVE BLIND
33 me THOMAS

S1 THOUSAND FOOT KRUTCH KEfTH URBAN

rs 159 THE USED

113 TWIEE OAVS GRACE 17

173 NNKUVETWB.VE 103 SILKY SOUL MUSIC AN

1 THE UOUKtW 103.7 FW: ALL-STAR TRieUTE TO

LIVEHWHTHE IMa FEAtURMQ

MOUNTAM MUSIC fRANKIE BEVERLY

90 UKWGE VOLUME 1S K WOW HITS 1009 300F

nS NOW» I« THEVEAR-STOP

73 NOW 31 311 CHRISTIAhARTtSIS

13a NOW THAT'S WHAT t CALL AM) HITS

ata for week of OCTOBER 17. 2009 i For chart reprints call 646.654.4633

Goto www.billboard.bu: for complete chart data > 3J^^

Billboard.

□

TOP INDEPENDENT

Title
Backspacet

r«S ARTIST

J^ar 33! aS iMPftiWI 4 MJMBFH ■ DlSTRiaiJTItlt; LABEL (PRICE)

PEARL JAM

MOMtifViVREMCH 927*- 08 98)

DETHKLOK Metalocatypse: Delhaltum II (Soundlracio ,

i V! i -i- J .mit lAPUlt SWIMHiaMl |

JASON ALDEAN Wfiie Open 0

i 26

3 im MONSTERS OF FOLK

HATFBREED

Halebreed

DAVID GRAY

■f

VJUUDUSAimSTS 1^k1aj«ir1037FMLKFrDmThehtaflanMuxLCtfigeVtllu^

KM'i ?nna (I ^;ahb.iCKS 98) |

SOUNDTRACK Fame

MARQUES HOUSTON Mr Houston

PHOENIX

LOVAdTI OIO*!' t

Wolfgang Amadeus Phoenix

JIM BRICKMAN

Beautilul WoiM

11 -1

RODRIGO Y GABRIELA

EIEIIiH i^LJyvV.OKKS0IM0';*ID ll^.MCaOVO}_*

11:11 1

U-OTUT

VAAIOUS ARTISTS siKySoi r.Visc.. Aii M-Sur Tftuc 1o Maze Feal RaiMe Bneitv

VARIOUS ARTISTS

KINK Lrvo Twelve

■EW

AUSTRIAN DEATH MACHINE

DouMe Brutal

HEW

SKYZOO

The Salvation

CAGE THE ELEPHANT

!>■,*' -nvt .l'ii,l,« j.G>iJ98(

Cave The Elepttanr

PHISH

ifU^ ^'M-^ 113981

Joy

CHICKENFOOT

Chickenlout 0

BOB SCHNEIDER

^r.:n Ki.iHil,'- 4 ' HMUAUD 111 931

Lovely Cfealuic-v.

■EW

MACK 10

tinn HAHGiri (1B?5D9 i17 98l

Soft While

THE BLACK CROWES Bctorc The Frosl., Until The Freeze

ACE FREHLEY

30 I

INSANE CLOWN POSSE

Bang! Pow' Boom<

ARCTIC MONKEYS

Humbug

LIL ROB

Love & Hale

GIRLS Album
F/ATt -v TRASIICAN OIQ'lRLIl PANTHEB SOUNDS (14 tt\

KRIS KfllSTOFFERSON

iif iv WEST Sin- ii- 9ai

Closer To The Bone

YO LA TENGO

Popular Songs

BUCKCHERRY

Live & Loud ?0O9

TRICK DADDY Finally Famous: Bom A Thug. Slill A Thug

THE BLACK DAHLIA MURDER

Dellorale

SILVERSUN PICKUPS

Swoon

ALL TIME LOW

Nottiing Personal

BROTHER ALI

[;n-v'.\,v-( 1 1 ,M m

EARNEST PUGH

[I'M hi tr:>-,Miit.| ilH/D WOfllOWIOt (13981

im Rain On Us

SHADOWS FALL Retribution

.11* vjii. i-wr 'n-;fl! I 5?o;DB'jlLQn*M)'*'

STRUNG OUT

Agents 0( The Underg

THIRD EYE BLIND

Ursa Major

VOLCANO CHOIR

Unmap

EVERY TIME 1 DIE

New Junk Aosihctic

THE MUMLERS

Don'l Throw Me Away

STEVE VAI

i|.;mT '.MllinMl Hfftr ?62(|.r*VOBED tMTlOHS

Where The Wild Things Are

13 9S)

COLT FORD

Ride Through The Country

VICKIE WINANS

GRIZZLY BEAR

KRS-ONE i BUCKSHOT

SOUNDTRACK

Sons 0( Anarchy: North Counlly |EP(

CHILDREN OF BODOM Skeletons In The Closel

t,' ■ > lilNiS'lt (MEHIATIOtlAl 118981

Hadonna'^ itoubl«-OVD musk video rettotpedive "Cetebration" debuts .11
No. 1 on Top Nisk Video Saks, marking the flueen of Pop's eighth chart-
toppei on the list. Ml lold, each one ol her IS (lull entries has reached the
top five. This IS her fourth conseoilive No. 1 following 2CI0l's "Drowned
World Tour. " n06's "fm Going to M Vou a S«iel " and 2007's "Ihe
Confessions Tour."

40 Go to www.blllboard.blz for complete chart data

o
o
o

19
20

..■IB-'.

TOP DIGITAL'

j;S a5 ARTIST

3|! t.!

Iparamore

Brand New Eyas

BREAKING BENJAMIN

si S

ALICE IN CHAINS

Stack Gives Way To Blue

MARIAH CAREY

Memoirs 01 An Impcrfecl Af>gel

IJAY-Z
HOC NMK)NjAG *

The Blueprint 3

MIRANDA LAMBERT

THE AVETT BROTHERS

I and Lovo and You

PEARL JAM

Backspacer

SELENA GOMEZ & THE SCENE

Celebration

Ocean Eyes

I THREE DAYS GRACE

Lite Starts Now

BARBRA STREISAND

Love Is Ihe Answer

DETHKLOK Metalocalypse Dethalbum II (Soundtiack)

i:.' 3

1.^ 51

1 1 45

i: 3

i; 17

7MRneR imos -

KINGS OF LEON

Only By The Nitjhl

LADY GAGA

'.t KOHLivf CHEnRVlREt IMltRSCOft iCA

Man On The Moofi: The End 01 Day

> UmvERSAL MOtOWM lAlflG ^

THE BLACK EYED PEAS

I DAVID GRAY
iMt M:RCEP.

KAREN 0 AND THE KIDS Where The WW Thugs Are (Sojndtrackl

STEEL PANTHER

^^^^

HARRY CONNICK. JR.

Your Songs

FRED HAMMOND

I -.I'.-i.'jND vtmr'f ,jna

Love Unstoppable ,

□

TOP INTERNET

„B s3 as ARTIST

S% 3S US -.iMn J ir. , :.\M.

Rl BARBRA STREISAND

VTm :.h '.■!' ^iv,; ;,(ji|y MUSIC
I PARAMORE

o dl

ill

Love Is The Answer

.■■'jC ftG

Brand New Eyt-s

I ALICE IN CHAINS

Black Gives Way To Blue ^
56

7 3

MARK KNOPFLER

Gel Luck/

MARIAH CAREY MnmntfB 01 An Imiwrloft Anofll

THE AVETT BROTHERS

-i rn.i.MF.ii. 3&C'99 5CV> mi;hh:

1 and Love and Yoti

DETHKLOK Metalocalypse: Dethalbum tl (Soundtrack)

««

BREAKING BENJAMIN

Dear Agony

MADONNA

CeleOtatiort

5 2

HARRY CONNICK, JR.

Your Songs

NEW

AFI

Crash Love

K-WTIT

THE BEATLES

The Beatles In Stereo

J 5

WHITNEY HOUSTON

1 Look To You

ROBERT EARL KEEN

r Ki ,H','.i- r uMCi?i

The Rose Hotel

1«

PEARL JAM

Backspacer

MIRANDA LAMBERT

. .'. II. ..h 't6»MSMN

Revolution

10 H

THE BEATLES

Abbey Road

16 <

THEY MIGHT BE GIANTS

Here Comes Science

.1 '.L . .1 -j'^i-'HAa DrSNEV ♦

MUSE

The Resistance

SELENA GOMEZ & THE SCENE

H(.!, l''L\()riO 00?B3T +

Kiss And Tell

JAY-Z

T<(\'- N;a|rlNS?0B56/.G •

The Blueprint 3

2 2

BRAND NEW

Daisy

' ' m: INIEHSCOI^ (G*

M 2

PETER, PAUL & MAARY The Very Best Ot Peler. Paul & Mary

HMIHO

12 2

MONSTERS OF FOLK

Monsters 01 Folk

STATE RADIO

RUi-l- hrHUU Jjalil.StT rwtHK

Let It Go

EXCLUSIVE CHARTS
FROM BILLBOARD

3ern

■ii

1 2

^^^^^ The xMh's nW9i.9tieanied wweoa on AQU

ilRIISr IIVIPHIM lAREL) 1

KI SINGLE LADIES (PUT A RING ON IT)

HQXBEVQNCE iM.i ilL' WORLO'CEHUMSIA)

WHITE HORSE

TATEOftSWirT ill ii M/.i. HillE.IIMVEHSAL HEI'UBLIC)

3
4

3
■t

17
17

TELL ME SOMETHING 1 DON'T KNOW

SEIEHAG0ME2 il'IA.'i'JH A I|[|

LOVE STORY

TATIOR SWIFt ililG MACHIVb

OUR SONG

UnOR SWIET I'M r.'i. 'illlE UNIVERSAL REPUBLIC)

NEW CLASSIC

DREW SEEEEr A SELENA G0ME2 |Ra;OR A tlEl

PICTURE TO BURN

lAYlOR SWIET .11. illNbi

TEARDROPS ON MY GUITAR

TAYLOR 5WIEI I n. i.'.V Mini i

•

IF 1 DIDN T HAVE YOU

MITCHtl MLISSl) A EMiir OSHINT (A Ali UlSSEYl

FLY ON THE WALL

Miilr ctHUS 1 n

CRUSH

UAVIEI ARCHULETA i .! .IGl

SOULJA BOY TELLEM

SOUEJA BOY TELLEM L.^.LIf'ARIL'INIERSCOI'Ei

TIM MCGRAW

TAYLOR SWIFT .RIG MACHINE)

7 THINGS

MllEY CYRUS IHOIEYWOOO)

LOVEBUG

JDMAS BROTHERS iHOLLYWOOD)

WEH
WUKS

TTw WMik s riius|.streiiiT>ed songs on V^Tiool MuM
MITISI llUPRINTLAiTEll 1

1 1 1?

RIyOU BELONG WITH ME

n.WM TAYLOR SWIf T IK*. MACIIINL.UNIVERSAL REI^BLtCi

USE SOMEBODY

AIHOS Of LEOK ik, ,-. 1 M .

WAKING UP IN VEGAS

RATY PERRY I ,iriT.::ii

GOOD GIRLS GO BAD

COBELA STARSHIP RAT lEI[3fI0N MEISTtn lOECAVnAMCfniaED BY RMWCKArutNIICflf

PARTY IN THE U.S.A.

MIlEY CYRUS iMil. ItiVUilUl

DOWN

JAY SEAR FEATURING UL WAYNE iCASK UOHEY UNIVERSAL REPUBLIC)

OBSESSED

MARIAH CAREY {ISEA>JU lUJMG)

NO SURPRISE

DAUGHTRT 1'lHCART.lSi

9
10

6
2

1 GOTTA FEELING

THE BLACA EYEO PEAS r.TtRSCOPEl

ALREADY GONE

KELLY CLARKSON il9 RrARMCl

BATTLEFIELD

JORDIN SPARKS <n .l|vl JLGi

FIRE BURNING

SEAM K11YCST0H i i >bi IGHTS FPlCl

HER DIAMONDS

nOB THOMAS If'- 1 " .U, ANTIC)

LOVEGAME

LAOY GAGA I . I M.M'.l fiONLIVLCHEHfiVtRELtNTERSCOPE)

SHE WOLF
SHAKIRA lEPICl

TOP MUSIC i
/IDEO SALES"

3x 35

TITLE

LABEL :<1SIRI|)UTIHG LAflEE IPfllNClPAL PtfifORMER)

KM CELEBRATION

DQ3| WARMER BROS . WARMER MUSK nSKM IMADDKKA)

276

NUMBER ONES

EPIC MUSIC VIDEO SONY MUSIC VIDEO iLllLHAE'. .JAC»SlJlll

3
4

57
1

LIVE IN BUCHAREST; THE DANGEROUS TOUR

EPIC SONY MUSIC VIOEO :,' . ■! ' 1 ... .

WHERE THE WILD THINGS ARE

LIGHT WITHOUT MEAT EAVORED NATIONS i &IEYt YAl)

3
4

VIDEO GREATEST HITS: HISTORY

EPICSONTMUSKVIOfO {lAICHAEL .ACKSON)

WIDE OPEN: LIVE 1 MOREI

EAGEE VISIOIL EAGLE ROCK I.IASRS ALDEANi

JOY IN MY HEART

GAITlfflMllscuolDlMMIWSiC YKXO 1' . 1 ,.":> ..IITIIIR AMI THEIR RrMECOAWG IRCN

les

HISTORY ON FILM: VOLUME II

EPIC SONY MUSIC VIDEO ■-' I ■■ : i '.

NASHVILLE HOMECOMING

WITHER W«JC ilDEQ EMM MJSJC YlfltD ' ' "LH MMILUAAFAj lUEN

THE BEYONCE EXPERIENCE: LIVE

MUSIC WORLD COLUMBIA SONY MUSIC VIDEO <'. . . . In L

NO BULL LIVE FRQI/I THE PLAZA DE TOROS LAS VEMIW: MMmD,IM

COLUMBIA LEGACY SUMY MUSIC VIUEO i

DANGEROUS: THE SHORT FILMS

EPICMUSKVnCOYSOIfTMUSIC iL'l li: l-.i^ GRi

CMT CROSSROADS: TAYLOR SWIFT & DEF LEPPAF
ClAT WOMAailNtlUMiVEnSAl MUSIC A VIDEO DISI. ilAYLUR SWII T.UEI LEPPARO

LIVE IN JAPAN

HIGHLIRE HUOSTOR STREAM AUEGRO IMICHAEL JACKSON)

FLIGHT 668: THE FILM

UME.SONY MUSIC VIOlO .IRON UAIUEIII

Data for week of OCTOBER 17. 200

iclscn ni.Sl.'rVn

IS SoumjScsn

■4

^ HEATSEEKERS ALBUMS

El!

..' HL I II.MBER ; OrSimeuTIHG LABEL (PRICE) 9Hi^B

Br Tttle

■

ARTIST

LABEL & NUMBER ERSIRIBUtlNG LABEL (PftlCE)

T....|

MTWOT

miT

KM AUSTRIAN DEATH MACHINE
BRfl METAL BLADE M7e9(ia9Bl

Double Bmtal

\ m

ANIMAL KINGDOM

Signs And Wonders

JOSHUA BELL

■ IIN- ■ i'r.il'JAL bLV'b SOflV UASIERWDRKS |13 5B|

At Home With Ffiends

INFECTED MUSHROOM

The Legend Of The Black Shawartna

•EW

STEEL PANTHER

llfPuBLIC 01?B49-iljUnG (IDSai

Feel The Steel

Thts all-star coflabo-
rations album is ttK

KILL HANNAH

II. '.1 5ICKA1 UNIVERSAL MOTOWN 0I340J.UMRG (10 98)

Wake Up The Sleep«rs

4 .

SKYZOO

The Salvation

violinist's sixth s«t

KJ-52

Five Two Television

■EW

BOB SCHNEIDER

III ■ ■ .1 ■, 1 ll.l>jni139Bl

Lovely Creatures

to nxti Healsecker
and his first No. I

DESPISED ICON

Day Of Mourning

NEW

HOPE SANDOVAL i THE WARM INVENTIONS

Through The Devil Softly

on Top Classkal
Crossover AttKjms.

WOMEN OF FAITH WORSHIP TEAM

A Grand New Day

3 2

GIRLS

1 I'.i. • ' .11 ii: :i IHUt PANTHEB SOLJtiDS (14 9fli

Album

■

DEADMAU5

For Lack Of A Better Name

LANDON PIGG

The Boy Who Never

□

BEBEL GILBERTO

All In One

STRUNG OUT

l.'il 1 1 (■.!■ I5 9H(

Agonis Ot The Underg

Hie parody hair

BASSHUNTER

Bass Generation

THE MUMLEHS

Don! Throw Me Away

t»nd (fonn«rlv
known as Metal

BASEMENT JAXX

Scars

11 45

RANDY HOUSER

.r."'i II ■ ir.'i-^ MO 9ti|

Anything Goes

Skool). lamous fo
its LJL dub shows
(kirlng wNch it

DOOMRIDERS

Darkness Comes Alive

7 2

LA ROUX

1 L'OOB.CHEHRnREt.lNIEnSCOI^Onjfla'tGAilOSBi

La Roux

MAYER HAWTHORNE

A Strange Arrangemsnl

12 .32

COLT FORD

Aif(tAi,( JOES lOOi (16 98)

Ride Through The Country

(trags (elebritiK
onstage to sing,
sees its ma|of-lab

CHRIS SMITHER

M HI 1 Jl[ t !■ :'i ; 1 .i .Ii.',-URE SOUNDS 115 9HI

Time Stood StMl

PUSH PLAY

WIND-UP 13189 (B9HI

Found

MASON JENNINGS

(i^ir.M'HI nil ii !■ 113 9fl)

Blood Of Man

18 58

THE AIRBORNE TOXIC EVENT

■ I'l h I i,\i:!0Ryii5LA((D 0i3fl?r- iDjMG ii3 na.

The Airborne Toxic Event

oeoui sian wnn
nearly S,000 (opies

LANGHORNE SLIM

Be Set Frea

WILL HOGE

The Wreckage

sold.

MATT & KIM

1 ■ . . ii'i.- 11 1 98,

Grand

EVERGREEN TERRACE

Almost Home

4C-

ASKING ALEXANDRIA

Stand Up Af>d Scream H

If) 15

TRAILER CHOIR

Off The Hillbilly Hook (EP)

lI'lHiVHI ADEUTAS WAY

BilEIIiH V(R&IN BS7flaiCAJ>130L (1Z DB)

Adeinas Way |

1 2

BILLY TALENT

III

HURT

■ , U: 'JI ■ 1l-xi13- 114 9&r

Goodbye To The Machine | ^ .

5 3

KSM

■1 ' 1 'III 1 1, 1 WALl OlSNEv (IS 90)

Read BelweenTheLines

Wtule Sandoval hd*
diaiteilbetDre-ii

CAROLINA LIAR

iii hi ar.il3 98i

Coming To Terms j_Ji:.<_

CORY CHISEL AND THE WANDERING SONS

Death Woni Send A Letter

TERCER CIELO

. I II3AL MUSIC UTIM 6&37B7.i\JMLC 112 9HI

6«nt« Comun, Suenos Extraordinarlos

1 2

THE BIG PINK

II ■ 1 [1,','H' ..FlilljP /14 IB)

A Brief History Of Love

Mlnad"(Ka.

MIIKE SNOW

Milke Snow |

13 2

''"^ Somedays The Song Writes You

„

59)-!liewjsal»>
IlKslDiieifoiHazz
Sta.

PETER WHITE

Good Day ^1

2 2

JEFFREE STAR

Beauty Killer

EDWARD SHARPS & THE MAGNETIC ZEROES .,. p,„_ ■

lUrAllIMIv ,SliU«, H." V»(i«Alll 1(3 911 "P ■

23 6

THE XX

' ■ II' ,111 . ,11'M- (14 3S:i

DAVID GARRETT

niiifi;. oi?ar? iimviriai tlassics group mi 981

David Garret!

Jf HEATSEEKERS SONGS I REGIONAL HEATSEEKERS "1 ALBUMS

TITLE ^^^^^^^^^H

ARTIST PROMOTION LABEL) ISI^H^HIHI

fJlLALALA 1

■Ea IMFAO (PARIV ROC(L'mL ( AMiC((ERRYIRLLilNlERSCOPE( |

DO 1

LUKE BBYAK i .'.I'll'il Hi MCI , 1 1

LOVE YOUR LOVE THE MOST

ERK CHUHCK i ' n '," . < . 1 1 .

RUNAWAY

LOVEAHOlHEn

FALLING DOWN

SELEIU GOMEl A TBC SCtNE HI r'AOOUl

RED LIGHT
DAinOMIL iMC^ Klif.dviari

I M IN MIAMI TRICK
LKFAO (PARTY ROCKi1NItRSC0«)

BOOTS ON

RAMOV mJSm (UNTVIRSAL SDIUMi

SHOTS

LAIFAO FEATUR(HG UL JON (PARTY ROCK.WdL ' AU'C((f RRYIRFE (RIFRSCOPE (

WHITE LIAR

■IHAMOA LAMBERT 1 il.ll(,la(A(

1 1

•»

NATURALLY

SELENA GOmi A THE SCENE iHOLlYWOORl

YOU RE GOING DOWN

SICK PUPPIES 1 '.in .IK CArdOLl

5 STAR CHICK

TO GOTTl 111. I h; .1 111/r.i

CITY ON OUR KNEES

rOIYMAG .1 1 iil(- M CMG(

JARS

CHEVELLE I'ltl

ON THE OCEAN

■ jnti 1 . II. nFH YvMCnMIVEMSAL *irPIIRIN:i

1 1

1901

PHOENIX ¥auiE.6LASSN0TE(

SAVIOR

R(S£ AGA(NST (RGCKNTFRSCOPE)

AINT NO REST FOR THE WICKED

CAGITHE ELEPHANT " I'.l H iI

CANT LIVE WITHOUT YOU
CHARLIE (NELSON ' l.l i|.,

EIGHT SECOND RIDE
JAKE OWEN ii'l .V SA;.xv'1(E>

SATELLITE HEART

AMYA MAJINU |C((QP SHOPIATlAHTIC)

TE IRA MEJOR SIN Ml
JOAN SEBASTIAN lUUSARTBALSOAl

TIK TOK

KSSHA IKAI^ UGNEYIRCA'RUGI

PANIC SWITCH

MUBOWnGUn (EMNGCRBIROI

Adelitas Way

Adelltas Way

Feel The Steel
Steel Panther
13^

Death Won't Send A Letter
Cory Chisel S The
Wandering Sons

EAST NORTH CENTRAL

Through The D«vll Softly

Hope Sandoval & The
Warm Inventions

PROGRESS REPORT

Lov*ly Cr«atur*ft

Bob Schneider

SOUTH CENTRAL

MID ATLANTIC i

Anya Marina, "Satellite Heart"

The track enters Heatseekers Songs at No. 22. thanks to its healthy
first-week download total of 15,000 copies sold. The tune's big
number is due to the song being the instant download track that
accompanied the pre-order of the "New Moon" soundtrack.

NORTH EAST

Joshua Ball

AlHomaWithFrtmda

Austrian Daath Machin*

Doubia Brutal

Doomriders

Darkness Comes Altve

Skyzoo

The Satvation

Hope Sondoufli & The Vtam Invertfons

Thfougti The Devil Softty

•

Chris Smtttter

Time Slood Still

Push Pfay

Found

Steel Pander
Feel The Sleel

La Roux
La Roux

Girls
Album

SOUTH ATLANTIC

l^rcarClsto

Gente Comun, Suenos ExlrtOfiUnefios

Colt Ford

Austrian Death Machine

Double Brutal

Joshua Bell

Al Home WHti Friends

Skyzoo

The Satvalion

Steel Panther
Feel The steel

Will Hoge
The WrecKege

Magnate & Valentino

Ouimica Perfecta

Randy Houaer

Anything Goes

Landon PIgg

The Boy Who Haver

ata for week of OCTOBER 17, 2009 I For chart reprints call 646.654.463S3

Go to www.billboard.biz for connplete chart data i 41

■MmMnn compilu

■° TilO ■

100 Billboard

nidscn iiiclscn

»D$ SoundSc*

^THE BILLBOARD HOT 100

liii

3 U

TITLE Artist

i>F3C'bC[n isoNQiftiiiTtni xwmx ■ paomoiio» lam.

KM DOWN Jay Sean FeahJring Ui Vltayn*
■BfljRiwscemususEwisnEMiAiiONjniusuKnauic^^ •OcmncvuiMeMtt.Hnfluc

' 1

PARTY IN THE U.S.A. MIley Cyrus

- \ ■ . ■ •■tLlY,. CO«NI!iM| © F'Lll..i',i ![■

RUN THIS TOWN Jay^Z, Rihanna & Kany? West
■.■.[■■,:. - -nil KWtSl.f WILSON H«1IV,AAl*US) «M> -:i ■■

•

WHATCHA SAY Jason DeRusc
■.■iLFsowjoesflouiEAUii eatwtiH! ■■■

GOTTA FEELING The Bl.ich Eyed Peas

IiIISB]||H| PAPARAZZI Lady Gaga

-'.1l'iJ;F/.1|JJf.VI ■ ■viwrii.RRswdi ©jiWA»Mtwi«M'Ci*wt*iwii'Rcoii

VOU BELONG WITH ME Taylor SwiH

OBSESSED hlorish Carey

{MCAnEVlHASMCASltWAAIi MS t£UI^J D.MG

ii?

USE SOMEBODY Kings 01 Leon
ifHLOWIllU(OlHWai«<FCI.LOWIU^ ©t-j^Mi

■

I»

EMPIRE STATE OF MIND Jay-Z + Altcia Keys

- .^'<inCK>U<<»iJ)tMU'IAinc*'«;H>IAn'}IMi1)t<>:ilh.'.:r,i Q '

2-1

OilLyMiPH FIREFLIES Ovri Ctty
rT:irij:Hiii?iini .■. --luNc <A touMSi • unvmui Rfninic

SWEET DREAMS Beyonce

FOREVER Drake Featuring Kanye West. UI Wayno 8. Eminom

■ ! I.-. .',1 .'.VLtL-i *GlliK«(«.MSTQ CAHTERMMAIWRSi O «*R'(E> «ASCWZC«i \ ST^tWL.ti inT^t ::.;(■[

^«

COWBOY CASANOVA Carrie Underwood

■'n.-..-'.r r .■ir;v.M-.n-<Mri .t.soos •■AWni © n i^isrt ^v-.u if

HOTEL ROOM SERVICE Pitbull

BREAK UP Mario Featuring Gucci Mane & Sean Garrett

■ ■ T , cBAAtfllD :SG»«P;"5CIIAWTMO(tO*WS| © h'Ji

SHE WOLF Shakiia

■■'■"i ■ WIL :5 WEDAIM 1' J ORtUl«.;"ILL,S WI>C01!| *© SOJIV MUSIC i > "

ilD

SAY HEY (1 LOVE YOU) Michael Franli 8i SpraiheKl Faalurine Ctwrine Ande-scn

-■ . ! iMlKANtlCVOUIiei • MOMOWAX'Aim..'UWV[BSi[ . ■

THROW IT IN THE BAG FWwIiMffi Featuring The Dteam

■ 1 -■A!.':; r 'USB, «# otSiRi STOBM'rn i-v

BE ON YOU Flo RIda Featuring Ne-Yo

BEST 1 EVER HAD Drake
■ ■.-.■.Su.iFW.'HDCARIMl ©tmillJ»0«>'CAfMM;i',[. ■ .

GOOD GIRLS GO BAD Cobra StBTStltp PaBtUrIng Leignon Meeilc-'

'K'.>OGU*R[iiJllASICRI ODEC»t*MCL1KL£OII' ' '

■

ALREADY GONE Kr.^ly C!LTkf.on

REPLAY ly.-i;

|itiHIXUiU>lT>CnmTMWAS) •nUESIlKMvl'r

KNOCK YOU DOWN Keri Kllson Featuring Kanye West M N<>

■ ■ .1 ■■n'^ S SMITH W ARAICAAWtSfj © MOSlt'' ."I'Ji J "ii'

IS)

ONE TIME Justin Bi^bc-r

-r.WHt. 31JN10V.C CCIL£.INi.HiaEA.>tVE^ © ■

Ii'

SUCCESSFUL Drake Featuring Trey Songz & Lil Wayne

. Hi - L.tiLBI!l.I'«£Vt«OH.Oi:A«Ufil © YOOW MOHfY.'CASM UOhf ■ L . ■. ',-

SOMEBODY TO LOVE Glee Cast

- - . ■- -;. M'K.i © (^..CJUMliiJ

LOVE DRUNK Boys Uke Girls

'H.i'nAr.'i © r.-yu.MHIJ

NEED YOU NOW Lady Anlebell urn

!-'tLlJM (0H*YWO0O.C naUV.H SCOIU«*«| © CAPHOI rWSHl-ILl.-

T»

FALLIN FOR YOU Colbie Caillal

, - ;,«ftr*S (C CAaiAtfi HOWLSi © -JNr.-s«EM R!=jhlh;

MEET ME HALFWAY The Black Eyed Peas

,■,1 . IAMi»ftnA«S.AP«DAJMIilltiSHB6US0N.KHAflB!SJflllCl -'- ■ -y.-.'W © ■!!• -.-.I i

TOES Zac Brown Band

. ,- --^uf.-\ .- FRiiwNwnjiWEns jHO«j<is.SMuii.«S) © Hi:Mt -.fiT.w. -■.•\ -(-■ r ri.-n

SEXY CHICK Davic) Guetla Featunng Akon

(OQUtllAJCS"<E*ltS.B tur#ORT:--.SE A THUUl » i,jL' '.'.'HiHV, .Al'l' l.

BATTLEFIELD JOfdin Spafks

■ ■■ V ■ ■ ■.-■!: -WMLUie IL WWCAM£lLOS**nERS W WLKHB.fl TEDKRi © '^i

ifl

NEVER SAY NEVER Tlie Fray

■■ ■ - ■ '.^ 1 iUMi (i) ■

•

BIG GREEN TRACTOR Jason Aldoan
- - . Ml ^™y. ©■■--,

•

BOOM BOOM POW TTw Black Eyed P&.is

- [I'.tnA.SftnCiLiaONJ&OMfli © IM. . . ..f.' ; : i -

GETTIN YOU HOME (THE BLACK DRESS SONG) Chris Yourig

AMERICAN RIDE Toby Keilti

-1 © r>:iG NASHwiii

NO SURPRISE DaLigmry

."If ^-1 R rtBIBtfiC E WLL, ©iSFTJUMr

EVACUATE THE DANCEFLOOR Cascada

y 7.-.. --.A , =^ :[K r I'fif-R A -^.HUUS W RJlilf 1 ■ ©O

21 GUNS Green Day

f . ■; 'J i*v .B J *nM5TBaWSaR£(H nA»> © RFi-F ff

1 KNOW YOU WANT ME (CALLE OCHO) Pitbull

■ ■■"■■"■IF ■ ?r--.C0tf<.SAK0PQ0«LlA*CPtMr) ©

ONLY YOU CAN LOVE ME THIS WAY Kelttl Urban

■ ©CACltdL ■'.■!! I!

DROP IT LOW Ester Dean Featuring Chris Qrc^vn

' . ' - '< JWNI © KARVET IMSOH.70M «,'SmLAWLniL I'l i <

WAKING UP IN VEGAS Katy Psrry
■,!, . -.-.v:. .V i>-;.,..:in; © ... ■ .

PLEASE DON'T LEAVE ME Pink

-. ii-'f M MAWriNi 0 LMSCE ILL.

WASTED Gucci Mana Featuring Plies Or OJ Da Juiceman

■ - .II. ■■■11 B n*'.i; » A'-ISMINGTM; © MlZAySO ICEV-AAIl'ilB BRU-

PRETTY WINGS Maxwell

iKD»viuMiis;f. ©« canMen

, ALONE GIM CM

* *UIDtflSfA£inOH(eSt[>ID£nfiUELLV) • FOXCDUMBU

IMMA STAR (EVERYWHERE WE ARE) Jeremth

■J .; H, ■.- Ml -i h iiMi:, y .-.:njii;i o Mic« scML.T;.[in mm

■1

WELCOME TO THE FUTURE Brad Paislg,-

! . . ■ r. L'Jl^i O .'J.'.. ' ■

SMALL TOWN USA Justin Mooie
■ ■ . ■ ^rcri'tfljiwoBti ©

I'M ALIVE Kenny Chesney Wim Dave Manhews

:'HEsni>0OILlONUtAMBUi)iNDl « BH*

Go to www.billboard.biz for complete chart data

iUNIVEfiSAL
^REPUBLIC

The track is \t\t fiist
HotlOQ Ho. I for
Unimul Bepjblk,
wtikli beume an
enEily m lOOS wtten
II and Universal Mo-
town tpfenteml rrom
Mnmi Motown
BKortb Group.

IIk song winifs up
witti 14 veeks »i
No.l.whidilteii
wttftttilsifecMie's
longest star at the
too with Narlati
(awv'J "W* EWong
logether."

M No. li. the
troupe's CDWf ol
Queen's No. li-
IKaldngNTTcUssic
betiltwIqeidHv

wMk 6cof|c MdiMl

(llo.ninl995).IU

«o.Sl,-Alon!-

retirmlDllKduri

lollitlksllliM

*a Henri oiigH

iHlnniM readied

No.liilSD.

73 1

TtH band tetclws its
Uth loo live on
Wtematiw (view-
al^allMUoanl.bl:]
as this trade Hmm
18-S. The ad ((Iters
aUewiltiUnliin
Part lor ttiird-most
top Ifws on that list
b^m) &reen Dan
(I7)andU2(K).

Itiis act returns to
the Hot 100 lor the
tlrsl time since 2004
with its aintnl top
20 Adult Top <l)
tradi (No. 19). The
band laundies a 28-
(Itv lour this month
in support o) Its
Mw album. "Saw
Me. Sar fiaiKisco,"
due Oct. n

TITLE

AfltSl

amwrppjML'.uK.'^HH

& a!
g ii

LA LA LA LMFAO
© PARTY ROCK.nMIUlAM<D<(RRTtSEE.INTtRjr

ICE CREAM PAINT JOB

H i t^CCTM^

Dorrough
© NCEtnus

LOL :-| Tray Songz Featuring Gucci Mane 8i Souija BoyTeO'em

■,lv(fli0«ITT«itM,TiC*LE53«»Y.B0AViS> © SOMi OOOICAUAaTiC

■

00 1

Luke Bryan

1 WANT TO KNOW WHAT LOVE IS

Mariah Carey

® , . . ..I,

HER DIAMONDS

Rob rnomas

SMILE

■ L- ^ u.^,!.. •lAflDIMG.JflOStl

Uncle Kractmr

NEW DIVIDE

Liokin ParK

H S

FACE DROP

Sean Kingston

•4

DOESN T MEAN ANYTHING

Alicia Keys

0 MBK i -Ml-

THE FIXER

II 'I'-llfl.rl ■■inDiH.UtAWtROHS&O&SAnDWMCCRiAIIV.

Pearl Jam

UPRISING

Muso

t M GOING IN Drake Featuring Lll Wayne A Young Jeezy
: i^lAHaM.OCARnR.JWJEMKIKSI © VOUM HONCV/CASH WOMEV/UIMflSAl UOtl .-. ■.

STARSTRUKK

30KI3 Featuring Katy Perry
© PHOTO rmiSH/AiLAitTii:

# GS

GOD IN ME Marv Mary Featuring Klerra 'KiKI' Srieafd

-.■■L'^SELI E «>1HS-CAMPB£1.L I*T«INS-CAWPBfLH © MY B.C':* :ui'.A'-.i,^.

LOVE YOUR LOVE THE MOST

E ,i CMlyHCH.M PMEEMYi

Eric Criurch

aCAPntX. HASK.:..-

■0

NUMBER ONE

,■1 H&MILTON R HAMlLrOM IR KEILV.R MAIHLIOM.fl HAWWON

fl. Katly Faalurino Katl Hiison

LHILS(W> © JIVE i:

■

WHEELS

' .lOOflGNlEftS)

Foo RgMers

■n

FUNHOUSE

Pink

■'■■.■ ir- ".I J «*JNiL..J KAflHY>

RUNAWAY

■ ■'■ ■■■■■i ■■ iS 6 lUfS C SUiIH R Bt*C»lt3&f 1

Love And Theft

DON T STOP BEUEVIN'

Glee C,ir.r

©F.llvDJ..'-- .

.■. ■>■■■ •-■ :r,1 S »f<)Rvh SCHM J CA'V-

1 WILL NOT eOW

Breaking Bentan^i-i

CAREFUL

■ ■ ■"^1 !H AILUAhlS J F«RflOI

Pafamot^'

O FUELEO ^ RAWEM AILAKTC ■

UNDER Pleasure P
' '!> . BERfAt HNEttjraiUIKlIN IJOMSKSrEPMEKSOM.WCOOPER) © .tU".'

YOU RE A JERK

:.-.-ii.v. 1 ' [|.:iMiiSE<4«EiUAMIKV.BADAWSI

New Boy/
© SHDTTViASTLUM'IVARNfH r'K.i

■9

FIFTEEN

Taylor Switt

FALLING DOWN

■■.■.![ TBai;HERlvinE10£,CSCnOCIC|

Selena Gomez 8i The Sceno

©-..,.

YOUNG FOREVER

>'•. ■l'c . ;.LHN*ftDiC CAflIlR,KMSr)

Jay-Z * Ml Hudson

«l

SOUNDS LIKE LIFE TO ME

- .■,■,■■.■.-.[ i . .■..-. r . IV .■iRflLS PflDOaWLL)

Darryl Wofiey

9 SYRMDAVARIDUS

RED LIGHT

1 . .■; -.LV M iVH.JI.<.l il ilHlilf lav M PIIHCt 3 MM».CrS>V|

David Nail

BREAK

Ttiree Days Grace

I'M IN MIAMI TRICK

LMFAO

eO F*Rr> ^ij::".it>rFRscOPt

■1

MAYBE THIS TIME

Glee Cast

■1

LIVE LIKE WE RE DYING

Krts Allan

BONFIRE

Craig Morgan

i" ". ■■■ " ■ . C VIRUS W RWEWi]

ORNA

1 WANNA MAKE YOU CLOSE YOUR EYES

Dlerks Benlley

'ssn

CHECK MY BRAIN

Alice In Chains

9 ■■■wiiii(.i:»?irLii

LIVING FOR THE NIGHT

I';-.!'/,', ■n.: a ;"^»Jl Q tfllLON]

George Strait

BAD HABITS

1 1 ri;,^iD wvszti

Maxwell

9 C dLUWaiA

I'LL JUST HOLD ON

Blake Shetlon

CONSIDER ME GONE

Reba

■1

BOOTS ON

'■ ■.■! ---T,-" ,n Mi;.,l.SEB fl K-SNl'-

Randy Houser

9 J^f.'Eas*L SC' n

HEY SOUL SISTER

'■ --.f' - .i FV'.HaKtV 1 LiHO » SJORMUKOJ

Train
© Ct;*.(-v-^

as ds

TRUST

; ... ffifin R (AlB it. U COIE.F UYLOR D I AiFOBDl

Keyshia Cole Duel With Monio

9 IMANI<GErfEH.WTEIlSC>~':^i

REGRET Lelbya Fealuftng Ludacti.-.

I.-.- . IXANiiLn < tAllt K^UPMNSim i YALliniM.L LUCHIIT R HEAI SR J frUMUIH C BROGTSl • C«Plt. <

BETWEEN THE BULLETS

SEAN ENDS PEAS RECORD REIGN

SEAN

lay Sean takes his debEit single to No. I on Uie Billboard Hot 100 .is "Down"
darts 2-1 to end the Black Eyed Peas' record No. I run at 26 consecutive
weeks (14 weeks for "I Gotta Feeling" and 12 for "Bootn Boom Pow").
"Down" concurrently moves to No. 1 on Hot 100 Airplay wth 1 IS million
listener impressions, while climbing 5-3 on Hot Digital Songs, where its to-
tal download tally to date now surpasses 1.5 million. Scan is the first male
artist to take his debut single to No. 1 on the Hot 100 since Flo Rida rode
"Low" to the top in |anuary 2008. — Silvio Pietroluongo

Data for week of OCTOBER 17. 2009 CHARTS LEGEND on Page 4

HOT 100 AIRPLAY

^1 is

TITLE

»Hri5i rwrni\- naowmw ueai

TITLE

tRTitT iVi>>IINr ' PfiOWOTION UUELl

SB
ts

TITLE

LIRIISr lUL'Ni.tT . PROWOnORLAiai

in DOWN

■EnwSMniQUMCOSIiafMNWBlliNU)

NEVER SAY NEVER

rW FHAf ^

NUMBER ONE

R ifiKfEM KEIimiSOII i.t'llGl

YOU BELONG WITH ME

riYLiiBSwtn. :,"■:(■■,{ if,-.[asAL mpubiiC)

FALLIN FOR YOU

COUK CAJUAT . 11. .-HL-Al HtHBllCl

DROP IT LOW

ESe KM FO! (MB MM. WihSM 4^~%HK<11»SXF^r

RUN THIS TOWN

Ml I mjutHii i KkHH wtsi 1 '' " 'I'Ti' *i

WELCOME TO THE FUTURE

SOUNDS LIKE LIFE TO ME

DJUtnyi VORlfT I'l TRt JDA^'ARIIJi IS <

1 GOTTA FEELING

IHt BUM mo (IAS ii:.

PLEASE DON'T LEAVE ME

LOVE YOUR LOVE THE MOST

ERIC CHURCH r! ApiTIJl KAtlHi'lltEi

USE SOMEBODY

iwg:. of ifOM '■■ -■. =iutii

SMALL TOWN USA

DO 1

LUKE VI1UI I '.-i^lOL KASKVIllli

•

OBSESSED

EMPIRE STATE OF MIND

M ! ■ Al!;iA IMS .1 il.

FIFTEEN

TATLOM SWIFT 6IG MACHINE!

WHATCHA SAY

Ji&OHDfHiaO n|, I^UHEUHISmRNtfl BROS 1

WASTED

CUCr.)MAH( FiAT PUIS . M>IAY<SO ICFY'WARIKR BIDS »

EVACUATE THE DANCEFLOOR

BREAK UP

HlkNUMEM GUCCI MKN( 1 ECU GMfirn it'fiMGl

WAKING UP IN VEGAS

AATI fi«H»

RUNAWAY

lOVI AND THEFT .LAHaLAUCU <

PARTY IN THE U S A.

Miit> :"ius ■ ■! .

BIG GREEN TRACTOR
jasohaluian

ONE TIME

PAPARAZZI

L*BT j»uA ■ . ■ jiKKyiWLwrutiCWli

GOD IN ME

BAD HABITS

NLunKU "inaAiHiAi

SWEET DREAMS

COWBOY CASANOVA

CARfl'E UNDEfTWOOO - l.'^K.IiiE)

I'LL JUST HOLD ON

BlUEStiaiM iA'ARNEI> Unas i>IASIIVti,E).'WRNt

THROW IT IN THE BAG

ALREADY GONE

KEH' CiARIISOH ! • '-::;i,FiMGl

21 GUNS

GJ^EH QAY l*',^ ^RIS£ 1

KNOCK YOU DOWN

•PI wstw fw M>oi MSI ( ic-ni 'MBifrjoe *trTBeaKi

LOVE DRUNK

flOiS lIKEGIfcS ■ ■. .Mlllli

BONFIRE

CRAJG MOflGAN i^HAl

3 22

BEST 1 EVER HAD

SAY HEY (1 LOVE YOU)
NIIi«lFWlIIlJ.VWK«) " ■ ■ ■y'TJMJGOif^MC:

LIVING FOR THE NIGHT

J»

13 13

SUCCESSFUL

[HUl ^ nCT t(MSt r'OJi: M»>U9I MEWYUMfSK Ml

iiMn

MEET ME HALFWAY

SEXY CHICK

BE ON YOU

FtD RU rtU NE-Ve iPK B&r.'iilLAKIlCi

1 KNOW YOU WAhTT ME (CAL1£ OCHO)

PlIBiJll

TRUST

■mitt cou our wrm mmci iM^itBrmiftERsccr^t

PRETTY WINQS

GOOD GIRLS GO BAD

caRi(o«a»fW! UDiwmTB iil^/.m-^lL.: •:< rM^^'MC-:^'-

REGRET

UIOYA fEAI LUDWMI i '..H^- "n |

HOTEL ROOM SERVICE

Pll»U.l. ■ !■ ■ -1 ■ 'II . I'Mij

LOL >)

mUMGIFtK: GU:CIIWMtIIMJkKni^»fc;UJi.')LA<4IC,

RED LIGHT

DAVID HAIL iVlL M'zH'IMLli

AMERICAN RIDE

TOB< Hiilt' ■ , 1 . ! r ,

HER DIAMONDS

BOB lnnMAS ■ '.' ITlANIiCI

BOOTS ON

MWY HOUSER i/JH'EPi.'L S'ni^M.

GETTVf YOU HOME (THE BLACK ORESS SONG)

CWdSTOUNIi

DOESN T MEAN ANYTHING

ADCiA *.fi% rue: . l^^P^,|

1 WANNA MAKE YOU CLOSE VOUR EYES

DIEHASflENIKY r;i"--.

ONLY YOU CAN LOVE ME THIS WAY

SHE WOLF

SKAtllA .1 'ty music LAIIKlfld

IMMA STAR (EVERYWHERE WE ARE)

JERFMIH ."11 ■

2t)

NO SURPRISE

UNDER

PLIAIUHE P il'LAHtlCl

1 WANT TO KNOW WHAT LOVE IS

MAAIAM CARFY ' il' ..

BATTLEFIELD

JDROIH mUBS lltiJIVE/JLCl

I'M ALIVE

KEHM CHtSKET WITH MVI KUTTHEWt ' eiM>l

HONKY TONK STOMP

BRIXIKS A nt.-XN FEAT Bll IT OIIBOIIS ai^iMA liASK.'li .f >

3fl

FOREVER

OKI

NEED YOU NOW

lADY AhrESdlUH ■ -^'H:". lAiM'-'-LE;

CHECK MY BRAIN

M CHAINi . 1. . '. a: --JLi

TOES

ZKBMwwiMW inf.'i l^^.w;ll.'l.l:^l:;^•Gl^^ iv

BOOM BOOM POW

THE «IAC» EYED PtAS .Ml: 1 (IM I'll) H;-.!.- 1:^- 1

1 INVENTED SEX

IRfY SOHCiFIAT OfiAli Mil.., il^HK All *HIIi:i

3s is

TITLE

:e
i:

TITLE

ARfitt ,\vpnm ' cnowanoH iab(l|

.s
Si

•S

sg
Is

TITLE

ADIIIT IIUCniNT ( PRVMUTlDII lABEl)

d PARTY IN THE U^.A.

HHl Wtl 1 1 CrliUS IHOHYWOOS)

MEET ME HALFWAY

THE BIACl EYED Pf AS TJT:^5CnPii

I'M GOING IN

WHATCHA SAY

imiliiH ■ t(lt.HIS.1V»R>ttR BIOS 1

LOVE DRUNK

BO'S IHE GJRIS i ': i VlllAi

•

ICE CREAM PAINT JOB

DOAnOlfGH ^ 1. .

DOWN

in KM FVI Ll mMM ilASn HNVW^tM !i!*.F<

21 GUNS

CHlEri DAY i^tPfii;,tl

•

POKER FACE

JAOYMtA_ ._ . . -1 ■ ■■

- 1 GOTTA FEELING

BOOM BOOM POW

THE BUM mo PEAS l AILL 1 AM.i»IIEf!i:OPEl

THROW IT IN THE BAG

UWEOC FUI rx VIAN i.c-l . .'-.■.'.'.^i .W.LII.^

FIREFLIES

(iwi r.i-' ■ '. . ■ HSfUSlK,')

a EVACUATE THE DANCE FLOOR

" CASCiOA ■,

NEVER SAY NEVER

•

PAPARAZZI

liOT Qfci* i:.I^OWI£KNWE.Oe*nTfE.*Pinjj;/<-^^ 1

SINGLE LADIES {PUT A RING ON IT)

9Erni>« :

STARSTRUKK

IOH'3 . ■ . n ■ -.1 . i. ■■

•

RUN THIS TOWN

•

TOES

YOU RE A JERK

nit niMMMIUNHMSTrnnr HATICiN'

WCBFW^hSAMQ.. -' ■■ . -J, 1 -t,^-. - : I-.

•

EMPIRE STATE OF MIND

Jin I • men KEn "ti'o -iy. ini

DROP IT LOW

, FUNHOUSE

PWK I .-.'1 ,f .!,•:,

OBSESSED

umAM UHEY ■ -1 !■'.:: O.'A'ji

BE ON YOU

FLO m» FEAT M-rO ''■U[ BOY ATLtMlC)

BREAK UP

MARIO Fui eircci MUM 4 SUM ouncn . wu

SOMEBODY TO LOVE

UEf CUT if-' -rijiusif.

FALLING FOR YOU

coiaii CAiLiAi ■ 1'. ■ - 1.1. 4bFi.iuiiL:i

THE FIXER
PEAAMM K'lN'.FYrtPi'tCH

FOREVER

BIG GREEN TRACTOR

USUH ALUtAN j-'i ■>'. >II.'A|

•

UPRISING

Klrtt l-= :iJU VA'AHfJEB BP?? i

REPLAY

fU i-i'-IE IS l««E*'BEllIG» HEIGHtS.'HfPBIS-i

DON T STOP BELIEVIN'

ciEias' i ■ ■

NEW DIVIDE

iimuiPAflx L<^i:Hihr' aah'iib m::-. \

■

COWBOY CASANOVA

CAREFUL

PABAMOBE !■ ■ ■ nj.y£H'AlL*llIltIlBPl

, LIVE LIKE WEHE DYING

■niS ALLEN ' .1

YOU BELONG WITH ME

MltDfi SWIH l"i, M.M itir.:,

FIRE BURNING

SIAN "iNGSIQH P ■ . 1 ' :' Kr'GHIS'EPICl

1 WANT TO KNOW WHAT LOVE IS

MARIAX CAREY , i V'.

USE SOMEBOOY ~

p;iNGsnFifo« -i' ' HVii-

■

LA LA LA

U«fAO .IV.-IIV 1-1 t.Km il«0«PftVrKL«TERSCGF>Ei

TAKING CHANCES

OlFFCASI ", v.:;.,.

SHE WOLF

•

FALLING DOWN

BETCHA GON KNOW OME PROLOGUE)

MABIAM CAIHY ■ .I/-'."- .1

SWEET DREAMS

lErOHCF 'Wii'.iC iVr,qi.[);c:OnJMfll.»i

, FACE DROP

^ SEANMNGSrOH i .3 b — .i--- IPiri

I'M IN MIAMI TRICK

IMAO ■'■■■<■'-' liiiC" \>>'U"J.'m

ONE TIME

jutrin Mun 'Md iojwg >

IMMA STAR (EVERYWHB^E WE ARE)
JEMMM lUKt. $CHllLTMKF jAMlUJUO'i

GETTIH YOU HOME OME BLACK DRESS SONG)

CHRIS YKJHG . ' hi ' I'. i; -■.

SAY HEY (1 LOVE YOU)

NOW MM 4 MWCM Vfl K'/ *M.m^ 'Mf}lK V.U

YOUNG FOREVER
Mfi 4 M. Hunm iRoc MATnni

KNOCK YOU DOWN
ani&aH'uiMi'i Mii ihyi. ui^i'.'m wmnp:

, ALONE

GLIE C*;t !■ . 1 ii.l.«lH*(

SMILE

UNDK «WC«1« imp riM.AILAWIICi

WASTED

QIXllNtlEM FUI AIIHMM:y''iJU'T,>!(i

SEXY BITCH

MWOa^MAIUl AmWililWASmjWIIKSCW^?.!

BEST 1 EVER HAD

WME vye^ TAs^ iKFf. Wiwyi. mrmt

AMERICAN RIDE

IMT um M' ..I lin;, ..i

HOTEL ROOM SERVICE

FHTIUU - . ' 1 ■ M. HUi.,

1 KNOW YOU WANT ME (CALIE OCHO)

PIUULI

NATURALLY

Sf LEW aOMEI 1 THE SCENE "<iL.>', j: .

NEED YOU NOW

LAOT ANTIUILIM 1 <''il 1 1

4«

SUCCESSFUL

^Ta

«4

THE CLIMB

WILIVCTHUS rii',r.i. t- ii i viVi'.'ihi

■

GOOD GIRLS GO BAD

■

, MAYBE THIS TIME

CLtf CA!T [■!■ ■ ■J'J Al

»®

WHEELS

rV> FIQHIEW |Ri;.iWF; ; HCA R»:i ,

ALREADY GONE

BATTLEFIELD

1 WILL NOT BOW

MAKIW aEHJAAIIH '.'. 'i i

ALBUM CHARTS

ia*9t data contpil«<j from a compnrtwtiv* pocri of US. musk
itwrchanU by Ntelsen Sound Scan. Sales data For RAB/hip-twp
retail charts 1$ comptled by Ntelsen SoundScan from a nabonal
MibMt of cof« ilorei thai tp«claUia in Ihotv gvnrvt.
9 Albums wittt Itw (p«atest sales gains this week.

IWh«re iiKludvd, this >ward mdicMM tht Htto
■urth the chart's largait unit mcresM.
Where Included, this award indicates Che btle with
ttw ehuV% bigg«ct 06tew\tige growtK

PRICING/CONFIGURATION/AVAILABILITY
CtVCasaette prtces are suggested Hit or eoulvalent prices. «iMch
are prcitffctvd from whol«Mle prk». <& after pri« indicMot album
only avaltabte on DuaKMc. CO/DVD after price trvScates CO/DVD
comtM only avaitatile. V DualOisc avaiLatile * CCVDVD combo
■wHabI*. * indicates vwiyl LP is avaitabto. PrKing and wiyl LP avail-
abMy are not included on all charts. EX after catalog numtier Indi-
cates title Is enclitsive to one account or ftas limited dsbtxition.

SONG CHARTS ^^"^

See levenos on mpectlv« clidrt pages for the
and Hot RAB/Hlp-Hop Songs.

RADIO AIRPLAY CHARTS

Hot V30 Airptay, Rock Songs. Hot Country Songs. Hot Rap
Songs. Christian Sor>gt. Hot Ljrtln Songs and Latin Airptay charts
are compiled from a national sample of data *uppll«d by Nielsen
SroadcasI Data Systems. Charts ar« ranked by fMmber of gross
imprvssions, computed by cross-r«f«rvncing eicact tirrws ot air-
play with Artillron listener data. Mainstream Top 40. Adult
Corrtffmporary. Adult Top 40, Alternative. Triple A. Active Rock.
Heritage flock. Kalncmwti RSa/Hlp-Hop. Rhytrimlc Adult RAB,
Hot Christian AC Sortgt, Hot OMpM Sengs. Hoi Dance Airptay.
and Smooth Jozi Songs m ranhtd by total detectiont.
0 Songs stx>wing an InaWM hi Mdtenc* (or detvctlons}
over the previous week, regardtoss Of Chart movemenL

I Where included, this award Indicates the titta
with the chart's largest airplay irKrease.

RECURRENT RULES

Songs are removed From the Bllfcoard Hot 100 and Hot KM
Airplay charts simultaneously after 20 weeks on the BHIbovd
Hot 100 and If rankirvg below Ho. 50. Songs are removed from
Hot R&B/Hip-Hop Songs aftor TO weeks if ranking bo low Ho.
SO. Songs are removed from Hot Country Songs after 20 wMks
If ranking betaw No, 10 In deteciwns or audience, provided that
ttiey an not ttill gtlntng «nough audience points to bullet or if
they rank below No. K) and post a third consecutive week ol
audience dadlna. rvgardtoa of total chart weeks Songs are
r««nav*d from t4ainstr«am Top 40. Rock Songs, Alternative,
Active Ftock, Mainstream RAB/Hip-Hop. Rttythmic. Hot Latin
Songs and Latin Airplay charts after 20 w»eks If r»rtking t>elow
No. 20- Oescer>dlng songs are removed from Adutt
Contemporary and AduK Top 40 after 30 weeks if ranking
below Na IS. after 36 weeks If ranking below Ho. TO. or after 52
weeks rf ranlcir>g below No. 5. Descending tongs are removed
from tfie Tripte A. Heritage Rock, Adult RftB, Chmtlan Songs,
Hot Christian AC Songs. Christian CHR. Hot Gospel Songs. Hot
Oarice Airplay and Smooth Jau Songs charts after 30 weeks
and it ranking below Ho, 15.

CONFIGURATIONS

• CD single available. O Digital Download avaHabla. O DVD
single available. 9 Vinyl Haxi-Single available. 9 Vinyl single
available. O CO Ham-Single available. Configurations are not
included on all singles charts

HOT DANCE CLUB SONGS

Compled frem a notional sample of reports from ckjb tXJs.

0 TWes wAh the gmatert dub ptay Increase over the pievious week

rarra This awam Mcaies the OUe, cunnMy bekiw the lop 20 vid on
QBDll the dwt the week betoe, m«h the largrat Inooasa h pointi.

AWARD CERT. LEVELS

ALBUM CHARTS

• R«con*og Industry Assn Of America (HiAA) certitKation for
net shipment of 5O0.0OO atoums (Gold). ■ RIAA ccrtificatran tor
net shipment of 1 million units (Platinum). ^ RiAA certification
for net shipment of 10 million units (Diamond). Numeral within
Platinum or Diamond tyntboi Indicates album's multl-platlr>um
level. For baaed sets, and double alliums with a rwwing tinte of
100 minutes or mora, ttts RIAA multlpiiei ihlpmenti tiy the num-
ber of discs and/or tapes. Certification for net shipments of
K}0,000 units tOro). Certification of 300,000 units <Platino).

X Certlftcation of 400,000 un«s (Muttl-Platl no).

SINGLES CHARTS

• RIAA cortiAcabon for 50O WO pak] downkMds (Gold)

■ RIAA (WtaicaHon tor 1 rYiBon pakj downk>ads (Platinum).
Numem wNhln ptaUnum symbol Indicates song^ mi«lptatinum level
RIAA cartMcatian tor not shipment of 500000 singles (GoUX

MUSIC VIDEO SALES CHARTS

• RIAA gokj certifkation for net shipment of 3S.(X)0 units for
video singles. RiAA gold certification for r>ei shipment of
50,000 i*ws (or shorttorm or longform videos ■ RIAA olatinum
certincatkyi for net shiCMnerit of 50.000 i*iits lor video singles.
~ RIAA platinum certiAcatlon for sates of WO.OOO units lor
shoriform or ioogform videos, ftumerai wtthin platinum symljol
Mdlcatet song's mulll platinum level

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA gokl certMcatkm for net shvmeM of SOuOOO units or $1 mH-
Bon in Hl«s at suggested nM price. ■ RtAA ptabnvT) certHicaUon
tor of tOO^OOO unils or $2 mllUon h sales at suggested reMI
pdoe. ':i IRMAgoklceftMcatton tor a minimum sale of 125000 u«i
or a dolar volume of $9 nilmi at retail for theMhcaHy reteasod prp-
gnmK or of at least 2S.0O0 irMi and Si mWianat suggested letai
tor non-ihaatrkal tMes. 1 1 IRMA pladnum cartMlcatton for a minimian

of 250iOOO uf«s or a doflv wluma of $K mMon at retail tor
IhoaMcaiv feleaavd pravvra, and Of M iMtf 50LOOO units and S2

)ata for week of OCTOBER 17, 2009 i For chart reprinte cat! 646.654.4633 Go to www.billboard.biz for complete chart data 43

!
1

UtPUY SAUS MIA

MOMiTomisT nimuoii

1 1| ri :«KE^^HH

i TITLE

Idown

V, '
K

• !

10 <

€>

« '

■ 9

®,

YOU BELONG WfTH ME
t GOTTA FEELING
WHATCHA SAY

JjmjN PtWUlO LI. Kt'fiHTamHHm BROS I

PAPARAZZI

UU,vrti<,S» - .; •<EBHYTIl(tilHTtBSCOPt I

SWEET DREAMS

GOOD GIRLS GO BAD

RUN THIS TOWN

KNOCK YOU DOWN

SAY HEY tl LOVE YOU)

ALREADY GONE

NO SURPRISE

MEET ME HALFWAY
THIluaCTlDPEAl ; : ["-L
FALLIN' FOR YOU "

CMBIt »IUM i .ir;viHSAl R(miiC)
FIREFLIES

0»\CirY I M.^K'.Jl BtPUBLICl

EVACUATE THE DANCEFLOOR
FACE DROP

NOT MEANT TO BE

THiOHT OftUEAUMlK >' '

FUNHOUSE

fm : I . ,1

I WANNA

TW ALL HWIPICAW WJtCH iPJOKQUSfclKiCiWltHSCC*^ i
REPLAY

THROW IT IN THE BAG

DROP IT LOW

Ite tatai iMMnri K MtarTi Mig Sbr »d Woman 01 ttM ruf.
rc«KlMv.M-lti''r(>l>«^l«rMKicadiiMke milKtofle

tui'i Tinnf il" piottes It-? to tmoriK hn lourth tirp 10
■tti dM. an li iKt tlH mth teiuic in Um WIv's histotv to (oftect
ilMtotov)OsrnimaiielwlihKnBUtaftM.iaMi«AbMS
nnrnmi CTw. m5-96]. Oinsaw k0tm t»»-MQI). «mn

SWMiOtQS)aMlf(f9ii
(ftK. 200$-OB).

kTonte CDOuirrentiT
s«ufK he lOth top 10 on
NaMreinI«p40,«
"SmmI Drem" rises IS-M.
TktaKMlNtesiUi...
Sim RMt" to Main
M |Mi kv tip Vs M Um
ctitfL''fl[WenaB«v''
rwhedNo 9. "Single lithK
(PvtaRinf onll)" spmt
sallli. \,mi

DM IpMlflf 110.1.

IPORARY

TITLE

g 4HT11I .UPaiHT PDOMOnOH U
THE CLIMB

miy eiws 'tK' nisNtv hoilvwoooi
VOU BELONG WITH HE

VOU FOUND ME

HER DIAMONDS

COME ON GET HIGHER

HA-i l.j:.i,i(,-,;ihi , ...waCAPIIIXj

FALLIN FOR YOU

^■:■-! i L.i,Li..t .H RtPUMJCI

PLEASE DON'T LEAVE ME

HAVENT MET YOU YET

MICKWl BUitE i ■ ■ - HI- ■ .

•

LOVE STORY

tULUH SB'' I ■ 11'..

BETTER IN TIME

HOT N COLD

t*lT f'tHIII .

1,2.3, .1

Pl»INWHIT( r,S

NO SURPRISE

DALieMTHT '

KISS A GIRL

i(ith;ihb*n ■ Mi'iHviLii (,JLfni:i 1

1 WANT TO KNOW WHAT LOVE IS

HARULH C*BSf -'. ' llUMlii

i«

COME BACK TO ME

ndviDCDiw -■ ■. -!:;ii

CLOSER TO LOVE

CHANCES

fr.E FDH H6MT1HG ■, ' ni JOIUMBIA i

USE SOMEBODY

f.lH&S 01 lEC* ■ ■■ - Vl^i

SECOND CHANCE

BEAUTIFUL WORLD (WE'RE ALL HERE)

iHinciMu lUuHcncniET i'U|i.'.. i mi. . .< . ■ i m

SHE IS LOVE

1 LOOK TO YOU

WHIthEV KDJSICN .MP.VIjI

1 DON'T WANT TO HEAR ANYMORE

EAGUS '.r-:;

BATTLEFIELD
JIMOIII »MKt'tE>..'.< AG.

ADULT TOP 40

TITLE

R] USE SOMEBODY 1

nfffl KIMQS V ItON iKJLnMCl 1

NO SURPRISE

YOU BELONG WITH ME

MYLOtlSWIFT . "KlMIHEUNWEflSALREPUBLIC)

1 GOTTA FEELING

THE euw inorcM i NtlBSCOfll

FALLIN FOR YOU

SOtBlf CmiUl ■■■ .•■■i'.l.i r.fPJiB;lC|

PLEASE DON'T LEAVE ME

NEVER SAY NEVER

iHE(n*i

SAY HEY (1 LOVE YOU)

miiMi »uai ( vfMtNi i>:o acn wiuMTi.uHirtw n^MXi

21 GUNS

HER DIAMONDS

WJ»THOM»S '.-!.*!ltlCl

WAKING UP IN VEGAS

WTI FiflHY . . ■ ;

SMILE

JHCLl IHUCHEn T; .

ALREADY GONE

COME BACK TO ME

WE WEREN T BORN TO FOLLOW

♦<iK jnvi ■ ■ ii-'iii

BATTLEFIELD

jnBom sFSiiii; itBi

H:]J>jilj SOMEDAV ]
rnURS mi IMOMU (EHBlflUiRUIfTIC) 1

CHANCES

HEY, SOUL SISTER

PARTY IN THE U.S.A.

NEVER GONNA BE ALONE

MIC«f I JAM !■! '^nii ■.'JFF '^=tv--

MAYBE

NEW DIVIDE

L.KKIN 1 ^MGP W*HNEfi BSCS 1

1 WANNA

TH( 111 URnC««JECni1)OGH0U$t/DSC>WItR6COP{|

GOOD GIRLS 00 BAD

--SB

TITLE

AHTiEi ' ' pnoMoncn label)
in CHECK MY BRAIN

yffifl L inF IH CHAtPIS r<"iF?L S C.lf^I£]l j

||i|i|^L|y WHEELS

JARS

UPRISING

1 WILL NOT BOW

THE FIXER

ior

BREAK

TMIQ OAVt MACl iJIVt;'JLDJ

OVERCOME

YOU RE GOING DOWN

SCft PUPTV1 ' "

NEW DIVIDE

lINftIN PARK ^ ' 'ii 1^ 1

IIF YlXfnf A-OtaiEBJNC f 1 WANT YMI TO) 1 WMT YOUTO

USE SOMEBODY

PANIC SWITCH

SAVIOR

SOUND OF MADNESS

NOTION

KIIKS Of IIM dCKHMlii

MEDICATE

WHISKEY HANGOVER

' w

BURN IT TO THE GROUND

AIN T NO REST FOR THE WICKED

IGNORANCE

21 GUNS

IF YOU ONLY KNEW

CHAMPAGNE

MEET ME ON THE EQUINOX

DCf^^H CAB FDR CUT^ -li ir' HOP ' AIL AM Tie )

CRAWL BACK IN

DCO KUm^St iWAHNER 6IU)S )

1 GET OFF
HUIITDHM 1 ^' 1 ''llti^

NO YOU GIRLS
FfUUKFtlVIMM " M "--c:^

SHE'S A GENIUS

JCT 1 < ' : \ -i SLVLK'CAPITIXi

1901

IBT

HARD TO SEE

FftlE FINGER Of urn PUMCH > I^DSPECT PAflKi

BACK AGAINST THE WALL

tkU IHI lUPKWt .- JlGl

1 LL GO CRA2T IF 1 DON'T GO CFIAZY TONIGHT

EAST JESUS NOWHERE

fiMID D«>

FUGITIVE

AGAIN

nnUf -.ll.'. lIIL.'IL IMtasCC^ii

mtm

BREAKING

AMaia LMt'LR&AL REPUeUC)

ONE DAY
lurmMi ^['iiBWitp*)

WHY 1 AM

lUVf HAnwm HM IBAtIA RAC&NCAIUIG)

INVINCIBLE
AMUTAtWn VlftGN'CAPIIOLI

BY THE WAY

1H>I»T DF A OEAflHU lfl04:flOA[>nL]IINER.'flftPl

FIREFLIES

OWlCm 'MVEHSAI REPUBLIC)

MONSTER

snail ■.^[.i-dimUAiLAHlICi

Gl inGTITI ITIAU

suodi 1 ■ uiivft
siLvmin piOEun lOAMERSinO)

TALK TO ME

•UCNCNOMY • - . - .

FOREVER tN YOUR HANDS
ALL twn nouna i-- . .i-ttnL.Hx.-oH k he)

MAYBE

BLOOD ON MY HANDS

SLOW POISON
mmuwEmr ,

MODERN DAY DELILAH
ntt (KISS)

aMtB Wi) aim Itt IdlH M
Mllllltl>MduitcMlT,8S
■kMk'nariilMO.OnM
Ia«.kilMlii«a«k45-«l

Up tt%). The tK VifK hadb i|Hiili« lor Sliineilinrn Itiimiqri OcL
24 ketvre (wrim witfi IW«lom Mri Irufeinq Bffijamtn.

B TITLE

SS ARTm wfiMTjftKMiiDnoiiiAtn.) il

dCHECK MY BRAIN

mBm ucE M CMM ts-wGm.t*fMOLi

YOU HE GOING DOWN

SICK PUPPlfi iSMS Vlk(;i-i.|,-4PtlOll

JARS

CHtVEUE ■

1 WILL NOT BOW

BRCAKIM ItHMillH IHC>I IVAIX]|1|

OVERCOME

CREED M>.:i 1.^'

BREAK

TMRIE DATSOIUCE i ii>'> II ^i

HARD TO SEE

FTVE flWIiEB nEA-HfUNLH -uSPfCl PARK)

ffa

WHISKEY HANGOVER

fiODSMAC" ■ !■ .". .LI juLlCi

CHAMPAGNE

INVINCIBLE

A1KL1TA& WAV . ' .'.rim i

SOUND OF MADNESS

CRAWL BACK IN

MAD bt iuMlllSt . . -l :. ■

t'Wi'riVtU WHEELS

ri'liRm ^0 '"Miiu iROSWauKMIMGi

i©

MONSTER

SKILIEI I t.; m ATLAMtlCl

IF YOU ONLY KNEW

shinehowm .■.■.it,:i.:,i

NEW DIVIDE

LIHKW PAHK l.'-i>(IM SHt''' «AflI(t« BROS 1

ID'

FOREVER IN YOUR HANDS

ALL 'MAT REMANS 1 ' "f iH: ilAZOH & tIE)

BURN IT TO THE GROUND

MICIlUeACN >' . . ''-fi

1 GET OFF

HUIBnMH<AnANTIC|

TALK TO ME

BUCKCICFHTi{:EVEN UViHt

AGAIN

FLTLEAf ..'.k' I ..Ti:)H(.1M[ER^(iOPE!

BY THE WAY

tHEWY OF A nEAOHAH l^.^QADRgKMER HRFi

THE FIXER

Pt»K. JAM !,■ ■.■.FVVfcRfHCMl

SHE'S A GENIUS

Jll Hi*. l.'iH-nOltf.HOW.FIWE iEVEI CAJITOtI

FOREVER

WD liiSEMlAL WO)

^ HERITAGE ROCK

TITLE ^

ARTIST (IMITMtlT PflOMOIMW LAKl|

d CHECK MY BRAIN

HQgAiaq WCHANI .VIKblN'CAPIIOLI

OVERCOME

CRtEO ■. 1 . ■

WHISKEY HANGOVER

fiousMACn . . ■ !-■.

BURN IT TO THE GROUND

MCIELRACK 1. ..''.'1

NEW DIVIDE

LINKIN PA^t " I /.'ARNER BROS |

CHAMPAGNE

SOUND OF MADNESS

SHINEDC'H'H

1 WILL NOT BOW

iWAAMC IfKIAMW .•i.iLli'WC'ODl

■»

1 GET OFF
FtALESTOMM *n;iCi

BREAK

rM)t( DATS GRACE . '. i' '.

THE FIXER

PfARL JAM ■ -

LUIUMI WHEELS

BlMliH 100 f ICMTEItl lOOSHLLLWDWIUMI

ID "

JARS

tHUtlU .

YOU RE GOING DOWN

wen PUI^S ■ " ■ ■ .', ■ ■

MODERN DAY DELILAH

STILL UNBROKEN

IF YOU ONLY KNEW

IHINEOnWN | .' 1,11.

1ft

SHE'S A GENIUS

JEr ..! . M, . . r .-. 1 .. .1 ; ■, 1 IrlTOll

SOAP ON A ROPE

tWCKEWOOI ■:: J'..

AIN'T NO REST FOR THE WICKED

CAGE THE tLCniAIII l.'^i' IIVLJLlii

TALK TO ME

BUC»CKE*tHY l,h'fNSfVE«l

21 GUNS

r.fiEEH DA' 1- !<"=.if:fi

BY THE WAY

lilEOMi ill A OlADMMi leiM.DOADRUNNEfl'RRP)

HARD TO SEE

FIVE FMDCit DEATH PIMCH |F>qo<iPEi:t PARK)

©.

fl^

INVINCIBLE

ACaiTASMT {VIRQIN CAmOLI

44 I Go to www.billboard.biz for complete chart data

Data for week ol OCTOBER 17, ZOOS I CHARTS LEGEND on Pag* 4:

Cni

HOT COUNTRY SONGS~

il iizsss

TITLE

•■■ . ■■ ItPfUKTSM

Artist

jyKd/PflOMOTOi > :l.

ill

Vn AMERICAN RIDE

tfftl ■ ■ ■ 1 FiHAWStfl

Ttoby Koilh

e SHOW DOG DA^In .

;i 6

GETTIN YOU HOME (THE BUVCK DRESS SONG)

Chris Young

■I 5

ONLY YOU CAN LOVE ME THIS WAY

Keilh Urban

' 9

TOES Zac Brown Band

v. .■i.H«TT£jltPM(6sMimCI 61 tmi SfiCrtN'MLiNTC lii:,ij[ri CIIMUHL

? 1

SMALL TOWN USA

Justin Moore

O ■

6 ;

WELCOME TO THE FUTURE

Brad Paisley

5 3

BIG GREEN TRACTOR

Jason AkJean

O BROfcEN liOW

COWBOY CASANOVA

Carrie Urtderwood

e ■'( 4PLS1S iiJ:,iw i.S

13 1?

I'M ALIVE K»my Chssnoy
.i:i.M.HiMuniM)

NiO] Davo Mallhows

O urj;,

15 15

NEED YOU NOW

C MLUTttSCOn J

Lady Antel>ellum

12 13

SDUNDS LIKE LIFE TO ME

. ■ .-_ s-oooNwai

Darryl Worley

14 U

RUNAWAY

Love And Theti

,. .;aS C SMfI« B BtACKUDGtl

& fK;- ■

16 16

Fifteen

Taylor Sv.ift

Sb'^-l. ■ ■,:

17 r

00 1

. : riRVAKCMlLtyOHATWOOO

Luke Btyan

m CAPIH,', NISKV .il

18 ie

BONFIRE

'-"ORn'MrsalWH.K OtNHEY.C.MOflMK MBOOfRSl

Ctaiq Morgan

19 13

RED LIGHT

1' '.- .li.^alOy.U PtlftC£.QM*TflOS-(V|

David Nail

20 20

HONKY TONK STOMP Brooks & Dunn Featuring B<l)y Gibbons

1 WANNA MAKE YOU CLOSE VOUR EYES
CONSIDER ME GONE
ALL I ASK FOR ANYMORE

RabS

Trace Adkins

9 c*Piia. MASK-.->u

1 JUST CALL YOU MINE

Martina McBride

26 30

HISTORY IN THE MAKING

Darius Rucker

28 35

SOUTHERN VOICE

■ :r;i.tSB tHFWRDi

Tim McGraw

%•

2S 27

LONG LINE OF LOSERS

■■■■■ ■ . 1 ■ ,, - :",;HHL(,

Montgomery Gentry

27 28

EIGHT SECOND RIDE

Jake Owen

()«U(k, widening
hiiteadaslliearlKl
vith tin mcst tn[ts
lottmievHinttw
'OOl TIh tep 10
hasn't Hen ante
countrr artld witli
a noiHwntry itiwl
paftwdnce
Qiestwv's
"EwybotfyWanb
tofiotoHemn"
vith the Walien
rMctied No 1 1 vMT

ago.

TITLE Arlist

PRODUUR <EOIienRltPt) lUPRiHr 1 NtJMEH ' PflOMOIICM lABEl

WHITE LIAR

Miranda Lambert

HURRY HOME

Jason Michael Carroll

-li

Rascal Flails

9 1>MII. ilKii-

WHY DON T WE JUST DANCE

Josh Turner

& }.<:■• (.■>iKi!.f

OUTSIDE MY WINDOW

1 ■ ■ i]u>t;iN V iHi'A M .■ itui;v:iN l ui/WSi

Sarah Buxton

TODAY

M ,■ , iIU*H,*.HlULWGlLJAWfSl

Gary Allan

»i

THAT'S HOW COUNTRY BOYS ROU

: ' ' ' .1' . !.iJHmh^lD«lDOAVIDS0rt.BjaMESj

Billy Curtington
©

■12

THE TRUTH

Jason Aldean

e HI- ■

BEER ON THE TABLE

■.I- ■ ■ ■ ■ -..*. ;«;Kt

Jo&li Thompson

® .L ir,-iii.

RADIO WAVES

Eli Young Band

A LITTLE MORE COUNTRY THAN THAT

Easion Corbin

1 -I. - ,r o ■- .... ■

•10

DIDN T YOU KNOW HOW MUCH 1 LOVED YOU

Kellle Picfciot

G 1 '

COUNTRY FOLKS (LIVIN' LOUD)

TTM Lent Trailers
&

»i

MOO LA MOO

k . UASTtflSJFEUIIW

Sieve Azar

« «IR

LONG AFTER I'M GONE Big Kenny

-. ■.. , .■ ■ ^ ^Hi:, t/B[fbOHRSUM| « lOVt EVEB*eCtI¥ir,im[;wfi5;ir,i« Pir-iiF^

KEEP ON LOVIN YOU

Sleel Magnolia

0 .1 ■■■M ■■.

SARA SMILE Jimmy Wayne featuring Daryl Hall & Jotin Oates

1 1 ■■ '■■ VALOR-

LOVE LIKE CRAZY

'." i'. ,;"■( IJftMtS!

Le« Brie*

LOVE LIVES ON

1. <M H[)(>i S EI[vE)a,M WEST)

Maltary Hops

®i.<r,. i.rMiu.,;

TWANG

George Strait

« m;.m,.-..h:i. -

■-•■■11 t ^^iiw, 1 1 I WJDIRBAK «H*(rrttJ(UtCHI*i

EVERYWHERE 1 GO

■■ ■■■ ' :*EUEi

Phil Vassar
Ou^r-FF .'. , I-

19 AND CRAZY

1 ! ■ .AX - i:MU«SOtliUMWtNJKfAflNOSWUKSanKSHEPANDi

Botishol

«j

STUCK

Ash Boviers

©M.', ■ -

51 W

SOONER OR LATER

■ ■ . ■ ■ ■ ■ . .. 1 1 M lMUi*A\

Michelle Branch

ft dEFniSEWARMLI' I.

SKINNY DIPPIN

Whitney Duncan

• WAHNEI' l<<

TOP COUNTRY ALBUMS

TOP BLUEGRASS ALBUMS

ARTIST

Title E si

^*eEL iPfiicE' B 2S

TAYLOR SWIFT

Fearless D

ZAC BROWN BAND

E^ri.,!*, TheFo«»*on ■

SOUNDTRACK „,

mnah Montana: The Mom H

JASON ALDEAN

Wide Open #

BROOKS & DUNN

#18 _ And Then Some

LADY ANTEBELLUM

Lady Antebellum ■

GEORGE STRAIT

■33, J'HinQ •

REBA

Keep On Loving Vbu

VARIOUS ARTISTS

DARIUS RUCKER

Learn To Live H

lii

I^L')*i"¥ll SUGARLAND

LmaOnThoMda ■ 1

CHRIS YOUNG

The Man 1 Want To Be

TAYLOR SWIFT

Taylor SwiFt □

KEITH URBAN

1- 'EM

Defying Gravity

BRAD PAISLEY

Amartcan Saturday Nigtn

ROBERT EARL KEEN

Ttte Rose Hotel

It)

KENNY CHESNEY

Greatest Hits II

PATTY LOVELESS

Mountain Soul il

■n

JUSTIN MOORE

Justin Moore

■J

SUGARLAND

LTVF On The Irtnrin

■ID

■ ■ . ■ ■ , . 'i- .<:pn, t

BILLY CURRtNGTON

Unie Bil 01 Evervthing

RASCAL FLATTS

Unstoppable H

JAMEY JOHNSON

I." .IML.1 (13

That Lonesome Song #

GLORIANA Ri«n=in»

I ARTIST

' t KlIUBER ' OISIRieUItKi LABEl (PRICE)
LARRY THE CABLE GUY

Title e g|
Tailgate Party 19

BIG a RICH

Greatest Hits

KRIS KRISTOFFERSON

Closer To The Bone

WILLIE NELSON
KELLIE PICKLER
TOBY KEITH

American Classic

Kellie Pickler

35 Biggest Hits I

GEORGE JONES

ACcMcnQtUvSMnKiMir

LOVE AND THEFT

World Wide Open

RANDY HOUSER

Anything Goes

. , Ride Through The Country

DIERKS BENTLEY

ZAC BROWN BAND

RASCAL FLATTS
TRAILER CHOIR

Greatest Hits Volume 1

Ofl The Hillbilly Hook <EP)

KENNY CHESNEY

Lucky Old Sun

TIM MCGHAW

Greatest Hits: Umiled Edilton

CROSS CArUOUUJ RAGWaO
DIAMOND RIO

Hacoran M AJ The Oiner T>rgs

MARTINA MCBRIDE
JAKE OWEN

ARTIST

II,-''!- 'H & 'lUMflEH . D<STRIBUTI)IG tABtL

PATTY LOVELESS

STEVE MARTIN
THE ISAACS^

Titit
Mtwnlain Sa\i I

TTb Oort tiff* Sengs For Tnc Fw-SWig Banp
l^K^axi riant/ An;^AC9Kd»Cdbctvi~

RICKY SKAGGS

Sola Songs Uy Dad loiwd I

OLD CROW MEDICINE SHOW

Tennessee Pushar I

SARAH JAROSZ

Song Up In Hfir HaadH

YONDER MOUNTAIN STRING BAND
EMMITT-NERSHI BAND
DAILEY & VINCENT

STEVE IVEY

BLAKE SHELTON

DAVID NAIL
VARIOUS ARTISTS

hn About to Come Alkie
NCW TTurs W« I Cal CouVy

MONTGOMERY GENTRY

BacfcWhenlKnewtlAI

BETWEEN THE BULLETS

'MOUNTAIN' HIGH

Itaditioiial tuimtry/Wuegrass artist
^i\i]^^^| Pat(> Loveless acliit'ves her first No. 1
^ " start oil Top Bluegrass AlbunLs. as

"Mountain Soul M" debuts with
more than 6.000 copies sold. Her
third entr> on the Bluegrass hst fol-
lows a No. 2 start witli " Bluegrass &. White Snow: A Mountain
Christmas" in December 2(X)2 and a No. f> debut with "Moun-
tain Soul" in luly 2002. Tlie tu-w set starts at No. 19 on Top
Country Alburns, where her niosl recent prior appearance was
a No. 1 3 bow with "Sleepless Nights" in September 2008. High
atop the country chart, Miranda Lamliert dehtits with her third
album. "Revolution" (sef Hoi Bov. pa^t- M). — Wmie fes'^cn

ata for week of OCTOBER 17. 2009 For ctiart reprints call 646.654.4633

Go to wwvir.billboard.biz for complete chart data

BilliD«ard^

TOPR&l|(HIP-HOP

O " HE]

I©

m
m

m
w

m
m

•

•I

67 4

2(1

•12

2«

ARTIST

MARtAH CAREY

JAY-Z

I ■

MAXWELL

BIJieKSUIIMfBSIIItlHT I !■! I t.Vit r.t<?.S!}KV MJX

GHOSTFACE KILLAH

LIL BOOSIE

RAEKWON

ONLr HUILI 1 CUB*N IIKI

PLAYAZ CIRCLE

H3GM1 »n tw TumoM

THE BLACK EYED PEAS

■ ■■ft'tH.S^ f?trl.BU:313HIZUMfiG

SOUNDTRACK

LETOYA

EMINEM
mjra .-.i i
BEYONCE

JEREMIH

itnmn VK' :.CHliH:.Wf J*M l)l30g5' lO.MC I

TRICK DADDY

LEOISI

rutW ML LOOM >'t"VI IQHtOSI OiarTiVB f

CHARLIE WILSON

uNcti cH*Kiii I- ujsicjwt ;iw>'*S

MARY MARY

-^C(l^M■»MWMffMLaC t|

ANTHONY HAMILTON
LIL WAYNE

VARIOUS ARTISTS
GIN U WINE

• UAMs tHX4>^ti '..!f>*iniJMiiWlfllllllWMMt
PLEASURE P

LAURA IZIBOR

LE: THt THUTH it TDIP MlMltlC SmW*6

THEDREAM

mVi V3H0WIT t'ACWIttlMIB JMOi;STy.lIU»

SEAN PAUL

iMi-tmu nut 'ji' "LAHiic i^M<^*£,^-. .
JAY-Z

KEYSHIA COLE

MICHAEL JACKSON

?tt[ D(F "ill \l COLifCT [ih ■■■ ■

HICK ROSS

(No. M) MiMH Ute (M 1 ting
M B)." -Tl I WW i Bov." "Din." "Kite"
Hd "Eio." ttMii'\ "Hmt Sit Hevn"
ns Ibe lut Ml to hm hib in 1998-99.

* .1?

■1

TITLE

kUTISt iMFAin/ PROWOnON iMft)

SUCCESSFUL

BREAK UP

VfUtKl FLAT Vj^HE i jtM CWHtTT |3F0 STHtET'JTMji

UNDER

RUN THIS TOWN

WASTED

PRETTY WINGS

NUMBER ONE

H iXlLT lt*I Ufl) HILSOH iJWl

LOL :-)

REGRET

LET0V4 F(ftl LUOACRIS ]C*l'IT(Xi

FOREVER

DPJUCi I-.-,: '.M '..I',! 1 ti-,,i.ii |P,-:Hi:,()(^

THROW IT IN THE BAG

FABOl^JS Ff AT TH( 0(*f AM " 1 ' ' ■ i\tJKil

5 STAR CHICK

'0 &OTTI . 1 .!■ '.OS iRUSi

OBSESSED

GOD IN ME

NjkJtY UUif tun KtftFIA Iwr Stow 'Mv dUXKCCUAAIAj

DOESNT MEAN ANYTHING

■

TRUST

•.F r^ltlA coif DUET WTH MMH liUMIEFFlMW1tf1SC0>f

< M GOOD

EGO

ICE CREAM PAINT JOB

1 INVENTED SEX

IfltT SDHfii (Eil DFMKE iSC*l& tlOC*. *Tl WiCi

SWEAT IT OUT

iHE wrjui :B«mo«ia*,K» jtwiixjiW)

BECKY

PI ISS - . '■ ' ■ "il ■'■'<. tMTrCf

BETTER BELIEVE IT

IMMA STAR (EVERYWHERE WE ARE)

itnV'H "II . Li' jau\uiucii

JUST A KISS

M^SHGfJ " 1 \ ."1 ''if 4 STRt AULtftF.'INTEnSC £1*^ '

EMPIRE STATE OF MIND

DROP IT LOW

tsTp r(M Fw am mm »«w womzu t»niMiumt«i»«j

m
m

THE ONE

Wiari 1 BLIGt fUt DMn ilMTnARCn-G&WIHTEnSCOf^
BAD HABITS

VIDEO PHONE

BETONd ■■■

EVERYTHING. EVERYDAY. EVERYWHERE

IIUULllL--SF(*f >lf<llllliO ' .T'.AUCCF^IDJI'Ci

MONEY TO BLOW

ESI

BUY YOU A ROUND (UP AND DOWN)

v(«si iiMMCiwns . ■ ■ .■•n r.riPfi

TRICKN

HUllita 1 : , !■ ■,. , ■ .■ vf ,1, :,,

BABY BY ME

■cw

QjllQQ 1 CAN TRANSFORM YA

3«

FRESH

TROUBLE

GINUWIIM rui BUH B t.y ■ yftL-i

BODY

NunOUlS HOUEtOH

TIPSY IN OlS CLUB

PHETTIItCn i3lJ{ST»RBIIH;*T TOMlt> ecf i

■

' -'
14

■

.«

■»

RUN THIS TOWN
J»r-I, RIWNM I MHTi Wtn |BOC HHIXW)
DOWN

WSEAMfHI Ul Bum MOKTi'liWiglS*!. MPlJUCl

1 *Ti.JNTiCi

HOTEL ROOM SERVICE

i-IBU.l. "■ .- ■ . HI.

SUCCESSFUL

KNOCK YOU DOWN

DROP IT LOW

SWEET DREAMS

SHAKE MY

WASTED

DOESN T MEAN ANYTHING
WRITTEN ON HER

SiFtOMAN FIA! ;AT UAN -i. tKW LWgt&H. yOTOWWy

PAPARAZZI

SEXY CHICK

MVIO cum* f Ml MOH iot,M ASTBALWEftHS-CAPlTOLt

TIE ME DOWN

NtwKrrirut. my j .^•towvi.snijM'WAHKtq bho^ i

I WANT TO KNOW WHAT LOVE IS

I'M GOING IN

n.'aMnafiWiio<nM«5*-Mnaiifc

BETWEEN THE BULLETS

CAREY CLAIMS FIFTH NO. 1

Mariah Carey coasts into second place for the most No. Is by a fe-
male on Top R&B/Hip-Hop Albums in the Nielsen SoundScan
era as 'Memoirs of an Imperfect Angel" leaps 79-1. In its first
week following street-date violations. "Memoirs" becomes
Carey's fifth chart-topper and lifts her past Alicia Keys and Janet
Jackson, each of whom have four. Mary J. Blige is in first place
with seven. "Memoirs" is Carey's third consecutive studio set to
reach the summit, a first for the singer.
At No. 6, Ghostfacc Killah lands his first top 10 in his last three attempts with "Ghostdini:
Wizard of Poetry in Emerald City." It's his eighth top 10 overall and first since 20O7's "The Big
Doc Rehab." The Pacesetter honor goes to "Silk Soul Music ... An All-Star Tribute to Maze
Featuring Frankie Beverly" (67-14). The set was available in August at select retailers before its
wider Sept. 29 release. — Raphael George

ADULT R&B

^■■K TITLE

IIWSW So '"TISI .IMF'S '.r i.R'.:v'- '.i.h^'

IYIbad habits

PRETTY WINGS

CAN T LIVE WITHOUT VOU

CHkmt WIIUIN ' 1.- '1' . .! Ji^i

1 LOOK TO VOU
miTHtT HOUSION . .1 "Mb

ON THE OCEAN

THE POINT OF IT ALL

WTMOOl H*MI1I0H ■ "

■

LAST CHANCE

CINl/*'ISf 'i ' ■

GOD IN ME

WW i*WT (un aj« T«r swwu " ■ .

IN LOVE WITH ANOTHER MAN

pe. 10

BLAME IT ON ME

CLOSE TO YOU
atBE « :iCE »HM

■i

SOBEAUTIFUL

MUSIO SPUICHILC -

WHAT 1 VE BEEN WAITING FOR

■

THERE GOES MY BABY

ITOlVtU OOESNT MEAN *NYTHIN<

COIN THRU CHANGES

GIVE IT TO HE RIQHT

Mliawi EIDM* Sk:\IUVERS*L MGiaWNI

MY CHILD

JliL « ME zm\

OONT STAY

LllAllIl»Dn ■TL.-.NT!r

1 WANT TO KNOW WHAT LOVE IS

MILLION DOLLAR BILL

WKtlNI- "U'Jl-;tlt

TRUST

THIS TIME

BETTER WITH TIME

suit

TITLE

AHTlit i^E^INl PaOUOTIW t*BEii

KIrUN THIS TOWN

BQg RtHMiu » imi wai IRCC NATIOKj

SUCCESSFUL

BWai «J« I L* «... ■li.yMttWIlWJMil.tlCTl

THROW IT IN THE SAG

FUDEJILS EUI ^tt■mm PISERI SICMtW JlMDMi]

FOREVER

OIURE UASOH'lIlNt E.SlNE«U.IWlNTIRSCOr

•9

BEST 1 EVER HAD

WASTED

9UCOUUC lui FUlaiuHwmii W'!0(E- w.m.a)C

BE ON YOU

ELOniMlEAT HE 10 i-:..: ^L- ^ iMli

ITHi'JHI EMPIRE STATE OF HINO

QHnHH Z ' IIEICU Km iROC NinEWl

HOTEL ROOM SERVICE

ICE CREAM PAINT JOB

ODPfiOLCH .■ ■-liii-i 1

til

EVERY GIRL

5 STAR CHICK

TOcnni ■;

WETTER (CALLING YOU DADDY)

EWI^r«FE>T ERINAtnlVON 1 1' M' . ■ 'Ol

BABY BY ME

M CEHl FEAl «n) iSKAOV.AFmiAAimNIUlSCIlPf)

I'M GOING IN

JAUI 41' .1 U'« . WSMFiaMWmUAlMICMHMElia

I'M GOOD

LElPil FEAT PHAMREU WIUIUII (Rl UP'COLUIMIA)

.»

BECKY

Puts ' ■■■■

EVERYTHING. EVERYDAY EVERYWHER

FABOE0E;S FEAT Ai:. MLiOH : ■ ,,1,' . ,,m 1 ,.M

WRITTEN ON HER

HHOMAH FEAT ;AT SEAN lAHY lMVBI&AL WKNW

OUTTA CONTROL

UIT BAiH FEAT F-,THUL ^lA'RUGl

TRICKN

MUILACE . - ■ I',:- aP'JIVt/JLfi)

SHAKE MY

THHEE EHAJUFEAT AAIEHFIA XVIWIlUE tMEO&COUJIMI

BETTER BELIEVE IT

11 i»-.«E FEAT 'EUM .W A Ml« HK^AgTUWAAAiWI IM

1 LOOK GOOD

ClAAiFE BGT ; ' 1 > i.l : '. ':- •

TIE ME DOWN

WWflaTEFUT l«TJ I I .T^n'iLFiSFAJTit

46 I Go to www.billboard.biz for complete chart data

Data for wvak of OCTOBER 17, 2009 I CHARTS LEGEND on Page t

btar

H6t rab/hip-hop songs:

ArtKt

lUPRMT I nOMOTIOH UIEL

^ ^ ■ E

UlPflETTY WINGS Mamtll ,

BREAK UP

Mario Featuring Gucci Mane & Sean Gartell
■infiBtii s cn»wfOR& H owc . & -tw.

SUCCESSFUL

Drake Fealurtng Trey Songz & Ul Wayn^

RUN THIS TOWN

Jay-Z. Rlhanna & Kanyo v.'. ^

' ■ MSi£ wiLsm.ArcMiit «L«i*$i Moni:

•

WASTED

Gucd Maiw Featuring Plies Or OJ Da Juic«m-,n

. 1 WtSHIttGtOHl • HIUVi'SO ICEV'WMI! I'

UNDER

Pleas urp ^

:■ HV!AJffl»mil|tJONtS,K$t(PW(W0IIMCOO<^«) •

GOD IN ME

Mary Mary FeBtojrtr>g Klerra *KiKI' Stieard
r=-fltU UUIRS'CWIPUlU • BLOCH'COlUMai*

"number one

R. Keiry Pealuring Kerl Hliaon

- 1 , , T R HAUIUOH R HAWllON.K 1. HtlSM) 0 n

FOREVER

Drake Paaturing Kenya West 1 1' v/^yrv- « prmnoriT

BAD HABITS

Maxwol)

I^C;^LEFUYL0H.0;.*lFOBO)

THROW IT IN THE BAG

I invented sex

FabOlOUS Fo.HlJ!Kir) Tin- C-HMr'!

©p

Trey Sor>gz Featufng Drake

DOESN'T MEAN ANYTHING
LAST CHANCE

Chartte Wilson

OBSESSED MariahCj)

H r ^IFAARI lUCARiVTIUBH.C ASTeVtUIII MM ■5<.tM~< :

21
22

■

18
26
29

EGO Beyoncc

1 i:4l.".t..i;iyEKNilWl.tS(iWlltlAU$.H[U.lY,JB,IIIU(CnVl£S| © UJStC WORLI'. (i II iMiil.-.

5 STAR CHICK Yo Gotli

- T.ii\\_ III 1 9 POtO GfOJf'rc-;

ON THE OCEAN K Jon

THE POINT OF IT ALL Anihony Hamii;. n
" ' ii HAW.ION.) J AVILA.B R AVILAJ OHDGKI) C UlSTtRS UUJ'i"

1 LOOK TO YOU Whitney Ho,/_= n

[^IJQSflBi ICANlRANSFOnMYA OMiBnMnM.lJVl^&SMZzBEaiz

li.irH:lf:1l:lJ»:VI >'...-; 8II.T; ;C ait()Vm J BnTON a(*H,JHUU.DCARTEn) On.

7«

BEST 1 EVER HAD Drake
... 1 1. „. j;.M.v.li- .y.'ji -lUlAWihtrtiUWiOtWIPli 9taMimei'J^tKlf^\M/iKM.M>\-J.\\

ICE CREAM PAINT JOB Oorrough

?MUC't (I".' C !10H«I", .ir,pi r * '•nociOfij • MEMUI/(t

I M GOOD cnpce Faaturins Phvreli Wiliama

. ''.N'SUlMaftXTOtttlHOflMKM) 4 (U UP/COLUMBIA

SOBEAUTIFUL MuSk) SoulcMW

\ m 1TXIHIl»)N.lWJ1SCI>ljn) • AUAIIIIC

BLAME IT ON ME CtiriMlle MIcMa

i.'.<-w>N.CCLUr| # DEf jAM'tCUMG

SWEAT IT OUT Tha-Dream

. ■ ■■ ■.-■■1 1 n 1, * siiWABli a ^*r:' ~ "li-'i-m i«M ipJMt;

■

1 NEED A GIRL Trey Sortgz

■ - MIMI 1. fRiAStH U WflMiNSEN £ L«D 4 BJOHldUKDl ■ . . -. ■ -\'\.

55
45

DROP IT LOW Ester Dean Foaiunnq Chi.n Brawn

..-.■...:'..■'■■:>■■''■ \\ • HMU'tVMASOH-JOI.i i b-("'.[i.i.'. 'il '."l-'.." .

MILLION DOLLAR BILL Whilney Houston

IMMA STAR lEVERVV^HERE WE ARE) Jpremih

0 mil:k sunu'ZDi; .■.■■i.i ■,

23
7
i

WETTER (CALLING YOU DADDY| TWIita Featuring Erika Stievcn

. : [ LOCitMMiT.QSAffOLni O GET V'^K;'' GASb L

EVERY GIRL Young Money
: .ii^)ennsau:tMix»i ® -M/ewteTOjHiutr I,Mi:^^ ■

■

3:
47
39

33
53
40

THE ONE Mary J Bilge Featuring Drake

f -i'. i :■:'•<* k WAH»M> © Vi-r,;;,p-h w.'-r-'i " "

■

BETTER BELIEVE IT Ul Boosie Fea'.unnq Young Jeezy & VVebbie

■ ■ '■■-.■.MWGSlADIrtrjWJitKKIhS.W rtlLl 0 ■ -i,-,-.-, >' ■

BLAME IT Jamie Foxx Featuring T-Pam
■■^lA'OOUawil Ai«iUi»t>:i.'':v;,i <;H»

EVERYTHING, EVERYDAY EVERYWHERE FabotouB Featuring Ken Hi son

- ■ ■ OCbL-:H-bn.SMDl'

42
4«

3:i

1 WANT TO KNOW WHAT LOVE IS Manah Cj

0 r;.

IN LOVE WITH ANOTHER MAN Jasmine S^N v -n

.0.1, --.L G

■

KNOCK YOU DOWN Kert Hilson Featunng Kanye West & Ne-Yo

■ ■■ 1!. ., i:fl3M-.U ■.sWilHMi^,iir.-A- rtlM 0 "i-iilE' - rir-r.-. , 'L

EPIPHANY (I M LEAVING) Chnsette Mlctiele

.1 . I'lVi r i.inuriHi «B ri| 1 n.i.. ■

1 M GOING IN Drake Featuring Ul Wayne & Young JeP7v

. ■ ■ . II. -t anAM*M 0 CAditn i * jtwiiNSi O rouNt ikim* cask iMw.iiriivvH->w y.

B=CKY Phes
Ti'' ■ ■ ,iAiMtNC1Ct»JIWIEM| • WCO*I[SSi.(P-ll-SUOt*lLASi;c

BABY BY ME 50 Cent Fatturing Ne-Va

.< IJCKSON m J JOKS S SMIIHl tNADT.'ArttaMAlH INttRSCOn

c .OSE TO YOU BeBe & CeCe Winans

• UC'MALACO

VIDEO PHONE Bayonoa
'■■ '/.■-fa .^KM?miS.S(3UWiR)flD,Sfl*RR£Ti«B[rHCti » WLGtc Aoninaai.wA
MDNEY TO BLOW Birclman Featuring Ul Wayno & Dr,iko
■.i ■i J.flltHCGHOlSWll © CASH IMNl- I.'. .. 1

■

iMJl

1 LOOK GOOD Ch.Th- B IV

a
■

THINKIN ABOUT YOU

Ti-l 'II Mj. - liTif AHUiajJAC<£0H.«aAM]SCNSDAVtl9CmKtUWSIVl <■•

TRY IT OUT Black Eeaum ,j Kj m.i

iJrTifotirthHo.I
I RltythRiK AlrpUv
I)rt tint tcMlcf In
I yHTS. Guest
iislsfiltianiuanl
'jiTTC West lud
UMirsKonlMd
Sratctart-lopMn,

'.'ithtfHuing't

OmU tot iri

Ml 111 SO I

fint Mat on u
(tiart sioce N94 «id
i-'is fiit on lop

Album will) « bow
i\ Ha.84tor"Hisit

■.v\ fW."

Honff nwiifli*! lot

not atbuni,
'M6&I trorh i tno

1°

■

■0

■s

too

REW

•urn

1*00

83 81

TITLE

pftooucen isoNQimiiEni

WHAT IVE BEEN WAITING FOR

Anitt I

IMPftW! PRMOTKWLUEl 1

Brian McKnigfil

BUY YOU A ROUND (UP AND DOWN)
MY CHILD

Verse Simmonas

J xiiMu

JUST A KISS

r,-' iil,.-HMASaK JR lUPUACKISf ClAmi\AWRiW» B IMft&>

PAPERS

KOI LISttO (HOT UStBI)

• criiiAsrv;/OM«Vti(AUiiu r.

IT KILLS ME

Kims jfl.L CARLE i-IULWAKi

WE BE STEADY M0B61N'

Ul Wayne Featuring Gucci M;ine

GOIN THRU CHANGES

LoOIsi

■, . ■ ■ II ; . ■ ..■I,.,-

O VtflVE fOAiCAM '.invt

1 GET IT IN

■ ■i: .VCI-U5U:

STAnwORLaiHinClinMKVT U.G

1 GET CRAZY

NIckl Minal Feeftirlng Ul Wayne

,\: lOWARAJDCAHUB)

vDuail MONEY

FRESH

STiraQ

■ "ir IBHUWESROWinON.DOAVlS.nWAUtflSl

• MOOMSTOHLJIVLSATIEirr

1 |G C CURTIS SR ■ EDMOHOS.J METTlESBOl

Kevon Edmonds I

Chrtiette Mtchele Featuring Na-Vo I

TROUBLE
SLOW DANCE"

r vmiTE.R vmctHTE LUUPNW.S 'REFtUN)

>4iCNJ IMmiMJBUK'JHUUIMK.S tSlGlhJ 0 SVBt*\

SWEET DREAMS

■ 11?.^ iSKHW,fSJGS::WmH *WI,KH(S,«ICDlOVtl

NOVEMBER tSTH

■ " .lOT LISIHIi

BODY

vnoNC AlONfV.-CASH IKIW.'

■"?liS"tCIN h C flSnre.C STMtSi

Marques Houston ■jl

O MUSJCWOW-SIU G Mil

YOU RE A JERK

i5 i H UHJiVm V B AOWS)

n CLARKt B UCDUl

GOTTA GET IT

YESTERDAY
SO SHARP

. f mwSJ AMtSlnWIG M WWrt I BATTtE T BRAKTOWl

Mack 10 Featuring Jkn Jonas & Li

MR HIT DAT HOE

Treal Lee & Prince Rick Featuring Widvd

00 NT STAY

DIGITAL GIRL
OH NO

Jamte Foxx Featuring Drake. Kanye Wesi + Ttie-Oream

'lEHAOOf .J THOMUA »ES1|

BETTER WITH TIME

TiJfUWiHMmMaJt.liavERSOMTSCAlESiiiW

YOU RE NOT MY GIRL

0 IIE)t1SflECTlON[:J>SABUkl*CJ.'UMIVE

TIE ME DOWN

WALK mi A DIP

BORROW YOU

HEADBOARD

THEY THAT WAIT

Fred Hammond Fe;ii

L nnD6£«S,PfIASTOI,E RWARSEN.MBnwWO K

RAMPING SHOP

■■■ ■ .TTrii
SAY BOW

;». (Vgvt\JSU.J MILLER.C DEMROl

Amerie Featunng L

VJ.C. Fealurtng J Futuristic

DJ Mr. Rogen Featuring The Pai;. Bci

REAL AS IT GETS Jay-Z * Young Jeezy ■

tttEm^EmESISCCARTERj«JEWaMS.MCARPOinEn.LEUI0n.lMaaHGSLHtt.yPlGS) OROCNATKM |

!Df in!mto[H,

USHER DELIVERS THE 'PAPERS'

Usher introduces his next album with the lead sin^e "Papers." w^ich enters
Mol R&B/Hip-Hop Songs at No. 60. 'Hie song bows with J.9 niiHion impres-
sions after being deUvered to radio two days before the tracking period ended
al niidnighi Oct. 6. While tliis is a detenl debut, the track sliould enjoy a sub-
stantial leap next issue with a full week under its belt. Last issue. Chris Brown's
"I Can Transform Ya" debuted at No. 92 with oncdayof nirplay followitigits dig-
ital distribution to r^dio. It rockets this wcvk to No. 26 for the largest chart move
in more tlian tliree years and the setond-best audience increase (9.1 million) of 2009. — Raphael George

ata for week of OCTOBER 17, 2009 i For chart reprints call 646.654.4633

Go to www.blllboard.biz for complete chart data i 47

RISTIAN SONGS

K| REVELATION SONG

MORE BEAUTIFUL YOU

TOP CHRISTIAN
ALBUMS

20
28

o
®

Pi
®

o
®
©
o
o

o
o

46'

Q
O

27 J

24 16

26 12

29 8

2a 2

a 9

35 10

37 5

32 17

LEAD ME TO THE CROSS

fma IMDCONFUD .11

BORN AGAIN

imo ait nu iJiCET MUSLtT i :.:^i(ili«L>^.i^

THE MOTIONS
HtfTMWWMT CMQ

UNTIL THE WHOLE WORLD HEARS
cutwo enowitt be*:m ■ i - ntuwartPiG

1 WILL RISE

CHHIS lOHltn .1-1" ' M'j,V tWIGMO

THE WORDS 1 WOULD SAY

tlDfWILK pnOPMITS "I-,;',' /r.A\' f. i HB

HOLD MY HEART

TIKtH ««UUI MDRTH • iL

LAY 'EM DOWN

NFEDinBRf'tTHI i< 111 1 i:ull8

THE LOST GET FOUND
ifliTi Mcau ■ -I-..-.'.' iv

IT S YOUR UFE

FMHOICA WmmUl tf-.-iHI «<0RD[:uR9

WAIT AND SEE

BRMDOM mm l.1lMI0IKIDf,RfUIMM<nj)

HE IS

SPEAKING LOUDER THAN BEFORE

iCRfWrUMr - ' i. IML

ALIVE AGAIN

MJtn KUIDI :

SING, SING, SING

CHnisroMiiti ' - <|'::'<^ {Ui CHK

YOU RE NOT SHAKEN
mil sncET

HOW HE LOVES

MVIO CWWMR WHD > - . PAOi^OA (Ml CUG

WHAT FAITH CAN DO

KU'lE'S lit- >. Uti:

TO GOD ALONE
AMOH SHUtt SKAiilt

ID NEED A SAVIOR

JUtUMli IHl IilinST) '.[V

GLORIOUS
■EWSKTTB'M -

LET THE WATERS RISE

FOLLOW YOU

ItllAKO WItH BUMDOH Hliim r ^ UHIIAI. m.

WHAT DO 1 KNOW OF HOLY
UOIIIH KOnU .\0

SALVATION IS HERE

HE IS WITH YOU

€

BEAUTIFUL ENDING

■13

HEAVEN IS THE FACE

HERO

SCILLEV *^^D^.h^lHO

TAKE ME AS 1 AM

GOD-SHAPED HOLE (2010)

FROM THE INSIDE OUT

SAFE

i'Kii witmaM lui mi MUAHD i»u

2»

JESUS CALLING
niiiLK

HOSANNA

FORGIVEN

SJuicruiRui 'ti^miui CMS

GLORY TO GOO FOREVeR

ra m

NO NOT ONE

OlMtTTMCIiaj "Mir '. l'>'.RHaW'tUI CMS

GOD OF THIS CITY

LHH^t 'L'Mllh ' :i '-VEM>CUG

MY SWEET ESCAPE

mm KID =iim ■ iii- ^ :,ii.

FOR THE FIRST TIME AOAIN

j«o«iiyuit ■ ■juiii

SING

WiM WILSON ^k'AflH-JVl.tMl CMB

THE REASON

JUIIMinfWC '(pun

JOY UNSPEAKABLE

BLESS HIS NAME

HEALER 1

MAI JQtf I-. " ii ' !

MY LAST AMEN
oowMHCM cthrniciiv

I^H AHTIST

3X SS imi lUi'BtNI A NliMHFK I' ■ ' Hi- ' I

Kl DAVID CROWDED BAND
B^a CHuwwat ' M ■

SKILLET

BUILDING 429

HAWK NELSON

VARIOUS ARTISTS

MARY MARY

MWii

NEEDTOBREATHE

GAITHER VOCAL BAND

HfllhllCI ■■•it I

_________

IC'lt i

VUi^D-CUHB

PILLAR

MWfsswo . ■1^^t*wx^)tKl■t(rtGnm
THrRD"bAY

SELAH

TOUOEUVEnME i<- 'I HH WOND-CUHS

PHILLIPS CRAIG & DEAN
MAT KEARNEY

H ?i»'{Ui cm

MATTHEW WEST
MICHAEL W. SMITH

JEREMY CAMP

SPUKIHG LOUDtn IMM WFOW BK fi78QDIl CMS *

TENTH AVENUE NORTH

HILLSONG ^

RMTt<.HWtl»lMtl.^JailiaWT><WIOI»IIWWiai

MARK SCHULTZ

1!
I

MATT REDMAN
NEWSBOYS

in THE Hknoi. Of aaa ■Ki'rif u»«tMi OUQ

■

EtllOI»IUIlKI!MI1l0IIIOIBOWSnB«>

ANBERLIN

WWSL'RBEJOtB ..

THE~D EVIL WEARS PR ADA
LINCOLN BREWSTER

JDWTjSTK W ■ 1 •■ .

AUGUST BURNS RED

COttSmiMldK! ■■ ■ • Jlt.l.- rf.M

RED '
SOUNDTRACK

MBEPfl/WF i ■ ■ ■iiiUPflD-.'iniMI-IU'EW ' ■
VARIOUS ARTISTS

NDw HEJW iHis FJU.I. not unnEo

SIDEWALK prophets"

BETHANY DILLON

VJC-P I. H^TIM ■- '.\ 5}4SEW CMG

JASON CRABB

j*wir.!iufl .1 :=.i: EBgyiQlWCUO

DECYFER DOWN

Fred Hanniond bnds hK siith No. I M Tip
fiospd Afem vritlt "Lm Unstsppablt,"
wtik)) aho Kb a new catm-tilgtt iMwl on
ttw niRward »0 (No. 76. »),D0O codks).
nw iMd tixk, "Thev Hiat Wall." slen S-4
on Hot 6«|kI Soaps and matks tui tnl
!»■ on K«t UI/HIP-H09 Sosgs a( M. 91.

48 Go to www.billboard.biz for complete chart data

The wontrtp quartet ittten httm North
scores Its ttiini consetutive top H on
Qirhtiar Songs, as "Hold Hy Heart" tol-
lecis 4.8 million impresuMis at 8S ol the 9!
stations monitoied \« the (hart. The song
tsalsotto.IoriairistlMCMandNo.eon jf."
MotOitistiaiiAC

HOT CHRISTIAN
AC SONGS-

TITLE

*RIlST ".'i--:r. ■ '.''llli'i'l i J.IIH

Kl REVELATION SONG 1

BffiS Pf'lLII'!^ K DUM 1

MORE BEAUTIFUL YOU
JONKT DUU \nn

LEAD ME TO THE CROSS

CITY ON OUR KNEES

HIBTWi; ■' ■■ •

Llil3jmj TVIE WOflOS 1 WOULD SAY 1

BORN AGAIN

THIIU) Diir ft«T IKty MOlLfT {SSEMIUL'PIB

LAY EM DOWN

i.UliTOun(a-"i !■

r 20

HOLD MY HEART

UNTIL THE WHOLE WORLD HEARS
CMTim CROWIIt BEACH StREt V'BEUHIOK'PIG

THE MOTIONS

lUTtHEW vtiy . " cue

SPEAKING LOUDER THAN BEFORE

JIRfMl UUf

THE LOST GET FOUND
■linmcou ■'- Ir ,, CMG

IT S YOUR LIFE

rfl»F«EiC* Wn^Iflll [i(ViNI,W0BD.CUfl8

YOU RE NOT SHAKEN

f«ii yuii I'. ■.■'■ ■■LL

HE IS

Huw snuLiz ivcAD cim

SING. SING, SING

CHfllS rOMtlN ' F^F.noW'f Ml CHS

GLORIOUS

WWS«TS II." "-

ALIVE AGAIN

mn MMER [L.Lt'lTI*: Piii

FOLLOW YOU

LEIUtNO WltHHUNDOM HIttH ! '..-^irJIII.L PIG

WHAT 00 1 KNOW OF HOLY

UDtSOV BOftD 'il

GLORY TO GOD FOREVER

ftl M"'

2S
23

10
16

HOW HE LOVES

uwDcmwDcn uhd sKSiTEPSiSPAiiAOw.'Eiii cue
JESUS CALLING

HE tS WITH YOU

HMOIM ^^'rV^RIi'A [Ui CMS

TO GOD ALONE
AMHW IWtt 6RASH

I ^

TITLE

KlLilim^ CITY ON OUR KNEES |
BSaLLLIil!H T0BTMM>OI«iritOHt,iIUICIM 1

1 18

HERO

WILLtl 'H-ni.-

g »

HOLD MY HEART

nKTH mHAIF HMIH .1. fU'nd

U 19

LAY EM DOWN
McnFroiRCAm AomCum

1 10

BEAUTIFUL ENDING

B*Fi'"iL^':.i(-, . r:yH8

FR0r,1 THE irJSIDE OUT

MEANING OF UFE

HiMn HtlSOII l'<'.ll)< H 'IHl

HEARTBEAT

KE«ot omn ttimu vjut

TAKE ME AS 1 AM

FORWARD MOTION

tMOUUMO root UUTCH lOOIH k HtlL

MY SWEET ESCAPE

MORE BEAUTIFUL YOU

THE LOST GET FOUND

BBin WICO-.E ■■ I' ■ ■

1-;

ITS YOUR LIFE

FRUHCEsmi Ha^iiii.ii ■ ■!■ ;.uHa

SPEAKING LOUDER THAN BEFORE

WHAT FAITH CAN DO

miiuss ■, 'Ii -

FORGIVEN

tUCm REM. SPKRHOWHEIH CtM

i©

HOW HE LOVES

UVID CmWDEB lUa S'AHROtt.'IlU CMIi

BORN AGAIN

KtMO (MT FUT LACET MOtUT ESSUHIALPlC

ON AND ON
CMUEH m

UNTIL THE WHOLE WORLD HEARS

20 17

LEAD ME TO THE CROSS

THE WAY WE ROLL

wiwsao's 1'"

IT JUST TAKES ONE

IDDISC-M ROU Hi;;

YOU RE NOT SHAKEN

pHa sucit --■

i FRED HAMMOND

MARY MARY

THE SOUI.L ■ i ■ -

■t
Ml

EARNEST PUGH

iro »«mij« us 11. 1; .-. . ,v )-i.i\Sit

VICKIE WINANS

HUW 1 &0T UVIH .\l5lm jOv «110

■

J MOSS

VARIOUS ARTISTS

ISRAEL HOUGHTON

rwPow(B»»iE ■,"' ,

HEZEKIAH WALKER & LFC

Muvf n iXjT ■

VARIOUS ARTISTS

DONNIE MCCLUHKIN

« m.1 Mi OMt HIVE iw [tfTsniii ■

vnt fruci ■ fifi&icc CP ATI toifjf^ 1 j uAincTTAj
HIIWCMHItrKIIISE ' . ' .

5M0KIE NORFUL

BRIAN COURTNEY WILSON

jusnoi'E ■ ■ ■' iv'i ■'■1-

118

MARVIN SAPP

VARIOUS ARTISTS

«rn»ii»i!Eim vjt ,■- , ■ ■■-■> .■ .- ■

LEE WUJAhS AND THE SPffVTUAL OCS

l«LLDHMt ". . [il^:-

JAMES FORTUNE & FIYA

YOLANDA ADAMS

M «H BSt J HlHM WW - - "

DONALD LAWRENCE & CO.

rn uw (» [iiiiHjsm nwT rj f ■ - - ■"

DONNIE MCCLURKtN

MUintrerssraxwiCLJii -■" .

"various ARTISTS

•tlKCOimESSEWWir - -,-"-■ ■

r-ia*

LECRAE

REBEL " [■■■■:i- Il.'irj ■■

TED WINN

fcWJUICI f-i.lfUC"lf S7«

SHEKINAH GLORY MINISTRY

TMHSTVSIIEMWHGUVnWKTin'>.<V'^i:>.l,ir; *

VARIOUS ARTISTS
00»a3ltSINH»MWtHO«WfMt.sPL -*.Tr-:t

Iff

1 7'

2 36

3 43

5 16

4 31

6 25

7 30

9 54

e 46

E©

10 14

12 26

I-

11 45

14 10

16 6

13 27

ID:

19 12

IS ia

17 13

lE^

20 9

18 12

23 3

22 7

fBt

20 5

24 5

25 10

TITLE

UTISI iV'-Hii.T Cf aMOTlON lAUl

S CLOSE TO YOU
■ EBE « CfCt M1MMS aUCmtACO

GOD IN ME

GOD FAVORED ME
I LOOK TO YOU

JVHIIHEI HOUSTON I ■ ■ I---".

LEAD ME JESUS

EMGaCJIK i ir^WJi ■■ ■LIIM

HOW I GOT OVER

VlCUtt WIMANS tlM HUWMUt. Jt OlSIIHT JOT

AWESOME GOD

LET THE WORD DO THE WORK
HELP ME BELIEVE

Data for week of OCTOBER 17, 2009 1 CHARTS LEGEND on Page A

Cr.i

icisen PM'*9!1

>S ScundSun

BillbMrd.

TOP TRADITIONAL
JAZZ ALBUMS

WEEK

TITLE

AnirsT I'.'i ^'tri! imoiioiinti lAtiti

THIS
WEB

LAST
WEEK

WEEKS
ON CHI

TITLE

ARTIST lUPftlNT / PROMOTION LABEL

Kll EVERYBODY SHAKE IT

ICa iwuwiiciwwfEAnwiiswwwomnieinttiBMiE i

BULLETPROOF

LA ROUX F'lii ilt.:)H LlltaRYTREi INIIRSCOPE

SEXY BITCH

DAlmi OJtllA HAtUHiNG AAOH r,' ; I f ;.-. .',LK'.:>CAHla

STRAIGHT THROUGH MY HEART

BACKSTREnBOrSJIVEJlC.

WOULD VE BEEN THE ONE

SOIANGE 1,' 1 "1 Ml (JhPSCflft

BRAND NEW DAY

GEORQIE PDttGIE MUSIC PLANT

KEEP IT GOIN' LOUDER

HA.OR LLJIA FLmMHC NHA Srr A WXT IU2 !

SUPERSTAR

DAVID MAY FEATUniHC HOSES MOOESTRO A8KCU

■.J

RELEASE ME

AGHLS ' III' . .^;ill H'.,.'- :. 'AM

WE ALL WANNA BE PRINCE

EEllXDAHOUSECATriMTWiH..

THE REAL THING

VANESSA WILLIAMS COIICORD'CIK

111

WANTED

ji^s ( jAUE^ -I 1 :i,.|iY injvui

SHE WOLF

SHAKIflA .' 11 1,' '1 AMH,'EPIC'SOHV MUSIC

\i<} m F'CK vou 1

013^1 LILT ALLEM CAniOt |

CELEBRATION
MADONNA '•. 11-, I n.il:;

GIVE ME TONIGHT

IR FEAIUHING FRFNCHiL DAVIS OALIMAN

MILLION DOLLAR BILL

WHITNEY HOUSTON III HMG

BODY LANGUAGE

JESSE MCCARTNEY EEATURIMG T PAIN hOLLYViOOD

RIGHT HERE
CAHMiN NIECE Hi -I Mf

TURN IT OUT

ALTAB FEATUWMG JEAMIE HUCY MAUAHUUbE

OBSESSED

MARIAH CAREY IbLAVD lO.IMC

WE ARE GOLDEN

■MKA I'ASAiRANCA llNI'i'TRSAL MOTOWN

FINE PRINT

NAOIA All ' III 1 r, kl ''

SMOKE

JUS AACH WITH FYIB. GAAANT FEJtllJniMG liAIMA IVWSI MOOA

THIS TIME BABY

EODIE I PRESENTS NIKI HARIS Mf

FIGHT FOR YOU

MORGAN PAGE ''Ii I 'LVLHt.

DID YOU SEE ME COMING?

PET SHOP iOVS I. i-I'iV.AlRKS CAPIlOl

FREEWAY OF LOVE

nEPPEH MASHAY LAPP

PAPARAZZI

LAOY GAGA i i ■■ '.i ■' ', I .-- I ■~iinnHELWtERSCQ«

INSECURITIES

JUNIOR VAS0IJE7 FEATURMG MAJQJ SA^ LABEL 10KMV BOV

DONT UPSET THE RHYTHM (GO BABY GO)

WAKE UP

NOISETTES '1 Ml

3LI1MY ■ 1 1 ■ II ' ' 'lEH BROS

FAME 2009

NAIURI NAUGHIOH LAhtS-MlH^

SEXY PEOPLE

LOIEHE I'll I'll

1 DIDNT KNOW MY OWN STRENGTH

WHITNEY HOUSTON ''-c: 1,1 H'.IG

SWEET DREAMS

BEYONCE r--' II. iMJHLl> COLUMBIA

LOVE SONGS

ANJULIE H ■' 1 I.I

PARANOID

JONAS BROTHERS HOLLYWOOD

S O S. (LET THE MUSIC PLAY)

JOROIN SPAfllS ' T IVf i| i.i

HANG ON 1

^LUMH III 1

LOSING MY MIND
ALINIHC in vFirAij

MISS YOU
RON PERKOV AAHtt

DO WHAT U LIKE

■ADBOTBIlLMTTi/,iHik

DEJA VU

AMERICA DLIVO DAlftAAH

WHY YOU WANNA HURT ME SO BAD?

WCKI RICHAROS MLKIHiL IIAHOS COM

BAD HABITS

MAXWELL ..M Llll/ll!.'

SHE AINT GOT

UTO« r APITOl

■

I'M A F'CKING CELEBRITY

DJ UMBO M l".

SAD SONG

SLAKE LEWIS TOMMY BOY

GRINGA QUIERO BAILA

BOOEGA CHARIIF FLAIllHlNIi I) 0 l> E IFIJLJUJITOI i AHHH 1 1

rOP DANCE/ ■
ELECTRONIC ALBUMS ■

) HOT DANCE
AIRPLAY

31 is

ARTIST

TITLE I'.'K'IIIT A NljMHEfl . WSTRIBiniNG LABEL

THIS

TITLE

ARTIST IMPRINT PROT/OTlON LABEL

-9

Vn LADY GAGA

nVM THE FAK mmuuummmmvwu

■i

KMl REMEMBER I

■BSEKACMMJBtNAWfllUWSIIWAWPHS&UIHA 1

OWL CITY

OCLAh E'ES ....IH iAL REPUBLIC OlSUIMUMRb

EVACUATE THE DANCEFLOOR

CASCADA II <l II IN

VARIOUS ARTISTS

YilTK. THA-^ HHtT 1 CAU OUB m EWUHOESCSftSCNr HtlK

■

SEXY CHICK

□AVID GUETTA FEATWING AMR GIMASniWRBiC&CAPITa

■1

LMFAO

iwiYtci i. . TAxMUAucieffmRfnEBsOTOtamiQ

RIGHT HERE

CARMEN REECE HI Al KIF

30H!3

WANT 1 1 ■ riNISH 511 Iflt

■

LET THE FEELINGS GO

ANNACflACE ^nneiNS

. IMOGEN HEAP

ELLIPSE r.'fl.Ai'HONIC HCA SOM^'HMU

PAPARAZZI

UUJY GAGA 1 -HI .V.^IIAAOnLTYt DlEHPYTREEINTLRStOPE

ZERO 7 —
mmmmk teah ghost .-.ilantic bZo?<]aAG

THE SOUND OF MISSING YOU

AMEERAH I i iHI',

LA ROUX

LARDWi l-T'.PaittREMfWne.WtRECmOIMBCA

OBSESSED

MARIAH CAREY 1 i'. ' MFA^

BEYONCE

■

1 WILL BE HERE

TIESTO A SNEAKY SOUND SYSTEM ULTRA

LUIS MIGUEL

Nin:uLr<.SALAN«CIC CLUBRMBaSWttfVCflLAmA5?11TB

INFINITY 2006

nuRU JOSH PROJECT i '^A

DAVID GUETTA

ONE LOWE •■ .. ■ A.iMRALWEKKS

■

SHAME ON ME

Ha SITFZ EEATUNNC UWNEHCE ALEXAMSl Wif^TAXI FUPcAlJ

JEFFREE STAR

BfAUIY KlUEH 1 .11114 H Ij

SWEET DREAMS

BEYONCE '' 1 .'. 1 1 lilFAiliA

INFECTED MUSHROOM

THE LEGEND OF THE BaACK SMAWAHMAFflfffCTD TOIIW

■

1 GOTTA FEELING

INE BLACK EYED PEAS 'i i' CHPt

DEA0MAU5 ■)

FOR LACK OF A BETTER NA«E UAUSTRAP EITA WIUl^^

CELEBRATION
MADONNA ' 1

BASSHUNTER

BASS GENERATION 1 HA lll&lTAE EX

■

1 BELIEVE

CYBEKlflW FEAIWMB JEM INOmW EE) STlCASTiilCr^Y Ii>'< ■ 1 1

BASEMENT JAXX

RELEASE ME

If.

DJ SKRIBBLE

iniAl CP-mHnSSITflMISVIC&TTBWEAngOBUiMIVt

■

KISS ME BACK

KIM SOIEI HI TRA

MIIKE SNOW

MIIKE SHOW DOWNTOWN rcOBS*

DOWN

JAY SEAN FEATtfMG LI. WWnC CA3Y UCMY^JMVEEtSAL REI^lUC

•5

OWL CITY

i> juM m HAi«mt»Af K!M REnja c 01 ?8a2wn

BULLETPROOF

LAROUX Hill .III K ; HI .iMYTREE.'INItRSCOPE

■9

SOUNDTRACK

SLUMDOG MILLIONAIRE INILHSCOPE DITSK^IGA

USE SOMEBODY

KINGS Of LEON RCARMG

VIC LATINO

ULTRAMIXi !M..

■

SAO SONG

BLAJEE LEWIS TOEMY SOY

BREATHE CAROLINA

HELLO TASCINA1I0H 11 i. . I .i ;','

RUN THIS TOWN

JAV-I. flnUMME 1 UNVC WEST ROC KATION

CASCADA

EVACUATE THE DANCEFLOOfl RUBBINS ESOBA

■

NOW YOU SEE IT (SHAKE THAT ASS)

HDNOREGEL FEATURING PITBULL A JUMP SMOKERS H IHA

-.M

BASSNECTAR

COEZAFHEKET MM M MMAL L«

WHATCHA SAY

JASON DERULO HL. JHA HLlUHlS WARfiLH BROS

CRAZY FROG ■

mBTKniMCdMYfl- linNl'.EK^M 4HJBUC ]i3»E«MG|||

HEADLIGHTS

MUt J ROBEIIN^

iita for week of OCTOBER 17, 2009 i For chart reprints call 646.654.4633

20091

I HARRY CONNICK, JR.
vow SOWBS COLUMBIA «f2?a-.'50HV WU5IC
DIANA KRALL

TOP TRADITIONAL
CLASSICAL ALBUMS

ARTIST

IlILf M'-l)itj! 4 rtUUIitn fJlilfllBUimij LAO[l

8EUt FLECK ZAKK HUSSUN EOGU HEYER
WWHtfTWIllWiaaPDIBKBiW.

■Ii

MICHAEL BUBLE ■

MELODY GARDOT

WT ONE *ND OHir IHRIll Mfl'.i iJITShJ-.VO

MEW

THE MANHATTAN TRANSFER

IHE CHICK COflEASONGBOOK i: i >, .'hURSISIB

FRANK SINATRA

LMIIMIWXMUia 1 UtiQHlHI

NEW

PONCHO SANCHEZ

PSTCWDHJCBlUtSLJ.II ii-i:lt ^^[^ ;'-,L>i.«)li|CORD

FRANK SINATRA

tsucm s«s«sKs OF m • - ifi-i mysa iWHew

ROY HARGROVE BIG BAND

CMlHGtNCt .r. 1 v.CHCV 011284DICCA

FRANK SINATRA

QASstSMnmr - -.■-> .?i^ iwi:aifcn»S6««0»TO.

MADELEINE PEYROUX

2.1

KURT ELLING

RENEE OLSTEAD ■
Si^riAHK . - ' 'lii'.i 44M>imRNE(l DftOS ^1

RAMSEY LEWIS H

BILL FRISELL H
DISfARMEA ^fAiiSUCH 47e574'WARHER BROS ^|

TOP CONTEMPORARY
JAZZ ALBUMS

I' ARTIST

; TITIE I'/i'TUNT SUKWER/ 0IStR18Utl«!i H

S CHRIS BOTTI
oweoTTi>«CT>iaxja>3BnMWM,^ «
GEORGE BENSON

SONGS AND STORIES UllN^Tfil iD3(i4 COHCORO ^

PETER WHITE

COOOOAT '| .-- 'ii.'D6.CQNCtmD

NAJEE

MIHD OVER MATIEH -•FAD'i UP 31!i6

KENNY G

SUPEH HTT^

BONEY JAMES

SEND ONE yQuf! LOVE :uf

.am 30815 *

BERN1E WILLIAMS

MOViriG fPHWURD iliFORW 6I21?;H0CK WDCt
HERB ALPERT & LANI HALL

ANTIH1HG GOES LIVE UJNCORD JAg 3t44iiC0>C0RD

THE SAX PACK

THE l'(\r» IS BACH i"iNAtH1t ilf?

AL JARREAU

I TOWER OF POWER
GHEAI AMERICAN SOULBOOR I i.VI F{ 0* F-CWER X

eSPERANZA SPALDING

ESPEftANZA ' ' ■ . ; ■ i ■

VANESSA WILLiAMS

IHt HtAl IHlMii ■ I ■. Ml-; ■ll,M6__

RICK BRAUN
ALL II TAKES ■.'. '.rk ii

[NUF 7nJI). AflnSTHV

RICHARD ELLIOT

ROCK STEADY ivtsiir 7fl-ii,'ARiir,lRv

§1

TITLE

ARTIST lATPRiri 1 PROMOTION LABEL

Kl TROPICAL RAIN j

BdiESST J ^FAICiCMG |

BRIGHT

PETin WHITE

TALK OF THE TOWN

OAHHEN RANN . ..i...-.

LIVING IN HIGH DEFINITION

l.EOHGE BENSON : .NCGHD CM(.

GO FOR IT

SEKNIE WILLIAMS iLfORM.RCKK fllDGE

1(1

MOVE ON UP

WHO WILL COMFORT ME

MELDDT GARDOT . [.IVE

BURNIN

PAUL lATLORPLAA CMG

TIJUANA DANCE

RICK BBAUN MAr> AVENUE ARTISTHT

3«

STEADY AS SHE GOES

WALTER BEASLET m-.AOS UP

THE CIRCLE

PAUL HAHOCASTLE 1 RIPPIN If RHYTHM

1 1

TOUCH

BONEr JAMES ..i DRD'CUG

JUST FRIENDS

VANESSA WILLIAMS . H'/ <H i i Ml.

BECAUSE OF YOU

ERIE; OAfllllS . .. .. H 11. ■

It'li'lVtU SWEET SUMMER NIGHTS

^^^^^^^^^^^^^^^^^^^^^^

THE PRIESTS

RENEE FLEMING .

JOSHUA BELL ,

-f P^7JI94AEF.. -^:>aiNHl£A.lUL7'JlfiEMaASESnP HI

JANINE JANSEN H
CTA^ESEEinvKiHrillBiaGKaDiniUMSLDAEKSntf

ZUILL BAIIEY.SIMONE DMNERSIBN H

HDOKDI COWlEll BKMtS H» RAM Ml CNQLO n 1 ARC lOMI

MARC-ANDRE HAMELIN ^|

HAYDN PIAMSOHATASIl 1 1 1 1 1. .

TWE CSTtnCIAN MONKS Of STFT HBUGeWIBE

OlW! MiSt RW r< SOU ■ : : H it

LUCIANO PAVAHOTTI

THE DUETS

[,0

'MURRAY PERAHIA

SAO RLATTTI.S 1 '. A 1

SERGEI RACHMANINOFF IM
Ul.vilAljCA.A-E'MIMALMM ' TWOK

PLACIDO DOMINGO B

AHOKmiTI>UICSMnn}-l>.:r.i^iA(AK<LllAEaCSEmr^H

ni-IHTRT

ZUILL BAILEY B

HESSWMIMSIBVKESFinCaiDBIOCMItTBAKam

JOSHUA BELL H
(KKf Tif AUjHiUSItS .r.M:tAf>SCAlWTSSlllWSimaie ^1

DANIELLE DE NIESE B

TNEMOZARTAUMir^iTADtlTTTUMRSALaASSCSGflOIJ. ^|

I^TOP CLASSICAL
W CROSSOVER ALBUMS

1
1

ARTIST H

TITLE lui'RmT«KUMeER/(]tSTRIIIUTniGLA>EL H
mi JOSHUA BEU 1
BM ■HMWHtSOBOASaDIEgWjLIBWOT— 1

IL DIVO

iw pflotmE :.<:n LA iMRiA isqsa^oNv Muse m

DAVID GARRETT

OAVOGAHCnK ri. .-.'.^rZAlEVERSALaASSCSCEKV

ANDREA aOCELLI

INCANTU .1. H III :>ICCA +

PAUL POTTS

PASSIONE ' 1 ■..IHAA,-4i4SONVMUSlC

MORUON TABERNACLE CHOIR

NINO C1«STMAS EtfliS ' . ■ l-n i fr.Aa£ OCRSOBam

SARAH BRIGHTMAN

SYMPHONT LIVE IN VIENNA ■ ■ ilH.H IAN 216BI.WJ1 ®

MORMON TABERNACLE CHOIR

;:v . . 11 .iiii;;ntVH-A..iii()IMiOEWlWja

ESCALA

ESLALA .. 1 IA TAL^aSONVMUSlC

. io

NEAL E. BOYD

MY AMERICAN DRTAM liCCAD1?B97

ERICH KUNZEL S aNCMMRI POPSOnCHL

ERGM THE TOP AT IHE POPS IE 1 ARC BOMS

JOSH GROBAN

AWAKELfVEli n i .... ■.'.AHNER EIRIK .*

MOHMON TABERNACLE CHOIR

Ewtr: iiE KI* stN;iH;L.HN. -i-mia

GREGORIAN

MASIERS OF CHANT Hflii 79015 £K

SHARON ISBIN

mtt MO M *.«:. 1,11 A', SH MA'/IP HVIlEfflORS

V^RLD ALBUMS

ABTIST fi

TtTEE IF/PPINI A NUUilEH fTi^TRtDUTHIG EASEL

IQrodrigo y gabriela

BfiS 11 M 1 1 1 .■- 1 ' II i.Ti. ATO I*

CELTIC THUNDER

TAKE ME HOME .1 1 J0B7/OECCA

BEBEL GILBERTO

ALE IN ONE 1 ,1 r ' .. . 1 .i.

VARIOUS ARTISTS

rUBKEVaMMI l(Klliai«TW«lLa««Tll]DCE«CnE&

JESSE COOK

THE RUMBA FOUNDATION i ■ .-OUSE 2002/E1

CELTIC THUNDER

ALITWOii.l . HI .HI-. II liiUbOtCCA

BLK JKS

AfTER ROBOTS ^^LllKETLV CANADIAN 187"

CELTIC WOMAN

TN! CRECEIT JXBMY ESSm CtUECTON SWlCUI MIMU

RODRIGO Y GABRIELA

LIVE IN JAPAN ;li| ;. Ir. .

f-io

Tie BABY EMSTBN MUSIC BOX OnOCSim

BABY EINSTEIN WORLD MUSIC 7i£ll IIISNEY 003111

AMY HANAIALI'I

FRIENDS A FAMILY RE,3A

!®

HOOKENA

NANI MAN LOA H ,.JFAAU S6A7yM0UNTAIN APfLE

CARLA BRUNI

CEHME SI EX RDF NITAII HOREIMIIAAA EWSEXSWRMN

ANUHEA

ANUHEA . ..I ...i.vi .1.. ?H i.

VARIOUS ARTISTS

PimMAYD PRESENTS BRA7II IAN CAEE Pi;TUIAAYD 292

Go to www.billboard.biz for complete chart data i 49

Billb^rd

TOP LATIN ALBUMS

3* »

(

TITLE

*HIIST lUPRIftl ■ PHOM0II0«l*BELI

KIloba

fSSa S"**"** ' ft: SOHY MUaC LATBIt

MANOS AL AIRE

_H(U' KIHt*[;(l .■ ll\Ti/tflSAL MUSIC lAlltP)

IE IRA UEJOR SIN Ml

JOHN SEBHSTIAW '/ ' ' t ■^.M.iAi

SU VENENO

AWtHTURA H-V l,( I i[ tJ.

§11!

Ml CAMA HUELE A Tl

tllO tL MMBIHO- FEATUWIMMOIt 1 LHHW iSltXTEi

EL AMOR

niO El BAMeiHO- MLMi

ESCLAVO DE SUS BESOS

0*VID BISB*L , .. 1 . ■. , - II. . M

LOOKING FOR PARADISE

2
3
4

o
o

3 17
2 3

5 19

4 2
7 27
13 2

e 30

6 3

ARTIST

iniE ir;i'- 'f<r PROMOtrON LABEij
tn LOS TIGRES DEL NORTE

jff^ LA GfMUA FOHOVIS* WIK.UMU »
AVENTURA

THE lASI I ■ r'.' . y

\ ^oaoo soijy MUSIC I

NELLY FURTADO

WISIN S, VANDEL

I A HEVOLUCIDN .. ■ ',U r-jTf Oi;%7'UMLE

LlilS MIGUEL

LARRY HERNANDEZ ;

IfiNMMCOflWDOS ■ ■

l1'l*iV11l (^POMOHEZDCDURANGO
TITO "EL BAMBINO"

El PAIflON _i '^j ■■ 1 -■! UVLL

KAN Y GARCIA

BOLETO Df ENTRAD* '.' •■' ; ' j 1 J

SUFRE

LOS 0 ARE YES OE LA SICftRA i HIS Ai

EL TRONO DE MEXICO

AIMAS UfMdAS ■ ^.1'. - 1 ■ 1 ; M'.t

¥b

RECUERDAME

ESPINOZA PAZ

YD NO CANIQ FW3 IL INIXNTJHOS ASLO^ rXZ5tiUtU

LA GRANJA

10$ llflHtS Oil HOXTE - '

VICENTE FERNANDEZ

NECESITO OE Tl :-UNY blUSIC LATIN ti326!

YA ES MUY TARDE

LA ARROLLADOiU BANDA EL LIMM DISA EDIHDNSA)

VARIOUS ARTISTS

LOS SUPEfl LINO'S OtSA 7?i18t UMLE

1 GOTTA FEELING

THE BiACN EYED PEAS U 1' ' L 1 l^'t t

CONJUNTO ATARDECER

CONIIC^D PARA SIEMPPE ' ' - ' UMU

ADIOS

JESKE A JOX I'.K -• 'i[ " ^U}iX\

EL TRONO DE MEXICO

DESDE LA PA1RIA EN VIVO rCSLii|ISA J^4M&'tjULE

NO ME OEJES DE AMAR

LA APUtSlA 1. 1 .1.

LUIS FONSI

GHACIAS ATI

W1SIH A VANOd iWACHETE >

TERCEH CIELO

FELIZ

KANT GARCIA '".n^vUjIjM: ^ATlTIi

CONJUNTO PRIMAVERA

3D AMVIRSAAIO'. Bl VIVO fOHOVtSA 3S37HiiUMlE

COMO UN TATUAJE

K PAZ Of LA SKAflA i ! 'i' A (li UMS>

MARISELA

COMPRENDEME

GEI^MAN HONTEHO i F : i*J0VISJt'MUSIV1&A|

VARIOUS ARTISTS

TE VES FATAL

EL TdONO DE MEXICO ^'..SOVISA)

LAURA PAUSINI

f'RIMAVLRA A.NIICIPAUA .'.'iVRNER LATINA Slfr627

□

■

DEJAME ENTRAR
MAKANG : 'tf IE I

TIERRA CALi

SI ru r[ V*!. . . .' ■ .' . Aj. M£cUIMffiV<XnM£

Nl ROSAS Nl JUGUETES

PAULINA HUBIO i . 'i: .'L t'T AL MUSC LAIINOt

JOAN SEBASTIAN

PEGADITOAL CORA70N '.' ' ^l-f 4 :l BALBOA

EL BORRACHO

LA QUINTA ESTACION

GRUPD MONTEZ DE OtIitANaO iDISA)

SIN F RENOS " ■! " M mI 1 J '■ [ "

2»

-7

CELOS

FANNT LU il'Hr.'LHiiAL MUbrt lATINOl

VARIOUS ARTISTS

BAI4DA * rS ZD09 " .' ! .liJ^ UVLc

Ml COMPLEMENTO

LOS HtlRACANtS DEL HORTE iDlbAi

CONJUNTO PRIMAVERA

nsuPtRiTMAs Lt tnimAa unaiiDt'<-M\i:>i mi 'ilu!

TU DEFECTO

LAounvBLnaniiDiNWHieMHiuiaoHMPB ika\:mk.>i

LUIS ENRIOUE

CICIOS I'.' : [I.I c.l .1 ♦

AL DIABLO CON TU AMISTAD

EL CHAPO OE SINALOA ■(•' i

MAKANO

TE AMD -'►'j*h-*p1A MACHETE 4('(OOJ1 I'MiE

SENTIMIENTOS DE CARTON

AUAHUNDO EN LA VlOA i iM'IOS DISA r^irS^'UMLt

ME GUSTA ME GUSTA

;31«UnnES K tUlKMI IMNJM iLXtSCOMNClMtn&N. use LA^I.

DADDY YANKEE

TOCANDO FONDO

flICAHDO ABJOKA i'. " ^ilH* I AliK* 1

LOS TEMERARIOS BRONCO LOS BUKJS

I U MtXVI UC R 1 1 SUS <1J NAA Wni tUTIES ''\T,'

Y AHORA QUE?

lOS NKLEROS DEL NORTE jFONGVISAl

LOS INQUIETOS DEL NORTE

COMO VOLVER A SER FELIZ

nil!; fwi?iQUt .1 ■ ■':■<:

LA ARROLLADORA BANDA EL UMON

COUCCJCW fRP/AC* LAS » EXauSNAS V J. ,■ ' .'.t 1

i**

MARIPOSA MIA

VIVAHAIIVA ,1: - Mf-'MfiG UUSthi

RICARDO ARJONA

I-

EREb TODO TODO

JUllON ALVAREZ T SU HOflTtHO lANH |ASl;<

HECTOR AC05TA

u*u«£iri ai>r: -a iTtsiafM*.

SENTIMIENTO

UICO C ftAIURIHG ARCANGEL lEUI TEIEVISA)

MANA

ARDi (I MO -i: 11'- -H *

EL PILOTO CANAVIS

mnHY HERNANDEZ H '. v '.'I IMVtSA>

QJ33I MAGNATE ft VALENTINO

mim 0iBUPtfnnK\AMACKTEoi3iTf>iMi

LLUEVE POR DENTRO

lUlS FONSI - Mil ..' L .UlNOl

PATRULLA 81

CafCOOM PRWAUA IAS 70 EXCUSNAS '.'.H^^Mi

ALMA EN PENA

LOS IKDUIETOS DEI KORTE (EAGLE MUSIC)

PANCHO BARRAZA

i*i nnMucr):» c( pikkr MnniUNL imisari n&«MJO*

CELEBRATION

MADOHHA iL\AI'm h }i»Qi t

PAULINA RUBIO

GRANcrrrpop LH'riiiii':tn;'jiM.f ♦

SOLO TU 1

LOS tNOUIETOS DEL NORTE

VAILIN FEATUMM MOWL (WARNER LAIWAl 1

LOS PR1M0S

tOS MOKROS DEL NOniE 4[IISA.'ASLI

tt-l

KTIV

ALICIA VILLARREAL

LAJEFA HjN..vibA JWU/J'UMLE *

ENCONTRE

DON CHETO

CDNJUNTO ALMA tlORTfHA r"^.VASLI

EL K1ME DE USTEDES Pi AIINO

DERECHO DE ANTIGUEOAD

LA ORIGINAL BAMDA EL LIMON i i I'H.-VISAl

MERCEDES SOSA

CANTOdA ■ " :: s 605 56785.'S0NV MUSIC LAIIK

I-

BARTENDER

ALEXIS A FIDO ISONY UUSIC LATINI

FLEX

LA EVOLUCION nOHANTIC STVU EMI HLCVISA G7S17

OVARIOS

JENMI RIVIRA irtWnVl^Ai

DON OMAR

IDON '.'.'Cur II Mi:fifi7 jVLE

Ml ULTIMO OIA

VARIOUS ARTISTS

lERCEHCiELO ■!■ Ai

SUPEH I S MEGA HITS r/-nitlt OtSHO.'UMLE

EL RITMO NO PERDONA (PRENDE)

DADDY TANHEE li - ::>U.Ti..'

BANDA EL RECODO

LA HISTOniA DE LOS EXIIOS (OSCVIi:* >M\'^UWLE

TU PRIMERA VEZ

HECTOR ACDSTA i(i A U ','fSiWiJSlC)

LA ARROLLADORA BANOA EL UMON

ItAS ADELANIE iJliA J IIjU UM,.!:

U-WIIT

FIRE BURNING

SEAH RINOSION IfltLUGA HllGKIS/EPICl

4«^

BANDA EL RECODO

n PflCSUttO FO\OVISA 35379° UULE

□

JOM SAastiin KOie Ms ttM No. 1 M
Bqloial Man Wiplaif wWi Ns 2Wi dHrt
ntnrs "k h Neioc Sn Mi" sl((s 2-t (9.8
mMni ki lullcne, up 2%). His pnor dun-
topDCis wm Um n06 ")bs Ub M Sol,"
wtikh spent 10 weeks at ttK summit, nd Ihe
2000 "ieoelo Oe Amor" (tuo «eeta).

(nac Nortn de Dmngo scons Us Dill too
Dw M on bp Nedcn Alum as

"Q Borradio" jomps 5-! (2.000 copiB, up
2i)i). ana tlw Od. It. 200!. issue otm b
ant afeum, "De Duranqo A Onoqo,"
dciuted atofi tile dufl . oriY Los Tigns iM
Itote luve notdw) mm lop line (DX

50 I Go to www.billboard.biz for complete chart data

ii
o

2
3

1 25
4 21

TITLE

ARTIST .IMPRINT ■ PROMOTION LABEL)

HTE IRA MEJOR SIN Ml
JOAN SEBASTIAN VIU^ART^BALBOA

LO INTENTAMOS

ESPINOIA PAi I .

SUFRE

LOS DARETES OE LA SIEfWA DiSA

TITLE

ARTIST .IMPRINT , PROUOIIOK LABEL)

EIloba

_B&9 SHAWRA EflCSQWV MUStC LAnW

MANOS AL AIRE

NELLY fUFlIADO M . I.' I'. UMVtRSil

ULtSIC LATINO

LA GRANJA

LOS TIGRES DEL NORTE IPriOvlSA

10
4

2
IS

YA ES MUY TARDE

lA ARROtlAOOFtA SAMOA EL EMDN DISA tOlUONSA

NO ME OEJES DE AMAR

LAAPUESTA

COMO UN TATUAJE

M PAZ Of LA SIEFtFtA ^ISA. ET^IMONSA

TE VES FATAL

EL tnOHO DE MEIICO FOVnvi^A

COMPRENDEME

GEFtMAN UONTERO lONOVISAiUtiSfVISA

TE PRESUMO
BANDA EL RECODO FOHOVISA

FUE SU AMOR

AlACftANES MUSICAl AGdlLA rOKOVISA

EL BORRACHO

GRurO MOfllEZ DE DUHANGO DISA

Ml COMPLEMENTO

IDS IIUKACAKES DEL HORIE

eee

13
19

11
7

TU DEFECTO

.0^ utMKtti net fom aMmcuam H Ainrao tmm:**tMire*

AL DIABLO CON TU AMISTAD

EL CHAPO DE SINAIOA lUi.A

SENTIMIENTOS DE CARTON

UUEtO-.'. . i

Y AHORA OUE?

lOS RKLEROS DEI HOFtTE :VOVISA

15
18

12
8

QUIEN ES USTED?

SERGIO UEGA r<i

ERES TODO TODO

JULIOH ALVAREZ Y SU NORTEHO BANDA A^L

EL PILOTO CANAVIS

lARRY HEFtNAHDEZ (QHOVISA MlfSIViSA

ESCLAVO OE SUS BESOS

DAViDaiSBAl . -■■- ■.-l MUSIC ■-■ '.'"I

LOOKING FOR PARADtSri

tm\int I

RECUERDAME

lA QUIMTA ESTACION nriY MLJ!iiC LATIN

ADIOS

JESSE A JOY WARNER LATINA

FELIZ

KANT GARCIA SONV MUSIC LATIN

EL AMOR

TITO EL BAMBINO- SIENIt

I GOTTA FEELING

THE BLACK EYED PEAS INTFRSCQPt

Nl ROSAS Nl JUGUETES

PAUI INA HLIBIO 'll.. ■.' I. ^ATlNO

AQUI ESTOY YO

CAUSA Y EFECTO

PAULINA RUBIO i NI'.LHbAL MUSIC LATINO

TOCANDO FONDO

mCAROD AiUOM WARNER LATINA

CELOS

FANNY LU I II

M MUSIC LATINO

GRACIAS A Tl

WISIN & YANOEL M.'.ltTE

MARIPOSA MIA

VIVAHATIVA '. 1 , 1 Ml'KINO MUSK

Ml CAMA HUELE ATI

inn n HAMBiNO lEATUHWC INW * LENHOII 5IENTE

I KNOV/ YOU W/ANT ME (CAli£ OCHO

CELEBRATION
MADONNA AANNLR BROS

THIS
WEEK

EAST
WEEK
WEEKS

TITLE

ARTIST IMFPIIi: PRU«.'u:iLlN LABEL!

2 8

UlLailUfli SU VENENO

mBBM nij!lj4lH AVENTUM PREMIUM lATM |

LOBA

SHAKIRA LI T. .QM MUSiL LATIN

ABUSADORA

WISIN A TANDLL .'. . ' I M

Ml CAMA HUELE A Tl

TITO EL BAMBINO FEATURINO HON A LENNOX SIENIE

MIL KILOMETROS
OMAR RENRIOUEJ nx

ADICTO A TU PI EL MOLDING ON TO LOVE

FftANKIE NEGRON AIUGO

DEJAME ENTRAR

HAKANO -i'.J'.U MACHETE

HAGAMOSLO AUNOUE DUELA

MARLON l.l4r.-:ii

EL ULTIMO BESO

CAROLINA LAO V>IIFi<OV

ASI ES LA VIDA

EL KLAH DE PORFI NDRTAVENEMUStC

TU PRIMERA VEZ

HECTOR ACOSTA li .1 y VLHEMUSIC

NO ME DEJES

LOISAIDAS

COMO SERIA

moio. . 11-

SI TE VAS QUE TENGO OUE HACER

OMEGA .- NlT

MANOS AL AIRE

NELLY fUflTADD -ILLSTAR. UNIVERSAL MUSH: LATINO

ASI ES LA VIDA

MAMBO NUtVAYDRX DS

PEPE

DOUBLE I T El CHOK (LOS PfPII MVH

COMO VOLVER A SER FELIZ

LUIS ENRIQUE 'hp I 'mI'

CHINITA

IMW HUG 11^ ITAI UMi lUITiaC^lfRIVNUinra.YA^SXIrlAAC UUW

SENTIMIENTO

VICO C FEATURING ARCANGEL FUI TElEVISA

3|k sS

PHP

TITLE

ARTIST IF/PRINl ' PROUnTlON LARELl

Ml CAMA HUELE A Tl

FHAMBBNl OOM 4 LSam ^

SU VENENO

AVENTORA nitMlUM LATIN

LOBA

SENTIMIENTO

VICO C FEATuniHG ARCANOfL EM

MANOS AL AIRE

NELLY FUKTAUO M i ^ URONIVERSAL MUSIC LAIINO

BARTENDER

ALEXIS A FIDO -LN. MUSIC LATIN

GRACIAS A Tl
WISIN A YANOIl F/ACHETE

QUE TENGO OUE HACER

DAOOY YANKEE F, C'.iiTtL

DEJAME ENTRAR
MAKAND I .'.U.M.I .1 f,'. . HI H

ABUSADORA

WISIN A TANOCE WI MACHETE

CIAO BELLA
DON OMAR MAi.f.FIl

RASTRILLEA 2

KING A MAXIMAN MIA

THROW IT IN THE BAG

FAMEOUS FEAIUTMG TNtOWBB LXHRT SlmUIH AlAAnJk

EL PAROUE

MARCy PIACE FL ORFANATD'SFENTE

RELAJATE

El JDEY lAB

FLAOUEASTE

JOAN A DUEIl HIT MACHINEiSOiO OUT

SOLOS

PLAN B FEAFURING TONY DUE PINA

HOTEL ROOM SERVICE

PITBULL MR ^DS POLO GROUNDS J.'RUG

BETWEEN THE BULLETS

THE AVENTURA CONTINUES

Hie Brotix badiata act coiUiiuifs lo heat up the charts as "Su Veneno"
jumps 2-1 on Tropical Airplay to become its sixth No. 1 on the chart (2.8
million in audience, up 50%). The group is now tied witli |uan Luis Guer-
ra & 440 for the second-most No. 1 s by an act in the chart's history. Wisin
& Yandel are first \vitli seven. On Latin Rliythm Airplay. "Su Veneno" ris-
t^s 6-2 (2.8 million, up 21%) to become the group's ninth top five title,
matching its entire output of charting singles. — Rauly Ramirez

Blllbwrd

GERMANY

ALBUMS

IHtHSHIN.'IOUHDSCAH JilMH.

PLIHTECHI OCTOItR • DPI

(THE OFFICIAL

W CHAATS CO f OCTOBER J. fOPV

(MEDIA CONTAOll QCTOBCIt 6. ?t41

AVAKA

NEW

PAF1AMORE

lillKKU MM EVCt 1 AilJ t> MtMih

MADONNA

BACKSTREET BOYS

TWS IS US 1'I<} DVD LTD EDi BUG JAPAN

MADONNA

HOWARD CARPENOALE

MEW

MADONNA

CBlMaW - NMKIM JUHB MSf OCOt f^^^f

NEW

NEWTON FAULKNER

HFBUiLT flV H'JH»NK I. - .-.

PUR

WUEHSCME '01

AYAKA

trw* s HIST 3in MOi-ziM itanoTOi wm>m:<i

BARBRA STREISAND
um a rw minu couiMai*

■»

UDO JURGENS

IM BEST Of Mi'i'r Wu^lC

AYAKA

(M1.JL u<t^rr<n Mte-mM (aMWDODi Muwtn

■

MUSE

TW MimiKI U&MELIUU l-WAHNtn

MARK KNOPFLER

HEW

MICHI

UP 10 TDU ilODVOLTOfDISOirr

DIZZEE RASCAL
TOKWf M' CMEfK niRTCE STANI

• -

THE BEATLES

THE Bt*IL(S IN STEMO MX ACCU IV.

SUPERFLt

CLIFF RICHARD FT THE SHADOWS

nEUMIED tUI

PARAMORE

BRAND NEW EHI 'l,:.Fn H> RAMtH

BACKSTREET lOYS
net n US iiK

rAN BROWN

MI WAY fltriOH pmyocw

•

ELEMENT OF CRIME

MMIfl CM WO DU BIST M ICH W iLITIjj UtRIH

ARASHI

m THE Kiv im-iDin .i-stoftu

JAY-Z

NELLY FURTADO

MIPlAM'ilL 1,1^ If, .[ ^r-li l-MSn: 1

A.I

«IT I.I. UHtVf RSAl

VERA LYNN

WILL MEET AOAIR THE VERT BEST OF iK ' '

5EMIN0 ROSSI

DIE UEBE BIEIBT m:'.)-

O CANADA

AUSTRALIA

tiur.uwfrminn oct>i» i, km

ii iweluh KiunMiKW) ocmnu.iMi

lARlA) ACTOBtR 4. tBH

NEW

JOHNNY HALLYDAY

TDun M lETAH M FlUMt IWt, MUlCURT

MADONNA

CELEIRAtlOU '.'•'-'•■L^ f-ii'S fitWlK

HEW

PARAMORE

BUNO MEW Ens 'UiaU B1 ftAME'i

UIKA

BARBRA STREISAND

~" lOKi IS iKi ^xiwiB ^L'i'jiMiAiUNv muc

PEARL JAM

BACUPACfH '.MhittfflEMCK'ISlAND

UUSE

THE RESISTAHCf ALfWllUW SlWWm

PARAMORE

BR*M)HEW EKS -1 ( l-n HV ''*Wf H.WfcHHf H

MUSE

TW BtSISTAWCE ■■■'.I K Ji.'M JWAANER

VARIOUS AimSTS

HOURT 1 OPEU ROa WARNER

ALICE IN CHAINS
™" BlACt CIWES WAI TD BtUE ';IR:,ifl l-Mi

THE BLACK EYED PEAS

THE E ND 'III ■. I --

MItTIR MTSTBK BAKLAY

MARIAH CAREY

MEMowof MwwEn««arj^'.'j-.'fj.'_fi:A.

BEYONCE

lAM SAJHA flEBCf V lite ftWLD.CtXLrtJ!^. i

DAVID OUETTA

; *

VARIOUS ARTISTS
™" nENEHAtlON PASSE PAHTOUJ I^'inlV

MADONNA

KlfBRATIDN .',AR1£R BROS

MARC LAVOINE

wxuwuB'.'i.

5 THREE DAYS GRACE

^ llfE iTAflTS NOW .".:'iv ml.::

DAVID GUETTA

ONE LWf ji.V .SiGm

MANU CHAD

BAieNARtIM BECAUSE

, PEARL JAM

' BAUSPACES ■.' ;•.-! '.V"-'i;.H .IM'irP.iA:

KATE MILLER-HEIDKE

ojHJixisni "^i". • «u5ii:

NEW

SALIF

CUftniCUlUM VITAL AZ

JANN ARDEH

JIMMY BARNES

IH( RXrTHM AND THE BLUES IN

THE OOSSV

■usic Hummm. nock siaa&^columbia

?^o

c THE BLACK EYED PEAS

NEWTON FAULKNER
NEBUILI rr HUMANS RLl

O SPAIN

ALBUMS

Q MEXICO

IflMIHIELSEHI OCTOKfl 1009

IMOIIUtKAC/IBtDUl OCIOBEn T. IMt

§i IBIMSAl OCTOBER «. lOOl

ALESSANDflA AMOROSO

SENU WWLE EPiC

FITOAFFTIPALDIS

ANTU OE aat CUUTE MZ 0 N.O

, VARIOUS ARTISTS

AI>4Lvnt A (OMII UNIVERSAL

MADONNA

CILEBRATiaN WARNER i:^

NEW

ANTONIO OROZCO
flEHOVATn UNIUIRSAL

^ MUSE

IME PEsisTANCi ^'.i \-i ml-' -viy-'.-H

G1GI D'AOOSTINO
1 COME ttl RCA

HCW

Li;Z CASAL
LA PASIOII EMI

, MUARES
' mwAsi vnffkm

PEARL JAM

BACUMCER MONKEVBEHCKISLAIIO

MADONNA

CfLEBMTIOM WAAMR SftOS

4 MARIA JOSE

' A«UHTEO{LOAJaiOill>:-A -..ir.< MUSIC

MUSC

THE HE^ISTAMCE lU.'HEUUU I'MAHhER

AMARAL

LA BAmEHA Ml tO«m EMI

. VICENTE FERNANDEZ
prmtM Fiu SOMV

EROS FUMASOTTI
All E KAOa RCA

HCW

BARBRA STREISAND
LOVE IS THE AHSWCII CMUMIA

■— — PANDA

El "^msEMi

. MARK KNOPFLER

^ Gn lUCKT VEHTIGC

MARK KNOPFLER

Gn LUCKY VtRIlGO

s PrTBULL

O ICMUniOIIMR WS^'POlO GnOIM[>&J

, TIZIANOFERRO
' ALIA MIA En CAmOL

WHITNEY HOUSTON
■ LOOK TO TOO l.K'STA

~ LAS so GRANDES CANCtONES DE

iA!iii;'"A-Jif.iA« ii>j.M:f iiHiiSU '

WHITNEY HOUSTON
ILODHrOTDU '

MUSE

TK HlllTAAICE A&L<>tEL>UH IrWAANER

. GUSTAVO CERATI

^ fJEUA MTUHAL SOli'' VOUC

ff MIKA

" TicBor«H>onrnaMjaiDi£«aMCA(ajwc

HANNAH MONTANA 3

,„ THE SLACK EYED PEAS

THttK-DiNTtHSCWE

'WW

<MEOU CONTULI KTHEH «. MM

ITLE) OCTMER T. IHI

(lATRATDP'SFI) KTDaEII T. IBBB

1 GOTTA FEEUHG

TNI BLACK EnO tUS -SIEHSCOPE

PAKKO PAASTA PARAT1I5IIN

lARKKD HARTIKAIMH L<.>VHIt

ALOflS ON DANSE

STROMAE Al'-it

SEXY CHICK

r...I,r..ifTU»T ANM OUWVMOM

FRONTROW GIRL

".mv CHICK

[ » OUtTTA FT. AKDM UIM'VIKUIN

HEAVY CROSS

TiiEboSSiP-'u ill':-. ^'arSjCOUHMU

CELEBRATION
MAOONNA URQS

, 1 GOTTA FEELING

UK SULCI EYfO put INIER&CDC-E

CELEBRATION
WAUONHA ■ ■■

PUSSY

UMMttEin UOIOH'UIIIVtFISAA

HEAVY CROSS

IHl EDMiP ■ 11 : »ac« STAU'COIUMBIA

GIVE IT TO M= RIGHT

MELAWt MOhA jf-: JMViHSAl tWIOWS

1 GOTTA FEEUNG

THE BLACK ETTO PtAS SlERrrnr'E

HU5M HUSH

THE PUSSYCAT OOLLi ilTEBsCOPf.

, UUSE

' IHt RESISTAHa Alt M'LILW IHIARIISR

LAURI TAHKA & ELONKERJUU
TAMAAK {) HDUWISIA MUREHDITA jr, >;-~i';i.

JOHNNY HALLYDAY

TOU* 4e (STAOE D( FHAlia MHI MEK'JL^v

, GOTTMARD

h-FO TO BEl«Vt N.ICliAH HLASI

MADONNA

CEIEBRATION A''-tFK BROS

. MUSE

' THE RESISTANCE AiE.flELIlIM VtltmiH

MADONNA

CtLEBRATWN AIHYIH <IH3S

JUHA TAPtO

SUUREHNOHOI tO«OfLMA W&nil(A

MADONNA

ctitBtiADON Jsinnm enos

NELLY FURTADO

Ml *Urt '.iL^-aP,' JNIVERSAL MUilC LATINO

LOISIO l'U'.C

J DAVID GUETTA

^ ONI lOWE bUM V'lt^

MIKA

nc Vr WMl HEN TOO MUCM DUMlAMAUAfC

HEW

PARAMORE

HHAND MEW EYES MEL! J <iV flj.iltn

MAURANE

HOUGUID DU LCSmUNa EN LWMME 'T^.'lwa

EUROPEAN
HOT 100

OCTOBER T. im

DA^vKi cumit'n ABOM Guuvnsn

TMau£KtTanu?NIERttOK

CELEBFIATION
MADONM WARNER BROS

SHE WOLF

PUKIRA SONY MUSC LATIU'EPK

PAPARAZZI

ueiitasTitmMMMMoaKmjimem.

BREAK YOUR HEART
1M0CFBU 11. niPlllLIC

LADY MELODY
TOMFRAGEnGWAYAvU

EMPIRE STATE OF MIND
MM + UIIM KEn HOC NATIEIM

•

PUSSY

RAMMSIEIN ■.■'.■'\" -.'S

EVACUATE THE OANCEFLOOR

CAJCADA. ■ .LL!-.;.i.inari AAUv

WHEN LOVE TAKES OVER

i:tl'|il GJLTTAFt KtUY nOLAMO 'MV ilWm

IF- A SONG COULD GET ME YOU

MUHII iXHUn V1R8IN

RUN THIS TOWN

JAY-J ROMMM k Unffi WEST RDC NATnUI

HEAVY CROSS

TM GOSSIP KILL ROCK £tARS<COUJUeu

1 KNOW YOU WANT ME ICALLEOCHO)
PinUlL ULIRA

MOTEL ROOM SERVICE
FTTiUUyR 3aS.mO QROUMDS/J

COMME OES ENFANTS

M«WMPIHAn?..r.-L"'

HUSH HUSH

THE PUStYCAT DOllS IHTEFISCOPE

RELEASE UE

AWES Oifn.".'.i[r. .( SUTILUE/AATW

NEW

SABY BLUE

MAM mua COLUMBIA

EURO DIGITAL
SONGS SPOTLIGHT

(NIELSEN SOUNDSCAN

INTERNATIONAL 1 OCTMER IT ieO«

1 GOTTA FEEUNG

THE BLACK ETEOnAS 'dl" ,.l,'->

MAMASEt

K3 ■ too

HOT

IMH 1 .'11 f

Ml RO-A^U itK HEB EEN TUKTJE tH HUN HWT)

■I

THREE DAYS IN A ROW

SEXY BITCH

OAvn GUETTA FT AKON i '.' .

EVACUATE THE OANCEFLOOR

SLAAP LEKKER {FANTASTKl TOCH)
OWGT Oa n m OE ROOVBC MAKUS & HHE2

SORRY

THE XTFMAN JAHHM

NOT FAIR

UU AILEN REGAL'PARLOPMINE

HeMton Faulkner 9d«s Iwq tor
(wo In the lop iliree on \ht U.X.
Afens dwl IS Ns »(oi>[f »1
starts at No. I. His fint album
Muted al No. I two rean if o.

iraliEBPROOUCfinDW

Mmnm octobcn j. iwi

. KAYAH

m PCARLJABB

■ BKKIPKHIUONKEYNENCH ISLAND

MADONNA

CEIORATIOM BRfir,

(iff

KULT

HURRAI =.=

RAFAL BLECHACZ

Oam IDKOTY 1 JIIEFIWME » lir:UE -JVMCtHM

VARIOUS ARTISTS POL

fMPlr CAFE . CWLOlfT !»M».MY

WHITNEY HOUSTON

' LOOK TO >DU ARISTA

MARK KHOPFLBI

or LUCKT VtRIIGO

PEJA

HA BERIO ^ONOGAAFIKA

HANNAH MONTANA 3
HAHMW NKHfUlU 1 MALT DISNEY

injeisen soundscah

imifrhationali october it, loob

SEXY BTTCH

DAVID 6UETTA FT ABDN GUM^RGM

{

1 GOTTA FEELING

IW BLACN (YEO PtA) IN If NSC OPE

EMPIRE STATE OF MIND

SHE WOLF

SHAJWA SONY U1.II)IC I AT^^.^nC

BREAK YOUR HEART

TAIO dWZ UNIVERSAL REPUBLIC

MOTEL ROOM SERVICE

RUN THIS TOWN

JAY ; RIHAHIU 1 UNYE WEST HOC MTHM

CELEBRATION
■AOONBIA WAHhf n BROS

•

PAPARAZZI

LAEYCKA " '. '." r- - WWSIXW

SWEET DtSPOSITON
Tl« TTMPf H TRAP VFJi: T.^UT.

HEW

OOPSV DAISY
CMIPMUNa )M

SEX ON FIRE

■MBS OF LEON f AND ME D(Wtl.flCA

BOYS AND GIRLS
POX Lon uEHCunr

WHEN LOVE TAKES OVER

CAVID EtHHA n OLll ROIMAW GUU.'VinCIH

HEAVY CROSS

TW GOtSIP KILL ROCK STARS COLUWBIA

EUROPEAN
ALBUMS

OCTMENT.iaW

MADONNA

CILlBWIiaN WAHKiA BlO'i

MUSE

TW WntTAKE ■■•.i milUM X-WARNER

NEW

PARAMORE

BWNO HEW EYES ■i.HilO St WXV.H

t'4

MIKA

IW Kn WHO UCW IDO MUCM [:&::.ULW£AGt AM)

MARK KNOPFLER

SET LUCKY 'JtWivjij

PEARL JAM

BAcisPAan vn;NC»i.TSiAi!iD

NEW

BARBRA STREISMtO

inVF IS LIE Kh^WTR rrnuMBIA

' 8

DAVID GUETTA
OMElOn ■' .1%

WHITNEY HOUSTON

1 LOH" 11; 'OJ ■■ '.■■

NEW

HOWARD CARPENDALE

SIAH« ..

NEW

NEWTON FAULKNER
Rtauni BY HUMAHS Kt,

THE BLACK EYED PEAS

THE E HO -Z:'! . 'I'L

NEW

UDO JURGENS

THE BEST 01 KONV UUSfC

PUR

WUEKtCW CAPITOL

NELLY FURTADO

Ml PLAN M. T.l>l Jlil^'lR^U. MUSIC LATINO

EUROPEAN ~r^.
AIRPLAY

OCTOBER r. fDH

1 GOTTA FEELING

IHt BIACK EYED PEAS lUFK'.I.UPt

SEXY CHICK

DAW OUETTA n AJUW OUM VIHQIN

WHEN LOVE TAKES OVER

MW euart n. keuy rolaho mm'VMGM

CELEBRAnON

MAOOMA WANNER BROS

BODIES

ROBBK mUMBS CHRVSAUS

•

SHE WOLF

IKMOTA SQH-r WUGIC LAIWftnC

RELEASE ME

AOMl COPENHAGEIt'] BEAT SiUE/AATW

■

F"K VOU

UlLY AUEN REGAL'nRLOPHDNE

PAPARA22I

LW SMt Sn&WEKWKKOCnnmWIBBCIIf

WE ARE GOLDEN

■NU CA&ABLAMClk'lSLAND

1 )0«0W VOU WANT ME (CAU£ OCHO)

PITBULL ULTRA

' ia

AYO TECHNOLDQY

PLEASE DON T LEAVE ME

EVACUATE THE OANCEFLOOR
CASCAOA ^OOLAMD^Zf BHAlAIICWUTW

21 0UN8

SREBI OAT RFPR»f

ata for vnek of OCTOBER 17, 2009 1 For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i SI

Cni

^JBHacMWaThtDao

itCBB,«Ctf,toBlta»M»BC

Hlin43

AL DIASIO'COM HJ AMISTM) iI^utd ;4)iTf

All 1 ASK FOR AKTMOM .ia\m ttee
',■ ■ ■ irrKClgirflCm BM>'I-

■.' .■■ . CSffl
iU.M*ENPENA ■. ■ .-I'M
ALONE ■ :<--MtSlBftm

V .. , I '. 'icilj.'ATV&WlLC

ALWAnY GONE ' . I ii.t,3tf*.tSWMM

M.r -■J..:.jV.ii..,nc,«C*,«rtB2LMl

A^J.-.i^l-i I., J J

ETASixos M, Coed Gr hisK. Miciillr Wnr'
aoui Muc EMLflQ BucB. GMl. HbWM. CS 1
HI0D40

TB(nio£l(*»ft«ltsWiia,ASCAFHW

Htr n K C30 (M Mick lUbfMn ASWAiwff
s« Uw Cmrawi AS&V^M Ori are lon^
eWSm QlUwral. Ire . BWl>w^
TiiKalT. ASCVAn li TheGnninMsiKig

UIIH«nS(Scrw'A1Vljri9UC ISCVMiumcl

«Ctfia.HI0OM,HMO
■MTDBER rAwn I' fiib Mu9c lUrishin

aSr^J'^OT. ft-V luvi Lie ASCtf^MI BtKtauKl
^v ir vv'''-!''..- ' irr^jacluitalwftBM)

MTTIEFIELD .. AgCAMttM WaK Ml-

'• ' TViattmtfi CmHcm,

■ I',' ,.: Asc*vsaV.,

■W- ■ v-*ri' W,LtC «WP«w1h»Sp«-

BECKY iFi? H GoUAjMitin(eHiWViw6nBrt<r«
■Vn^vri'ii CciD. BMUoM) Rohm Uisc.
Al<orvAIV Soras ILC. CM). K/meU RBH 48

IBRONTicniUt(A«S»elMsc BUftgUud

SESC'PKiic WM SES<C« lC« nMi-

K OM VdU lE^lffi PUUtfwg. ASCtf AU On SiMlir
Vup: aSCAPj WAIV Tins LLC. ASCAP/UiinsJ

ASC V tM toll Mflc Mc . HL H100 »
Wl I Em HU (Uw Wrk B«« Bbdnod
Hoc he BUkmg Ubc kc Mac
BWSoNpaUMaf. kiL GMfttHuDMatfU)-

PUbnTm Cop . BW*touni Uonn fWttn iK»

8M,Sr> *n Tirrli: fiCAft, kfllBH. WM 21

BtmB BEUEVE U ' -kiMK. ASCWWB

', ntf.yvieM.nL.aA'm

c,awciiiiOL.

Ct»'u£.. ASCtf), WGM CS 7. H100 37

inwpaaM auvGM Snne

WtMaASdiVWinlMrMlK ASCtflUgrMS
I aim MtaAn H MMncttxiJiSCiif-rJohn
Coat, ASCWMmABMwk; eUUMtat

ItaK lUwSa. ASCtf/M Mac Cen>-
ASCilMkHM Abc. ASCV/iM Use. eUIi

MME n OH HfcmMKL he. . SESACf CM ibniii

u^'iF rici'mHamHAnMeNig.ASC'imhid
~<fTT^j ; Hoisc RMstinft ASCl^Uto Baa
Uiu: M'WmtoMlmFUWiMCf^ BUl
M/MM.RBH31

nn MKng HI Sons SESAOni II OoNn Ktec
SESAbJcavH's MftMtfin). ASCAP/EM J^xii
Musk K.. ASCAmJmi^ l£w '2 Sonts
"'ittaSACl.HMflM.FEHn

(pK SvMi Uac . EM'Uycur

w fUmfng. AS(>r.<DiaiyRNS lAi
ewfM A(M ttec Inc, ASUh am. muf «
■OOn ON (Soigs a liMnlMi« PWfc. EMHw Boul
9NlrK Hale. EMWnrey ErnpK MeiC. SMCG.

nsAAbfwaASCAP}lJ24

It Bn Scul WiRCW^ MBic
..__CIWOaRASC*P).rt.»|-
BREAK 'tM BiKtwxiltCMUMocin).
.'.'I >iL.^ ThtSomWslMv SOCVUtar
.'.I , ^H^rra SOCAMfMNxtaondUsMn:
"■M ■ ! u-mm

BflEAItUP ■■ ■■■ =.Vll--,. ;r.r-(

im VCW UK FOR [Han A W Mac [Uili>ii«
SCSl&BBCB hkiK SESWiTtM Sonm fli 5^
BMErrm Gadm Msic. BMQ CS a

„ j« OE AnnuailD niTMfsMAsKa UHa
onn mu KNOW mw MutK 1 10VED TW) iin-

■■ ii: WJl'jfi.irj Kial -

: 1 < htynW RBHU

DOESNlMEANAimiMatMMntlkCHrlt.

■.I.-, f.'i.^i vt^ucKc.ASCitfWodiaiQrM

Miut iiCAf;. pl.HlOOeS.BBHlB
00 1 (PM teu. EMUairii HbK ConHrticn.

Bwa«Mtsc MO«MM BMWrneriVneil^

"■"^ Cot , aKwocaiuim^

x1Mu3ClBM).WSM.CSMH1I»»

Y ll-cqefTi Mtoc LmlMl MRO) FBI 83

IP Bainr nwtf ngh nnnw,

ji kiaDIAaiC. BMplW.HIODre

wnc,

^ jmmenmBFWBMioDoni.B"^

HIDOt

DROP ir UMf 1^ M SMS IxiicntM, eWSvot 01
LlMval hc.EWlUtoHiDw8MttUM
BnM Ui E)tMieroi ausin]. GMl . m CD

46flBM3*

00 (EhB Ice MUK. BMKM BtadMOd MUK. K. .
BMtllia BOHi) UfSi:. eUfM April MtfiC he,
ASCAP« DmPlMMia ASUCPt >i.nH;T

Bmsaxmmimmdtiwc-Onm.

BU^htw fWinno, eM/l>n I HDffli Use
funsnru. In: MRO^MalimSieOntMiM
Anarca EJ^ti H^WBM.CSa
aVH mOE OF HD IDN Ml lAfilC K .
ASCAP/tiaiBr Bns Uisliin jSCM>i!N 9u3Kutfi.
nSdoW ^FUMNttPf^i^ tMc IK..
StSAMlBVi QiMMB Kuic. SCSHam nt-
Wina UUi^lCM FMidiOni ASCARTI^

ASCAP'EMtoilMusctc.ASCAP) K.W9M flBH
46

BESTOODTDOOlMBiTuAgune lAac VMsttni
EICUV0DESUSBESOSi1i-,-".ir.-ir-.-..i I'C.

. I- ^

IVAClUn TMf DA»)CfH00fl ■ • ■ -■ ;.:og-

EHSnr DOG US rTSDnrjUa;;^ IJies. M'UfiIca
3\llicttiT'iSorgAnlSNiq)e MrSiiee
f,H^ PAr-t l^t aKBCS5B

EUmORLIttunjkfemrfUIIItmiK Bh
Uw\SK f^tU:;yuCcn.. BMUttVIMt UJ. .
EM'tMBu>*WU« Irc.GUMeslCMIMi
Fu^srvq A&GVtttoaawW Use FUtMrn
eM'Scncs 01 Ltwul tc. GM/Unnal hkBC Ca-

EWimw, miyoK tfM Am

W&cin: ASOfiJ tecDMncASCV^iBiSttn:-
WrPiClrNia A5iyp.1<«i[«)ltec,A£Ctfl HL

eWEimilKf«IGO<.'^t«lC<Uj»MK A£CV>;jel
brrSMtKlaiE aM^jAArr«a3Kr.eM|CS46

MXOfDPlbii!^^ Bhl^'ArviMesaC

AEC^-''-,.'. (o-i ■^iN./i.j .iv^.HLKI(DW
MLUN'FGflVPU .i < ' Vim BttQIAoil

Wjyi - ■ I- -.I-'',' -ii ASCAP1.H.H100

M» ASCAP)ft>mU«K. «CAP) H100 B2
pnaiwaMiwccap^.iisBifiiTiB
fVnn (SonpmV fnt RiUWr^^
S>nMjSC.MHLCS13.HlD0«l
' — TUBMWC&mrtT

IK nn Amctn BnMv. JiSCAP.'-ihEarY » (ab.

ASCAMt&taniW ASCM^'irrvfi'Cat

UuacASCAP)Hiln«
fUH.gt

ifliuieVniuci

HlEUBIidK _ _ _
PLiDiair!). MflnK SHp Uac ASCM^IAhcmirru-
:t. iSOfm Wtkottt. ASCATI, H. HtOO

TIC CALL rSaus Ot icut BWr«n FtM awNw

i/ilMViLiTU3>tS0CAN|CSB
CANT LM WmnUT nW (I M M Use

■ .J JJirA^.uiMnjiMisc-MfflSonifr

V r:Krr« m Smxi ASCAP^OH AoN Uok k .
<■ ji-iMk li^ASCAIMMMoa WH
i^. ti. ,>^iJV>;AlniHi»:C(n).^ASQ^nnge
Wit,.! M.-j: ASCAP). fCMrtteH 19
CAnmiL I vMt Mific Con . ASCARU FafMi. I id
;u I - !>i-orAsc nscv.'Josh'sMsc.ASCAP^
'.'.[.■ '.;:i.Jri wBM.Htoora

CEUWKUM (AttaGirl UiHMa IK.. fSJeX*!-
■.'a •^rM'TheWUSJySoinaua PR&CUtu

CaOS iMr^(UwK.ASDV,fi]CSnBsM&-

CHECK UV mAm rUnqgn ftfiltfifio SfSU)

cmK to rou ii r^n^ Cowans, eui RBH u
coMOUHTKruAJE ■v-ii'.i-.LiTi::: ewiuia

COKWVOtrtHASaiFELC.'i; .'■-linM

aWSBfB P« GOME ■! ■ , ','!!. i:

■ " ■ , ; , i.' I'v 'Aii'i-llTTefUfie
■■ ; - ^ . ..no96
COUNTRY FOIKS -.Um' LOUOI {fM talMOOd

H'.' ..i, , i: EMIH CS38

COUNTHY LIW i n r.ri MABgSHDaMsc.

Aj;:=r.Uref:^Mjjc Aa:AP.ftjgnaae *SCAP)CS

COWROr CASANOVA iCjiiti Ox Uju:. SMfM

52 I Go to www.billboard.biz for complete chart data

fiETTMrnU HOME (TW BLACK miiS SCMI

hc.ASCArnVu** ■ ■ ■ . . -I cs

4SDJ ■■ I

fiOW THRU CHANGES i - i -j

QOOD 0H4 00 UD <;Slia Baas Mi2ic ASC r '
Adnl^^Kt:1r<: «£CAP>1.ari Aiv PiUSm

HUDBOMO (CTiuioiiln Dealer mttW. GM'Vi

BIABI BWrwDd Uiic Inc . SWton S Oct ne-

'■ — XIWWBflHflO

I iU Rirt MtHC ftSSCP'EM Adil Mist

W *£C(if),H.H10C6!

HEV SOUL mm mrw Mjsk. aecv.im axx-
wnd MBc.mc. BUi5Uff smp iki . mi n.

Mt009B

MSTORT MTK MMONG (CMbii (Uttiftna

" ■ -tecAaifitMIAiril __

ASCAR^WWrtnoFoiTh.

a ASCV^S Alora lAsc. ASCtflCSS

tor".

.'.FtwUelc SMI.

■■ C'J ■ ■

M stma

HOwnnnrooA'ANsA'jo'' '

HURHY H&ME

L.'/'.'MiiKS

Ji»iS«»wO"i>»«al>c

SUOjIin BMiid U Erame Uilshni eun»

B2PUM«g(c.AS(>i^>V^

Bab FUiUm SESACWmni Imi. SSADTU-

*nM( ScMB Inc. ASCAJ>?UmlBK Ha

ASCAP^uiliC. ASCW/«M)UOMy fUMmo

hc^Vtomrimfln fUWwg Coo. BM|.

CcnwM ASCtf Am fiTCl«A^^
J£A^eC«:)H10OS7:FCH28
r I HW OK (Ma Tim BMMsic 01 SbEPi TNn

I Of rain Mra hte. SESA(»bim Hm F*Jh

loniramciuwAieiu

I GOnXfBM (oil.ixn Msc.tnc.MJcepVf
Mac. M , nVU MigMIc PuNisAm BWCrtnv
AniMiBitCa BUHadAneJuWniMni

BEm&i t Co. K. ASQV^nsiH EdNons, SI

iimiinDiEKjpitfKM

SovtiC, aMKU AmW hMNn IK.
IJIKroumiMiMaBMUacM,

ASCVAiVMMs MiEic, jSCAnWff Cin .
ASCtf Aori Uck he. , ASCV/h Mi A Aw
Mac ASCAAKvle Mist ASCAfVKW MiBC llfr
HWnaAWWtt riL. ASCtf), HL CS?I
I nW W WANT W (OaUOOIOI |DiV< Mim

MiBC PiMshic 'StAP.Ubilm. ASQiMlo t

Ituni MsK 5a« S.t I.. SmCUMial Uot -

CawK Sillie s Lorn FUMi^

ben UK PUttshna /SWAJv^

SomJSm. HtWBM. Hia 44
lUJvrWUONMBMieicCao.ASCAP.llft^

n't Momr HBK. ASUPM A URd Of Ific Must.

ASClf«ianEi«rann«UjC.BMm Hoa

MiBc BUHUtly Hiarr. eumo Hum Entaran-

mvtBMtMMHIOQn
I lOOK flODDMnbll MieHi SH» R8H ^
I UMR TO VOU iRKrih lUMHttK JWUh^

ni AUK fimMTV Ulene hlitt:. ASCWttflduul
Mult liCr)^/ScnrtIVAD<nBtt Mux
BMKtfKUtf Mk. BWfiB Bum Mac.

_^^Qtali»l Buds, SHk It. CS HlOO »

m oooOniuw WW mrarihwb itonp rvt-

■^■v K . 8HMIImv3pivtn Aitn'Mii Cor.
Bl«^ Jten MiBK t«. BMKM ekMnod
Miw.kK. BMfUntia«UMCapoE«n
AS^^FtalnPi«i«n|iASCtf^.HUVini( HIOO

« iOOO Mm WAV tan NuMft RifcrirQ.
ASCinW JWI Haic Inc. ASCM^BI BMnraM
Muse he BM^ThmnniuiiniMira BMlUiqh
twtwrt t\BtB PjihJim SM). H. R8H 29
FH N MUUM TnCK m.Wz F(cW*g. ASCtfjHICO

lA STAR (EVEinvmEflC IM MB iitmm FHIEn

r,,i,,,',„,:,,-..^„. ■^r:jp,m>JmiiViimn

UrMralK..eNlj,HUV>BM, H10a S, PBH 36
> ISP fPL IMk My CMMS

Mac PUUsftna *S&V>.>S>)rv'AIV

txiKLiC

H mVE WTTH ANCmo MAN l>tt>n FUOf hlsc
-"u«UC.ASCAI^*tia
..I '. .. : ILWM.m44
ITDO.Ai' ■- "u .- .1 - riJiisNmCW.

flU^ 1:xk> Must. BMV MM » 54

rriauslHiGo(ricqin'iuit3i«a.ASCAf>,'b[>ii>-i>>i

ImUC JSCAIMAMUPlMefMig StSlCMuyc

I WANT ra KNOW tWAT LOVE IS > ''.i-Tr-.d Sen?.

•Ttir/i-jjlPC ASUTiHICnO] Fftl4.1
I MU. HOT BOW jSnm Ma Uaic. ASCAr,<taM

Beriaiki UBK. Xsovn Him

ASCAI^HiAic. ASCW.'Uak Q WnSMM
ASCAIvaiAcni Itoc he . ASCAP/ncc CoUtUin;
& Midc Faranvm UC. JiSCAmtanFan Ujiic.
ASCAP/NHlMdl hftnden hteic FUWttng.
JSCAnBttfnOe. HbW«M, l«H ^

KEff ON LHVir TDU IH:iuK a GM UHK.

taj>s'Mfti s^Qtmm kr^p Asup.tim ca-

1: M.ji: '^:.-Jljr>:«-{raspB(sSlSACTtS41
KNOCK rou DOWH : i:'../iMlilAak.SB>CiWBM

'1rMiBlcFUi»fa

PifVitanieGmmnA'
cfUWmhe
E3q.FC,AS0VABK

;■ai4^.CeM^lE^nch.E^q.FC
Grme Piijtehra hrC(l*a-
im BMTi li^fflM Tll0aa.l»14S

tSflW Music Corp. ASCAR^wm III n»

01 B U Inc SESAC^tem Sa«. SE&CfMl
ContmMocSESAClHmMtiK he
SESAC/Jirlai Aitm ttocWstrng, SESACensI

A irniE MORE COUNTTTT TMMTMI lUiimN
-f 'Owl ftWnss SiKCi
1. . ■■■-^WAftv'Muot,

UK IXEMRF DYING ' ^.(jSKIK
ttTA-', .v.:.npFQriBfcnttisc.

i^-fA^ttL-VlBM-HIOOBB
. . WTHENIBHTffitt^tStagKfUtMra

l>njjt!ciii(ttjSrdlFUl^Dt^^
.tu/RcuTAn.: BMUfMOjndUoic.BW.HL

HUG 93

linKi

UUEVE FOR Oema Wot IKKOI II 38
lOBA lire uj-jTTBi Ham Mac. BUfraoiMust

M,£ic ^-c . ASCAp.fflkimiUscilesCld. _.
S u^^uma^ Omet MjsK Scon SA. SGltAnun

liUBfl ltT

i&BiiHiMiTialimftrelu

10L:-|iJ>(;<>isli^MudLBI
IfiDniQxn BMbHsQmCiunwwBKruuDiirij,
BMOtf niCBIt PidtsMia mc. BMrSttJ)) ^ H-
iOTlAEiLM/El9mert9Hpflu BM'^ ^eCI
Sianm. BMItnlrc I!^ MusicXitao ASOV.f Ml
Bl«*«ix»ttai:,lnc Bl* K.WBU tfiDOSB RSH
12

UMBAmRFMGONE'!' :"-:'t^rnB
U-:>:

Ul^:

UM6UNE OF LOSERS .'-:.<■-:<>.>■.<
BMft^si; tf PFM iSCJy^.CtfrjX) Si fAat ASC*fl
CS24

LOOM fORPMUOBE .;Gcil. ASCAP.'WafCf

■■.;::.■■] )M ■■..iilPAfrtfte.ASCAP.iSMBeoBFWP'
ii.'TSjIbKI.SESIICMHfcStf
Al <.tMCa|i,ASCAP|.K/WM.LT

Uoc he. aSCAPMmOw Mm Mac ASCtf.SBit
On>Saii]iArnna.1eOV,«1 Sw.AgCW«MI
Siattata Mnic. he. MftolIMn Mae. BMQ.

UM LR GHNCr (Ul« CM MUK BIASmI Axt^

Use, BMWanw«nert)nB lUiishhg Caq> .
MT Mi U4iC eM), MM CS 4}
L0K UVB ON (IkrvAIV I>im KM HataUdv

fflt^:.»■V,?^x<I.C,<^\^.^r. ASCAP/OW Songs
I . -, -M'MMnftjWesr
F\eir. : V,-iM ES44

lOKEYOUk ,Lr.'E'HE MOSI . . AlVlwPUUtfi-
.iiTVi3«iAfi)C.EM|.

SMcAlat

C.Tt JSCVS.IrainDMisi:Plfl*rD EMtiLT34
MAVK THIS TIME ,Aln Mkc Carpc(3>: 94IM10DB3
MEETICHALnWtMlli>»UeK.in: BM'Jmo-
-w Mac he. BM^) Monrtt Pliibtav

a ASCWEM Apt Mac kc .. ASCAf«di.
. -3GmU«Mn.«SCVfaunnlMtt

„ ,OJ SonnilSMWif 31 S Mat AS^

ME GUStt W GUSn {Net uncti LI 30
M CAMA HUEIf A T1 Ml LOMI IT 6
Ml CQHPlUKNTOjUhMCUMK

MUJON OOLIAR IlL dilDw tattttm.

AX'f 'EVlAp'i UMflcJ«»'iSiii1&lMllPltK
im-q S£S>>£UMnN SESttSonm 01 Ut-
wra'm ':£yi:aarOneWfieAfmia
BA^Wi: ''.Kl'lurf. riiw'AECFUjWwftBMn,
HL'^At).' ■ ■ ■
MnTEFtOFFItlER - ■ ■ MWdW*

l-MGBScngL

MIUUMODM '

MONET TO sum '

Ma*^ R 1.

ffyaii: i-f,i.v.i ., .V -, ,■„

Mis[.tK.EMi.Hb\WM.Fai!i2
M» U MOO iCcA:r Qlr Unk UM«B.

ril>eitiUti.BMlf) Ftal.ei
inCHUI(triC^Uaie.l
Musk. BWWBliaMM b^.
Misc ASCAP;>eM tell Mac trc . A^.l UM V>
DmFUMwBA$mMohda(Uibhni).aui|.
FLFGHSa

WD VDU MM (Wn^Mlm PMMgiCm
BMtIWHn<wodMu>ic BWIWKHlUfTSWBft

UC ■■rJfi.flW.CSHr

mm ■:.

MnnSAYNmn ': - V.r.c ASCVllraih&
Dl« Wt.^ .v:L'j ' ; Ml iii . UK
iGCffMoa Muse AiKT fdweidi f\Ui9f*«
ASCJViHI003G

m OmOE lUvwsil Mac - 2 Sens BUO»c<

HO SWnH (SiAtB P>m Dmp Musk.
BMUmoat ilsie - QnaCiili^^^
Mm SOCMmnwteMvfUUmCnit,
BMl4totw Oimll SOCiVkSm«n SWB lie
BMQilAndi?MaKai« 11?lm WKI^

HOUBn tim ENct liAfi fCH 72

NUMBBIOM lAKak fjuma. hc_ BMnMrnii

BMkSxw OUmvayicBMUmiisil Wux Ca-
ttWm SSWltertn MjK, iSOPl HjWBM,
fi)O0T2FlBHB

BM2IX2 ttW ndWflO. UStfM Mac Corp
ASCiV^fQ MA FlMllte fOCAPAAn^
Cmoam ASCAPV H/MM KHD B: RBH 20
OtHurtwlMMsicFU^^

MOB lUM-sOam. Mac FumsTko

ASCAnaifllgHrMtft
MQBSmiL aSaPV KyVyBH RBHS4
INIOHiAltoirJ BliBlMHicASCAJMhMiilMA
ASCAnUMaN Male CetpCROon. ASCVmi BUb>
wxri Male, fkOTDtKV Jenm MBtm.
BMQN Dam On. MUw VMi lie. EM) .

B a Fta tit. ASCAPilMl tti l^i>-
. jMMJBSonkBUiOSSOtoKre.
. . ^Wr Conn Mae AKAPAMm^ Misc
Ciwaon ASCAP.iaubui Mbc ascaPpHIw

sour.ASCwnKiti026

acEM^tiAr.'KiuLi,.-

tJksi TT. eUlSnt>A\r(z-,IAiscBlin 11.CS3.

HiOO'lS

0N1KOCEAN' , ■ ■■■ i; ■ ■■' np.-,
OUTSDEHYWWDOW .' ~ '

FM,Vi ■. ■ .;

BM^Sm'AlV Sonoj UC. BMlNoiK CT Cii
KQ K . BMkQaJu Uslc he BMViMti

MCAPj.HLMinOB

ptfOBi-wu^iifweo

PiVnYMTHEUSA. >j:k-UnyPlMsMn

- C UilSh lUlstMO DBBQnBf .
EL PILDTD CANHnS ■" !: ■ n-- M -r.f-
PLEASE QONTLLAIrt ME

THt POINT Of IT Al

RADIO WAVES r\-.-ff^t BWCjf^lUusc

RAMPINGStlOP ;li:''P£H%
REAIASFTGETS I'.'i '(.-i Mz«W.,ASCAPt*>n

bUf , lUICJliK) IM BbdMtXd VbiiC. IfE

BM'Wuig Jeuy U«c IK, BWSo HRAles lie
SESAMooBShMujic BMmMMacn^
Anvio^hc.tiCAI'iMlhOtMuK^^ K.

nauBHTjc.^

Utfc RjUWrn taMa. he. JSCVAlnmlMn
DDMBMn Songt, eWSthip di KM MU3C Pubktfi-
MjlAOTalK BMKitaMuetiCAnCS16

IBRET Ork 1 ' ^ Muse ASCAf^ FcMttn FU).
telw<o ASCAP,™ toi 1 Muse l« . ASCAP.K
SKtram ASC^Ti'Jam Mu« he ,
MSm'AIV Stfos liC. BMU^ MsK PuMffi-

aASCAnSorgstone. A£v,C(Mrand 301
K, ASltf nu&oit WDTUHde fURnrg. Me.
ASCAPl,H,MI0QI0Qimi1
l0Qr UnraMi RHan Musk:. aU&iVArv Sons

HoK. iMw Mnm Mac,
ASCAAttMplBnUK ASCARiSoiyAIV Tins ILC.
ASCARUm DnmtaK ASCtfMq Mac he.

M'TNTMific nKiistiin. ASCAP.inwsal Mat

CtT' r»SCi-".:n.frj ■.j-nraon ASCAP).

ELRITMOWPEROONArPPfMDEl '-.iLrmSLUB
RI*AWAY I-' !■ ^..CAf.ftKMoo
■.V I. I,..,.!- r.'.r.,: ASCWWd

m-ehaiW.ASCVj ftHI.CS i^.HIlM 75
■WTW low JIEM tad HBic IK.. tiCV^CMa

BMM BKtaixd HRic, IK. BMMo 10

K.IK..SESIOILHll]012:RBHn

HIHniisifiMisalASCAPUl:

itmmnm.-r,-,'-:- r

IHATSHOW COUNTRY BOYS ROUilWwralMc

Cir.^:' ■ -'ViscASCAP^W

fliK'A.- ■■■■ ;il^BHMi6iC
BWhi;;.. ..v. -.VinlsaiAaK,

THEVJilnDOrTIUOWIlFVG ASCAP) flfiH 97

ncrmnwiuuT :f mmaA mawdeBuum

.^iirr K-i.AP Y^-'^' ?^r^i:t WlVrB
TMIhXlN ABIXJTYDU

TMi 1ME ail fin Mux. nttFGH re

TMOW IT Bl DC MS (EUI AvI Hfiic he . ASCAP.
i*-.Kn IAkc ASCAPrSangilf Fto
ASCAP.Uk^ Sri PUMftm, ASCARTOte Uwc PU
iKhnij. ASCAP/WB UmCot . ASCUPI. HUHM

HIOO 19 14
rel«OO^Wlt*?*i'o,;F'.(;l^^r^lL-C HM.rwur

I»lViMni:^cii.iH ■ -T.;,

EMV.

as :
1QCAND0 FONOO iir., ^ !v L>:u: U.ij: rbbiUin
LC &SW1LI31

Mice SE^OSongt For Mu BMOttW Mwc. LI
iWllm^W CttvtffW BMTi cs 31
TtKS i'M:i[«r)xn1 »ix BWU Dud Mtse.
BM Wla Muse BUfinOMt Shaft BWfluo
Mum: IianaWd.BMI<kvtoai(.eM>CS4.Hl
33

niOUHLE {Om .fickwi, ASCtf«DI 2 0(1 M«C
iATVtfl»liC,KC*fl»*M«t

it Fuumna 4aw/2 M EnnrtMs,

IRB^ (She I. ASCWAJnwal MM - MS
Sotov ASCViCTmi WMb PiDdueNn he . BWn
nwbn, ASCW, n/Am Hta)99: FB1 13

IWTWTM (SBgc Thae Samts. ASCfM Am
ConRiutMm ASCf .%risooi'^W'*"»lCtip
BMiCSa

TRTfTOUT 'ii - I

TU DEFtCTO r;

TU PRIMER* VE2 ..^

IM. B&Mnel htait Mjsc. aW<Sc(ai 0

RBn (M 1 1 76 Mule, ASCARBM Fmim Ptli
1^ ASCVjIMWDton S Mek. ASCAPiEU A|
"■— ASCAPMRraDBeSoflOlhC-

igak Mil tiCARUMoN MM Cop
— ASCAWOftrtrt 30«
ASCVWSWMB

I. AN). t^lACiA

UPHM^Mbrii^r^ Cop.. BMl

Misic fWwv ASCAt^VntfhMac ASCAPiDcn
Ctrrt FUUihD D^fiN. ASCAP). MM fBH

ASCAP.'TywWir ATrirVmPitl^BMlOairsBcu-

U5ES0MEB00Y '.lalTB SM MsK, ASOV/Son

' ; <: ASOVMaCOIVMnKCl.
] -Aij: ASCViMcfonBsMnc
CkiaM;

tt4«siin9.eM)H!D09

^j.-i^iifititJum ASCAP) IT

KnwnrOB 01 CMRM |W UNhA IT 29
SEXY CMCK iSmi Bansan & Co. In. ASCAP<Ed-
... - j.-r--..... mi'ATVt*-

Jt.BH7&Hn,t

ie. BfclOW. srll Oilffl 3<

Mlinif (TtB Cnrm Hoai Mate. BME
MnCapcauneMftxlNrrHnMBeAS

£ASCAf^MBcAS»nCS50
lOMGEMUHUBhkJtiCAR^^

MBit. SMWAaiC Ot CnrttuBMn.^ . .

oMsmMacConicvir AfflUViMMt^^
ASWiM l>nRK Mat (tou. A^wh. Hb^IHA
H10062 ^
ttMAUimiSaiEliW ASCM>UmnNMncC(r
KS ASCVfiii ApN Mm

SOOOOOlMfoiinbMtK ASCAf^OfPGhc,
ASCW/WMacCorp ASCMWBMMacCcqi-
SESAC'Aion DM cm RitWini), SBACOecBnta
..^^ ^ BlnThf Pin OIB

mntftHtllBeM^

Bfcn. ASCV/WB MbK Coi^, ASCtf>,f)anwaD
Mfcjc, ASCAF/WdwCvfeiiyi FU>tj(MQ AB STW
WU HtOO 47
WHU MT A or tSiM Uaw U^K RMiilMa
BWnOBodrSKl Muse MBattrxkn. MlW

NMIED (Smra s DBdti U5K. ASCV,CMl 'ttnl

WE K ITUOV MOnW [Mirl ^1 AM 42
WaCOHE TO TK FUTURE H>.se or Set GM
'■ - . ■ FMfi »W««6i

WETTER ICALLINC YOU QADDTI

Miwm W jBHaglermse ASCAP;(m Abow
WM Muic ASCtf^mqn &tm IH ,
OmtHBR ASCWNmo HsK Zap . iacm*t

MBic.ln: BVf'HiOC4
WW rVf BEEN WAtTWQ FOR 3-.^ MKnm U

aC 4:.!.: -

WMTYDUDO , .. .VS&^^WJUS5

Co.J-L ■■.....■■J ■,.111.: ■^■i.V^.i.ftjtilifwg,
ASCW-' l.n.i> Ki-i:ir,' : PiBtshna.
ASCAP.ltxw-JiMusc ,:So—
OanlPttWwo.ASCV^ H

RjUsWO^GnUL SESiC^
RK he SESA6N(W*ne Sixfl a

IW(Wl(iciDSon»BWSon(pOlU
SOMEBOOT TO LOVt ■"•^'.IwoOS MfiC CcrpaiAcr.

■ ^'.'IHIQOJB
SOO^f Fl Ufl LATER .li I rtlMt* BifW IfcSJl,

t.-.'. v, , .,: fi-™Cop..6Ml?di(;Ar«

Tj-.'.i . !.., ■Li'onMLM.ASCAP.'llkttre

Vitt Ai-L.>J M-ifiUaWl ASCAP), tjWM
CS4B

SOSHARPlTUIL^ffilRBHSO
MMDS UK UFE TO HE {EM tot MsK K
A9::tf',4«tMa Undfc Scnfp ASCV.IMnw-lvrMi-
m PuEMwxitcin . SMVimMgi Misc.
BWIUprilMCjCBMD »tAnM.CS11 HiKiBA
SanWM «W GorwATV to noiihro Com
M'tjmOouglHmsic.BWlo* VMe, Mac, SMi

HKBSIMJ TM*MatBH1UMTh(FM(toi
Mac.BliKenBOl(jnNnN,lrc BMlMttUndi
A UMac J&JVVUMtN MaK Cc^mbcn
ASCAP/ftwIirtiaiMisieJI---"" ' —

ma.mnjiim.imh
mniMtsmmimPM

JMrn^MUKhciii

fiiq.BMITilM«tlMsc
Gmo.BM9ljNttrMseaw

BWW Dog PUtUWa. BMITitair^l Mac
BMfcCaWMBC

H.CS2fi

HLCsa

IMilMa MSB FHon Mae BMh H too €B
STUCK jSi«»> Sbo Male. eiMnrtl%n Mac.
~ IWe Cut Mdic BWHeuMOl M»W Mriie.

[i.«ni,cS4a

XBfULflttnMrimtnFUMraCwp.

BMIUn ti£. BMOR BhdMin] Mae he ,
~-- 'sBmMfilLiuram

PijUsfmASCM^mClttlS?
nsr DHIM lite UMira ASACP^EM V'l
tAr^^x ASCA^'Afrmb.BMimBbdi^

WIff pONt WE JUR DUCI ISoVATV he FUK

TA ES MUY TAROE ir-17 PubUra ASCMtU 13
T AWHA QUE? m Lf9MA IT 3?
— HIOArj FurtetUMmgASCARpWUniC
—t^ /£CfP!Mal 101 PMatio Gnup. BMHC01
MMC. BMWott MC Mac BMAianv4lHrtm

Corm BNI^ Ml Hole, eMMIIig ShMl

SEaMiCG.BMn.Hl. WOO 7

nMHO roKM eil M uoic IK- ifiCARcn

dcvs RMMn ffiSvAai 6iniii hb FUMNi
hc eM««BtadnDaaMaic.tac.fiUeattSisi

ne .BW.HL HIOO S3

Data for week of OCTOBER 17, 2009 1 CHARTS LEGEND on Page 4

EXECUTIVE

rURNTABLE

Send submissions to: exec abillboard.com

ECORD COMPANIES: Warner Music Group appoints Rob
avallo to the newly created role of chief creative officer. He

a veteran music producer who has worked with acts like
ireen Day. Paramore and Kid Rock.

Atlantic Records Group promotes Kevin Weaver to exec-
tive VP. He was senior VP.

Arista Nashville names Lauren Thomas national promo-
ons coordinator She was associate director of promotion
t Golden Music Nashville.

UBLISHING: BMI promotes Jack Flynn to executive direc-
>r of key accounts and licensing. He was senior director of
eneral licensing.

Mcknight ■ irvin

3URING: MSG Entertainment names Howard Handler ex-
:utive VP of marketing and sales. He was executive VP for
orth America at EMI Music.

^//FILM: Lionsgate Music names Tracy McKnight VP of film
usic. She co-founded Commotion Records with longtime
usic executive Walter Yetnikoft.

ELATED FIELDS: The licensing consulting company Rights-
ow promotes Matt Irvin to VP of business development
id Kim Gerlach to director of licensing. Irvin was director of
ensing and royalties, and Gerlach was manager

—Edited by Mitchell Peters

OBY TAKES STAND AGAINST CALIF.
OMESTIC VIOLENCE BUDGET CUTS

cclronic artist Moby understands Ix-tter than most the im-
)rtance of domestic violence shehers for women in need,
i\ in^ grown up with a mother who was involved in several
Misive relationships.

At the age of S, "I had to stop her from being stabbed to
■ath by a boyfriend of hers," Moby recalls. "I hate to say this.
It almost half of the women I know who are friends of mine
ivf been in abusive relationships of some sort or another."
So after reading a recent New York Times article about Cal-
)rnia domestic violence shelters closing as a result of statewide
idtjet cuts. Moby decided to use his current tour as a platform
spread awareness. The artist will donate the revenue from

mid-October California concerts to the California Partner-
ip to End Domestic Violence, which will distribute funds to
ritrrs and communitie.s most affected by the budget cuts.
The tour slops include the House of Blues in San Diego
K t , 1 2). the Wiltem in Los Angeles (Oct. 14) and the Warfieid
lealrr in San Francisco (Oct. 15). Moby also plans to host a
ess conference in San Francisco with state senators and
embers of CPEDV to raise additional awareness.

I'll be i^iving around i85,0OO, which is a decent amount of
um-\ , but not really enough to make a dent in the $20 mil-
)n that has been cut." he says. "So at all the shows there will
the ability for people to donate directly. I 'm also hoping that
talking about it, more people will go online to donate money
id help repeal this legislation."

Moby hopes funding for the shelters will be reinstated, and
' plans to support the cause until that happens. "There are
lui of worthy causes," he says, "but closing shelters really
»os become a death sentence for a lot of people."
The artist is touring in support of his latest album, "Wait for
I'." which was released June 30 on Mute. — Mitchell Peters

BACKBEAT

BILLBOARD'S WOMEN IN MUSIC

Billboard's annual Women In Music event, presented by
Macy's and in association with International Creative
Management, took place Oct. 2 at New York's Pierre Hotel.
Billboard honored the top 30 female executives in the
music business, celebrating the success of these industry
leaders during the past year, as well as their overall career
achievements. Lady Gaga— who had two No. 1 singles on
the Billboard Hot 100 from her debut album— received
Billboard's Rising Star honor and sat down for an onstage
Q&A with "Today" host Hoda Kotb. Beyonce was named
Billboard's Woman of the Year, having had a No. 1 album—
her seventh in a row— and a No. 1 movie in the past 12
months. Beyonce was interviewed onstage by "The Oprah
Winfrey Show" correspondent Gayle King, and the event
closed with a special performance of Bcyonce's "Halo"
and "Single Ladies (Put a Ring on It)" f^erformed by Staten
Island grade schoolers, the PS 22 Chorus. Event sponsors
also included the USD, ASCAP and Skin Benefits, photos:

COURTESY OF ARNOLD TURNER/A. TURNER ARCHIVES

•■ilir-iu'''r] rn pr\(}C: S4

-tor

Billboard s Women in Music horiOfoe\ take ^ i'-
senior VP of performmej rights Alison Smith .
f Ml Music v/oridwtde ofccuiivc VP of musc
Vlastc. Sony/ATV Music Publistarg co-rJT.-srj J-
Swidler. Spanish Broadcasting^ysterq Mbqr rr -
Eufopt; Claudia P^mer. "Todaiwenidr fltdjc.^. l
Universal Motown Records preient Syl^ Rhon.
peermusic prewdont of the Anglo An^r icari ■

jrn le^f Allanti', Rtcords GM/fvi'ruti /c 7P of TiarKeti ng and cWatlVc mon^a Livla Toftalla 3M]
>r,u E-vK; ./or Ertl'-ft-ir .fTv,rt.,Kjf,nl /VP Carfl Lewls BETN(-^/Or(<^chnir'Tian/CEO D«bra L*«
Cynthia Sexton, intorn^iiionci! pr-itryt, y.;^- ■."•ii''..r /ffof c<friemno'sry roO Marsha

dy G«rson So-.y Music Entorl/iinfT.' ' ■ . ■ .3f^K!,Jg(jnPMt couns^jt Julie

^■.J.■■-.or■'"■"■ltl0^s manaqor for Mii^m; Marilyn Santi.igo ::il<«ning c/ccufvo VP/COO

lellssa Lonner MSG Entcrtainmtjnt ■ , !■ m it ■ -.T.rk mtograr.on Liana Famham

nd cfc-atiOe m<

lion- cp c Recoras president Amanda Ghost. Rounder Records cfflfrman Marian Leighton Levy
Kathy Spanbergw and Sony Music Entcrtamnnont GKOcutive VP of sole; Jennifer Schaidler

OCTOBER 17. 2009 I www.billbpard.biz 1 53

EDITED BY KRISHNA TUNZ

ADJAM

The House of Blues Sunset Strip was packed with more than 900
concertgoers for thinkLA's AdJam, presented by Digrtal Broadcasting
Group The ninth annual event is a battle of the bar»ds between Los
Angeles-area advertisirtg agenc»es- Veterans of the media, markotir>g.
advertising and entertainment industries left work early to see who
would capture the winner's trophy, the AdJam Axe. A panel of music
industry veterans selected the top four bands and the crowd crowned
tt>e winner, Agencies participating included TBWA\Chiat\Day (the
winner m 2008). Moxie Interactive. MediaVest. Avatar Labs. BLITZ.
David & Goliath and the Phelps Group, The event was sponsored by
DBG. Motacafe. SNAP eMobile. Billboardcom. Ecast. Pandcwa, Turn,
Gtant Realm, Time Axcess and Vibrant Media, photos ccxiuTF-iv of x>icc
ABOVE: Moxie Interactive's band A.S.A P, (Auto SournJ Auto Play)
claimed the top spot From left Universal McCann campaign
optimization spcKiialist An draw Taylor Moxie Interactive medta planner
Adam Shrout. associate trafhc mar^ger Calvin Ashley, assistant
media ptanr>er Amy Liapold and media supervisor Nick Mariano:
Giant Realm account executive Theo Yang, Moxio Interactive media
planr>er Brian Lee and senior media planner JeaneRe Trang

BELOW: BLITZ Agency's BLITiZen KANE channels its inner Van
Halen From left: BLITZ executive creative director Marlt Cohn. CEO
Ken Martin, associate creative director "Emerald" Eddie Herda.
senior project manager Lee Matsunaml. opof.monb manjfjer Andrea
Amaro and director of technology Noah Gedrich

INSIDE TRACK

GIRLS BACK IN ACTION

Brazilian Girls, the New York-based art-rock-party band
whose last album was nominated for a Grammy Award,
went on an extended hiatus last year when lead singer
Sabina Sclubba decamped to Paris for the birth of her
first child. The band then had its early-October return to
action sidelined by a snag in immigration red tape. Sci-
ubba, a German national living in France, had problems
obtaining her visa to return to the United States, and the
band was forced to cancel two
shows, including an Oct. 2 ap-
pearance on Governor's Island,
just off the tip of Manhattan.

Fortunately, Sen. Kirsten
Gilllbrand, D-N.Y.. helped by
expediting the visa process.
"Musicians from overseas who
perform in New York add
tremendous value to the city's
<brant cultural and tourist
economy," Gilllbrand says. "I
am thrilled that these shows
j I on and the U.S. tour can proceed on schedule."
The Girls will play Oct. 17 at San Francisco's Treasure Is-
land Music Festival and Oct. 19 at Avalon in Los Angeles
before returning to New York to begin recording their
fourth album, tentatively titled "The Great Big Unknown."
The band hopes to release the album on a yet-to-be-
determined label next year.

Sciubba has also been writing songs on her own. some
of which she'll debut at a solo performance Oct. 26 at
New York's Joe's Pub. "I wrote these in the last 12 months,"
she says. "A style I baptized EuroNova ... I will sing and
play them on my baby guitar."

. RSB artist i=)nd former
Di'stiny s C'liiid member
Michelle Williams

BILLBOARD'S WOMEN IN MUSIC

continued from page S

Allai^tic Records GM/executive VP of
rn.irki.'tiiKj .mcJ creative media Uvla
Tortella (loft) with Atlantic Records
chaii man/coo Julie Greenwald

XT -

EMI Music

Wuiklwuli-

executive VP of
music services
Cynthia sexton

From l.'ft:4*CAP ol monnbership for rhythm and
r,oiil Nicole George. Beyond. ASCAP senior VP of
industry aff.iirs Karen Sherry. songwriter/ASCAP
board member Valerie Simpson .ind ASCAP,
senior VP of marketing Lauren lossa.

PFTNctVKKks
-Kiirtnan/CEO
Oebra im.

Copyrlghl lOOQbvNwkan Buunou Me<ha. Inc. All tighti reM>rv«d. No part of ItHipublicdllon rtuy b« leproducMtilorMSm any ri1>lev«l tyuemor lransfnm*d, in any (arm or by any m*«rw, eteciranlc. mech«iuc<t(, phoiocooywig. recording or Mh^fwii*. wlihoul tt>e orkx wrliivn o«fiTmwon o« tSr publiiiS^t aiLLDOAfO maga2i
<ISSN0O06-I5t0. USPS 056OC)OMtpubliUwidiMiAty*Kc*pl tor ihvtttii VMM >n January, by NM^ . 7 TO Broadway, N*w YoHi, NV 10OO3-959S SubfccrifXion raw annu*l ral(>. Conl«i*ntiiI U S S?VBOO Conlin«ntAt Eu(00« 179 [wurxlt Billboard. Tow«r Hovt«. Sovvmv) Par^. Mvl>el HA'borovgtt, L

Cngiandl£t6 9EF Regiiter«d a ncwipnp" at thcBritivh Poit Ofricp J^pan lOg.OOOyrn. P«rlodKali povtage pAtd al N»w VorV. NV. andal addllion*' mailing ofTiCM Poumatler PiMne Mnd cti«nfr«i ol a<Mms to BillbCMrd. PO Bo> 3595. Northbfoolt. IL 60O6S-359S Ci«T«nt and luck copwi o> Billboard are avi
frotnKtauiMlcTotomv Rout* tOO. Millwood. NY. 10S46 or Xoron Urwvorjity Micro<ilmv P O. Bo> IS46, Ann ArtMX, Hi *aiOt. For reprint i contKl. Doug Kkne, eB<i thoYGSgrouocom, VBO0-19O-S4G0, oxt- I3S Under Cnna<lkan Pubttcalion Kail Aoravmonl No. 40031779 return undollwrabla Canadian addntusi to DHL Global HnU 74
eaUl Rd 82. HBMtuuga. ON L4T ll_2 Vol 121 Kius 41 Ptimad In thoU FargrouOiiAHcriptlon-nlormatiDn. call &4&-654-S8e3 For uibscrVMH^n Intorrnatton. ca« aiXI-6SS-8I72 (Oututto : B47'S59-nn) Ot call 646-fi&4-4400

54 i BILLBOARD , OCTOBER 17. 2009

mm*

(^ongtatuPatioiit) cJo

Tlie 2009 Billlionrcl Women in Music Power Players,
Beyonce, BillLoartl Woman of the Year & Lady Ga^a, 2009 BillLoarcl Rising Si tar

A Special Tkank Yoxi To Our Sponsors

★mocys icM'

INTERNATIONAL

CREATIVE

MANAGEMENT

:USO:

skim benefits.

Klipscli Jabra Vera liraJley Pai^e Premium Denim Vera Wang Laura Michaels Coty Macy's
Slein Benefits • Cornelia * Imm Living BUILT ' Trina ' ScrewpuU " Jemma Kiel ■ Coloresciencc
Gearliart's Fine CKocolates ' 3 Wlio Believe J'aramount Carlisle Inara Carol's Daugliter " Pirates Booty
Miglity Tea Leaf Sel>aslian Scnai Kanel)u jolin SaKag Moroccanoil ' Aveeno

T.J. MARTELL FOUNDATION

FOR LEUKEMIA, CANCER
& AIDS RESEARCH

JON LUTHER

Humanitarian of the Year Award
Executive Chairman, Dunkin' Brands

JOHN ESPOSITO

Spirit of Excellence Award
President, Warner Music Nashville

BRUCE LUNDVALL

Lifetime Artistic Achievement AwaK\
President, Blue Note Records

GALA DINNER COMMITTEE

Clarence Avant
Del Bryant
CO-CHAIRMEN

Burt Bacharach
Martin Bandier
Marilyn Bergman
John Branca
Edgar Bronfman. Jr
Mike Brzostowski
Dick Clark
Lyor Cohen
Clive Davis

Tom Freston

Jimmy Jam & Terry Lewis
Quincy Jones
Alain Levy
Judy McGrath
Doug Morris
Jerry Moss
Joe Piscopo
Antonio "LA" Reid
Rolf Schmidt-Holtz
Sir Howard Stringer
Barry Weiss
Stevie Wonder

AWARDS
GALA

Wednesday, 28th of October
at the Hilton New York Hotel

COCKTAILS AT 6:00PM | DINNER AT 7:30PM

Performances by
WILLIE NELSON
DIANNE REEVES
KRISTINA TRAIN

and other exciting recording artists.

INCLUDING A SPECIAL TRIBUTE
TO MICHAEL JACKSON

T.J. Martell Foundati4n

Leukemia. Canctr and AIDS ResrtMrch

f-ourvded in 1975 by rnu4«c induslry execulrve. Tony Martell.
the T J MartoH Foundation has provKled over \22S miHton
to suPDort iife-saving medical reseerch m the ftght against
laukefTna, canc«r and AiOS

For further information or to purchase
tickets to this wonderful event, please
call the Foundation at (212) 833-5444
or visit www.tjmarteltfoundation.org

IAS

lEW NETWORKS
HJILD LATIN
-^rS NEXT WAVE

:an labels
1ake online

'\DEO PAY?

rErazoN

VIRELESS ^
IMBRACES ^
jmSTAPPS

iritney Spears
lichael Buble
jss, 'Glee' .

CARRIE UNDERW0OI^

COUNTRY'S 'IDOL' GETS PERSONAL ON <PLAY ON>

.-. OCTOBER 24, 2009

www.billboard.com
www.billboard.biz

us $6.99 CAN %a.99 uk es.50

$6.99US $8.99CAN

4 3>

|||.|I|1II|1II||II|I||H|1|'"|>|'1""II'II""1'I'I"I'II"I

08E 311V noj nv-

^^^^^ 0 I '7 1891

Cni

Cri

■

Billk)«rc

ON THE CHARTS

UPFRONT

7 FULLY LOADED CLIP Major labels exert
greater control over monetizing music
videos.
9 Retail Track
10 Digital Entertainment
12 On The Road

15 Latin

16 Global

18 Q&A Billy Mann

FEATURES

COVER STORY

20 PLAYING BY HEART With new
co-writers and confidence from two
multiplatinum albums, Carrie Underwood
gets personal with "Play On."

24 PRIME TIME FOR LATIN

PROGRAMMING a new wave of
Spanish-language TV networks wants to
steal the remote.

MUSIC

27 TRAN^AT..A'-j-:c'^.M DavId Bisbal

attempts world domination.
30 6 Questions: Jay Farrar. Global Pulse
32 Reviews
34 Happening Now

IN EVEHY ISSI E

6 Opinion

36 Marketplace

37 Over The Counter

37 Market Watch

38 Charts

S3 Executive Turntable. Backbeat, Inside Track

ON THE COVER Caff.e underwood photograolt by Matthew Rolston

Online Events

NEW BILLBOARD.COM

Check out new, exclusive
content on Bi ilboard.com,
including the chance to
listen to a preview of two
new songs from Carrie
Underwood's new album,
"Way On" (due Nov. 3)— one
per week— before you can
hear them anywhere else.

FILM & TV

This conference, set for
Oct. 29-30 at the Beverly
Hilton in Los Angeles, will
feature a keynote by Mary
J. Blige. For more
Information, go to f ilmand
tvmusicconference.com.

TOURING

At the Billboard Touring
Conference— Nov. 4-5 in
New York— Ozzy Osbourne
will receive the Legend of
Live honor and Kevin
Lyman the Humanitarian
Award. For details, go to
billboardtouring
conference.com.

MEDIA AND MONEY

This conference— Nov. 12-13
in New York— brings
together leaders in media,
entertainment and Tinance.
Keynotes include Kara
DioGuardi, Steve Tisch,
Chase Carey and Jeffrey
Berg. Register at mediaand
moneyconferGncQ.com.

4 I BILLBOARD I OCTOBER 24. 2009

THE BILLBOARD 200

MKHAEL lUUE .

TOP POP CATALOG

MICHAEL JMKSON/ '

TOP DIGITAL

MKHAEL aUBU >

TOP INTERNET

THE BEAtlf £ . ^

HEATSEEKERS ALBUMS

THE HOUKTAIN COATS , ^

:hi iff L>T-* Ai;>ii.^ TO ««

TOP COUNTBV

TOST KEITH /

TOP BLUEGRASS

PKmrtOVELEtt/

TOP R»B. HIP+(OP

ua-il

■Mf flllEPfllT !

TOP CHRISTIAN

RELIENT K

TOP GOSPEL

mi a CECt wJMua /

TOP DANCE/ELECTRONIC

uurreAU/

rtIF F*M[

TOP TRADITIONAL JAZZ

MICHAa BUBU '

TOP CONTEMPORARY JAZZ

GEOrifiE etXSON

TOP TRAOmONAL CLASSICAL

BELA FLECK

TOP CLASSICAL CROSSOVER

JOSHUA BELL

TOP WORLD

BODRIGO t GAB«u7

TOP LATIN

AVntTUM .

^ SONGS

PAGE

ARTIST /niL£

THE BILLBOARD HOT tOO

42^

BRITNEY SPEAftS/

HOT 100 AIRPLAY

JAY SEAH FEATUmK LH WtTM/

tmi SUM WITH HE

HOT DIGITAl. SONGS

BMIWVaKUiy {

HEATSEEKERS SONGS

UJKEIHnW/

MAINSTREAM TOP 40

MY SCAM fEATUNM U. WAYNE /

DCMH

ADULT CONTEMPORARY

MiUY emus ;

ADULT TOP 40

kuksoficon'

ROCK SONGS

UKEMCHUW/
a«xiiVBnw

ALTERNATIVE

man

TRIPLE A

HOT COUNTRY SONGS

QCTTRIVDU HDW (TW lUa DRESS SONQ

MAINSTREAM R&B HIP-HOP

PUMMEP/

UMSt

RHYTHMIC

jAv-a^ iMum a uim wm/

ADULT R«B

mncu/

BWrMirs

HOT RAP SONGS

MT^ MHAMM 4 MNTE wen /

HUH MS mm

HOT RIB HIP-HOP SONGS

MAXWEll

CHRISTIAN SONGS

TOBTMAC

HOT CHRISTIAN AC SONGS

PHILLIPS CFtAIGADEM /

CHRISTIAN CHR

TOHYMAL

HOT GOSPEL SONGS

REBtSCECE WINAKS/

HOT DANCE CLUB SONGS

DAVtD KunU FCATUMNOlUUMV

Si y' STi>

HOT DANCE AIRPLAY

OEAOMAta + KASMOE/

SMOOTH JAZZ SONGS

PCTEnWHrTEj

HOT LATIN SONGS

SHAKIRA/

HOT MASTER RINGTONES

DRAKt

THIS WEEK ON .biz

ARTIST / TTTIE

TOP INDEPENDENT ALBUMS

KISS

TOP MUSIC VIDEO SALES

JOURNEV/

HOT VIDEOCLIPS

MUSE/

TOP DVD SALES

«1

MDHSTtRS VS. AUENS

Cni

naevas versioDes y 10 lemas ineditos

STAR IIV LAS VEGAS WALK OF FAME OCTOBER 23 ALEX LORA DAY BV LAS VEGAS, NV

ESTRELU EN EL PASEO DE LA FAMA DE LAS VEGAS. NV OCTUBRE 23, DIA ALEX LORA EN LAS VEGAS NEVADA, NV

50 GOLD, 30 PLATINUM, 1 DIAMOND AWARDS

50 DISCOS DE ORO, 30 DE PLATING, 1 DE DIAMANTE

3 GRAMMY NOMINATIONS

3 NOMINACIONES AL GRAMMY

on u cc I o « I

OVER 8 MILLION ALBUMS SOLD IN MEXICO AND THE U.S.

MAS DE 8 MILLONES DE ALBUMS VENDIDOS EN MEXICO Y ESTADOS UNIDOS

.cids

Cni

BilllKMid

. OPINION

EDITORIALS ! COMMENTARY : LETTERS

Rock Of Ages?

How Small Ambitions And Short-Term Imnking Are Hurting Pop Music

BY ROBERT HILBURN

I was suqjrised by a friend's reaction when
I told him about one of the key points in
my new memoir, "Com Flakes With John
Lennon: And Other Tales From a Rock-
'n'Roll Life": The glory days of rock'n'roll
are rapidly fading. He looked at me.
paused and said, 'It sounds like you've
written the epitaph for rock'n'roll."
I hope not.

The more I think about the current
state of popular music, however, the more
I think of the book as, if not an epitaph,
then at least a final warning.

For all the focus on technology and new
ways of reaching consumers . the overrid
ing challenge facing the record industry
is the need for more visionary artists —
the kind who once won the allegiance of
fans by giving them comfort and inspira-
tion that they couldn't consistently find
in other parts of pop culture.

At its most powerful, rock'n'roll was
never |ust about a sound, but about an ar-
ticle of faith — the bold idea that we could
change the world. That's why many of the
genre's most enduring anthems ad-
dressed that theme, from "Blowin" in the
Wind" to "Lose Yourself"

The influence of top-tier acts, from
the Beatles to U2. went well beyond the
millions of records they sold. They cre-
ated and then nurtured the idea that
rock'n'roll mattered in our lives and in
turn fostered such a large appetite for
rock around the world that hundreds
of other musicians could march under
that banner.

Rock bands continue to make music.
Record companies still turn out albums.
And music fans love their iPods. But some-

FOR THE RECORD

■ A story in the Oct. 3 issue
misspelled the last name of Mo
Ostin, former head of Warner
Bros. Records.

■ Marilyn Bergman co-wrote the
song 'Trust Me," which appears in
the Steven Soderbergh film 'The
Informant!" A story in the Oct. 10
issue misstated the movie's title.

■ Keith Urban's mobile market-
ing campaign for his Escape To-
gether tour drew the participa-
tion of more than 300.000 fans
but didn't include free track give-
aways. A story in the Oct. 10 issue
was incorrect on these points.

■ Flyleaf's album "Memento
Mori" is scheduled to t>e released
Nov. 10. A story in the Oct. 17 Issue
misstated the release date.

:h;: ■ ■ r-.i, is ]:::^,-:n-.\ Music is no
longer a vital part ut most yuung people's
lives — and everyone must share the bbme.

Young musicians must take some blame
for rock's decline as a social force because
most of them no longer aim to make
recordings that will reach a mass audience.
Eversince the death of Kurt Cobain. artists
have been increasingly contemptuous of
major record labels, and even too much
success. They've witnessed a pattern of
compromise, greed and self-destruction
on episodes of " Behind the Musk. "

We've seen many of the most promis-
ing new acts, from Arcade Fire to Radio-
head, choose to operate outside the
major-label structure rather than risk
being chewed up by the system or enter
the uncertain world of 360 deals.

Major labels have some blame for the
industry's woes because they were so slow
to respond to challenges posed by the In-
ternet. More than e\'er. label executives are
slaves to their short-term bottom lines in
a way that makes it almost impossible to
provide the kind of long-range career de-
velopment that helped most landmark acts.

"If the new Bruce Springsteen walked
into this office tomorrow. I wouldn't know
how to break him in this Internet. 'Amer-
ican Idol' era,' one top record label pres-
ident told me last December when I was
writing the book. There's only room for
about four acts to break in a year, he said,
and three of them arc going to be from
"American Idol."

Ultimately, though, the biggest reason
for the industry's crisis is that so much of
today's young pop audience no longer feels
allegiance to the music. The rock'n'roll
bond has been broken. To most pop music
fans, records are no longer the corner-
stones of Ihcir lives. They don't feel the
need for rock'n'roll to provide their he-

roes or their social network, They can turn
to Facebook. Twitter, even videogames.

"I'm not a negative person, but I'm very
realistic and it doesn't look good right
now," said |ack White when 1 interviewed
him for the book late last year. " 1 would
pick this as the absolute worst time lo con-
nect with people through music. Today's
generation takes a lot for granted when
ii comes to music, It's like, 'I'm going to
play videogames and when 1 come back
to rock'n'roll it's going to be there wait-
ing for me.' They don't buy the CD. but
they'll download it and give it to friends."

So where do we go from here?

If rock has any chance of reclaiming
its position of power, great young bands
need to regain the confidence and ambi-
tion to reach a wide audience with pur-
poseful music — and hope it's not loo late
to recapture their mass audience.

If major labels are going to have any
chance of being part of this renaissance,
they have to devise new guidelines and
practices that enable them to reclaim the
trust of musicians. First, they have to hire
A&R people who can find young, vision-
ary artists. They need to nurture those
artists throughout two or three albums
rather than demand immediate sales re-
sults. Finally, the major companies have
to be willing to design record contracts that
make artists feel like partners rather than
ones that placeartists in virtual servitude.

That will require realizing that this shift
will pay off. Legendary artists like Bob
Dylan. Stevie Wonder and Neil Young
didn't just make albums that affected so-
ciety. They sold millions of records. It's
easy to think of Dylan and Young as cult
artists but they have sold millions of al-
bums for the past few decades. More im-
portant, their music won the allegiance
of generations of young people, who in
turn fell so strongly about music that they
bought millions of albums by other artists.

How many record company presidents
today can point to even one artist on their
label who has the bold imagination to
bring together a generation of fans?

The answer. I'm afraid, shows how
desperate things are.

Robert Hilbum was the Los Angi^s
Times' pop music critic from 1970 to
2006. He is the author of "Com Flakes
With John Lennon: And Other Tales From
a Rock'n'RoU Life." published by Rodale
and in stores now. His Web site is
RobertHilbumOniine.com.

WRITE us • Share your feedback with Billboard readers
around the world- Seixl corresponderKe to f«nersio Wllboard.com
Include name, title, address and phone number for verification. f _j

SUBSCRIBE. Go to blllboard.blz/subscribe or call

800-658-8372 (U.S. toll free) or 847-S59-7531 (international).

ENTORIAL

EXECUTIVE EWTOIt BOWRT LSVINI 646-654-4707
DEPUTY EDITOR: Loult Haw ^ ^54 4706
SEMOft EOrrOf): Am OoimIm* l^^J

SPECIAL rCATURES EDITOA: Thotn tuMf 64G-6S4-47I6
INTERNATIONAL BUREAU CHIEF] HafU MhMlMid 011-44-207-420-6155
HU51C EDITOR: Cortn«V Harding f:.'.,A
BILLBOARD BIZ EDITOR Chirii M. Wahh t-lf- -1
IT AND

Mjmi) JOS-36I'
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOURtNG AND LIVE ENrERTAINHENT: Ray VltoddaM (NiOihvila] CIS-
EXECUTIVE mRECTOR OF CONTENT AND

PROGRAMMING FOB DIOITAL/MOeiLE Antony Inilt© (Denver) 301-77)1342

S£NIOR CORRtSPONDENIS: Ed Owlitman iRoiaO M6'6&4<472;.

G>M MliciMii . I . .'H ■ To«n F«rvuMn (Doouiy GWOai E^-ry) Or 44-2O7 420

5EMOH EDITORIAL ANALVST: OtMM PiBBiM ga^oOVHS^'^CXM-a CC^
CORRESPONDENTS; Ayato B*»-m«uda (Larm) S?J H5 2215 mcMi P«ton J23 S25 2J2
INTERNATIONAL: Lan BrwKlla ' -'U-.-.'«<a> WdNOMW Spatw (GciruTryl RollW
GLOeAL NEWS EDITOR. Andr« PakM Di; 44-?07 4JO-6068

COPV CHIEF cnri* wood*
COPY EDITOR: ChrlilB TMtn

ASSOCIATE EDITOR. SPECIAL FEATURES: «vl» Hmm 646 6^ -t^OT
CONTRIBUTORS: Jhn BMmun, Lany WiMiMfiMA JiAaM Korantang. Karri H
Dafeonh Evani Prtca, Paul Swton, Staw Tralman, Anail

SPECIAL PROJECTS MANAGER: KrtttiM Tumi

j-t,i4-&bit.

M 6.«-654-d79j H

BILLBOARD COM EDITOR: JEUICA LITKCMANN h
aiLLBOARD.COM NEWS EDITOR: DavM J. Prlnc* f-,.
eiLLBOARaCOM ASSOCIATE EDITORS: Marial Coneapc

DESIGN a PHOTOGRAPHY
CREATIVE DIRECTOR: CHRISTINE BOWER-WRIOHT
PHOTO EDITOR: AnMlU Halvwnon SENIOR DESIGNER: Gra« Gratoowy

riiAOrfi • OFSEARCH
WRCCTOR OF CHARTS: SILVIO PtETROLUOMOO
ASSOCIATE DIRECTOR OF CHARTS: Raphaal Oaofoa

SENIOR CHART MANAGERS: Kalth CawMWd i The fi. board 700. Casl. CornD^WKifK, Oiqi
i r. ,rr-. ..I ■ .-li.r^oO^t ir^rnet. Poo C^tHog. SOurXK'aCki. L *>

Wada Jauan i i - in Country. Gosi>«< Nasrr.'ili^l

CHART MANAGERS Sob All«>r« . ':<[.-i<w:ore. Na^hvil^eJ. Hapliaal O^Ofga (Hlon. RAB/Hip-h
.■ ; 1 - Gordon Murray i Car-icdv Dance/Eloclroriic, Jaii New Ago, Rin(jton«

•.r-.. ■■: Sllrlo Pletnjiuonao i'lTo Sillboard Hot WO. DigHI SOr>gs),PMlPOIII

■!! Gary Tf Oil ■■■ " iATr\aOv«. Char! Beat. tlMIMclXri Songi, Hai

II; ■■ . . I Alai Vitoulli . r -..ljI, Kid Audia Vi<»«J)

INTERIM CHART MANAGER: Rauly Ramlrai (Idlin)
CHART PRODUCTION MANAGER. HIchaal CHMOn
ASSOCIATE CHART PROOUCTKIN MANAGER: AMm VHouif
BILLBOARD RESEARCH MANAGER: Oortfon Humy r.46-6S4-4633
DIGITAL

VKE PRESIDENT, 0 1 CrfAL JOSHUA CHOROFF
DMECTOft. MARKET DEVELOPMENT: Eric Ward
MANAGER. MARKET DEVELOPMENT: JuRIn Harrk

AOVtOKlING SALES
VKE PRESIDENT, SALES/ASSOCIATE PUBUSHER: JIRIHY LEVINI 646-654-4627
NATIONAL SALES DIRECTOR/OtGITAL A CONSUMER: Oa*afc SawtWf 6-46 654 4616
DKECTOR. BUSINESS DEVELOP^CNT t EAST COAST SALE& Cindy MMi 646-654-4710
EASTERN SALES DIRECTORS: Ar>tonlo Amata .1' ■•A 1, -IM Ryan IMdl 646-6&4-4E
DIRECTOR. SPECIAL FEATURES a WE5T COAST SAUS: Aki Kanako .?i3-SK-;399
MIDWEST SALES DIRECTOR: Alan* S<hHrka i '.

WEST COAST ACCOUNT DIRECTOR: Caaay Datmahy i^l) L2-:,-12i7
NASHVILLE; L«« Ann PhotDflle > ' ^ '■•h [i CyMMi HUom 615-35J-Q?65 fTpur
ADVERTISING DIRECTOR OCTROIT: KMhy VM«D 248-687-916^
ADVERTISING DIRECTOR EUROPEAJ K.; Pr«dade FlWiCCl 00-44-307-420-6075
INSIDE ACCOUNT REP: Jaff Samtta > 4h hS4 4697
MANAGING DIRECTOR/LATIN: Gana Srrrfth 973-746- 2S20
LATIN AMERICA/MIAMI M«rcla Ollval VJ? -B64 757a Fax J05-864-J227
ASIA-PACIFK/AUSTRALIA: LMa Mattd) 6t./-»440-7777 FaK 6I3-9440-77U

MARKETING

SENtOR MARKETING DIRECTOR: ULA GCRSOM 6'tt.-6S4-4^
EVENT MARKETING MANAGER: Nkol* Carbon* 646 654-4634
SENIOR MARKETING MANAGER: Jamaa Cran e46-654-S4e9
MARKETING MANAGER: Kant mmr^mmn •.■it,-<,lA Ab^l
SALES/MARKETING ART OtRECTOR: MaBwa SubMcti
SALES/MARKETING DESIGN MANAGER: Kim Grating

AUDIENCF MARKETING
AUDIENCE MARKETING DIRECTOR: NEIL EISENBCRO

ASSOCIATE AUDIENCE DIRECTOR (GROUP): Unda Lam

AUDIENCE MARKETING ASSISTANT MANAGER: Nldla AUffuMIn

SUBSCRIPTIONS: ror^ ' -'.rt-ii' ■ i i " T. C .M ? i i n^i i j o- nb*wt»w

I ICENSINC, EVENTS S REPRINTS
VICE PRESIDENT, BUSINESS DEVELOPMENT S UCENSIMG: ANDREW MIN .indrtr-. m,T»»i
EXECUTIVE DIRECTOR. CONFERENCES ft SPECIAL EVENTS: MKHELE JAOUHMLO
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabala MaM|uai t^46-6^ 4645
SPONSORSHIP SALES MANAGERS: MaRhawr Cwona t.46-«]-..4 W., Klm UrttfltlM 646 €
SPECIAL EVENTS DIRECTOR: Mar^wat O'Shaa
SPECIAL EVENTS MANAGER: Uaa DMntofito
EVENT CLIENT SERVICES MANAGER: Courtnay Mark!
DIRECTOR. LICENSING A CUSTOM MEDIA: Dtana DrtocoU kif, bSA 4677
MANAGER INTERMATK3NAL LX94SING A SALES: Angalna Maahaiwal tngeHntt^ethMV^
MAGAZINE REPRINTS: Angta VwiGonlar I UOJ .->J^460 tit 1% or SB^inaVGSgrot

PRODUCTION
PRODUCTtON OWECTOR: TIRRINCI C SANDCR*
ASSOCIATE PROOUCTION DIRCCTOR: AnOiony T. StaHln«a
ASSOOATE PRODUCTION MANAGER; Rodvar Laonwd

OPFHATIQNS

CROUP FINANOAL DIRECTOR: SARSARA GR1IN(NMR 646-654-4675
HUMAN RESOURCES DIRECTOR: BILL FINTON
LEGAL COUNSEL: MARK MILLER
DISTRIBUTION DIRECTOR: LOU BradHaM

PERMISSIONS COORDINATOR/ASSISTANT TO PUBUSHER: DmW Pam 646-6S4 4696
VICE PRESIDENT, MANUFACTURING AND DISTRIBUTKIN: JaiMltaaGrafla
VICE PREStOCNT. AUDIENCE MARKETING: iM

New Vom Nr 10003
Ptxsne 646-654.45O0
Edit Fat 646-654-4661
Adv FsK 646-654 -4799

KAMmLLK 32O0V^it
EndAv«. Su(t*SOO.
NB»v>lle TN, 37303

BILLBOARD OFFICES
LOS ANGELES: BOSS W>lir.re
Bt^d. La: Anadci, CA 90036
Phone 32J-535-2JOO
F*. 323-525-2394/2395
MUUfl: 101 Cratxkn fiiud
Sute 466. Key BiM:dv"a. ^l
JJl49Pnonp 305-5*1-5279
Fa. JOS J61S399

LOmON: Ende^^r i
189 Srutlasbury Aua..
London WC2H STJ,
Ptxr« 011-44-307-430
Fd* 01-44-2O7-A2O**

SENIOR VICE PRESIOCKT. THE ENTERTAINMENT GROUP

OCRRV BYRNE

TTie Mo»ywO<xlRepOrIei ■ Biltooard ■ Bock Stage - Film journal irnamation*!

The BoohMHIef ■ Kniiut R»viev.% • SfioWait ■ Sho*Eict • Cirti

•9 Eioo inlfimationai • Ci

n id sen

Ti ma copyrigN « nfiela « lart tor

PRESCENT: Orag Famr; SEMOR VKE PRESIDENT HUMAN RCSO
Hkhaal Akaa; SENIOR VICE PRESIDENT. 6RAND MEDIA; tmkt
Bilbao: SENIOR VICE PRESIDENT MEDIA * FNTFRTAINMENT. 0
Ni«l»n B(H)r>Ht M«jla Byma: senior vice president finance Moan* GD09HI. SEN
Vict PRESIDENT RETAIL David Loachnar SENIOR VICE PRESR
CONTENT Scon HcKanzi^ SENIOR VtCE PRESIDENT. BUILDING A DESIGN: Jo* Ratdall; St
VICE PRESIDENT CENTRAL SERVICES: Mary Kay Sintak: CHIEF OPERATING OFFICER.
ENTERTAINMENT: Howard Appalbaum; VICE PRESIDENT, MANUFACTURING A DISTR1BUT
JmtHt ar»9K VICE PRESIDENT LICENSING. Andrvw Mliv VICE PRESIDENT. CLIENT MJA
■«a TrwnMay: VICE PRESIDENT. AUDIENCE MARKETING: Joanna WhaaUay

6 I BILLBOARD I OCTOBER 24. 2009

Co-

THE
ITEST
4EWS

:r6m

biz

>>>SOUND-

:loud taps

=ORMER

■lYSPACER

(ANTROWITZ

•oundCloud, the
lerlin-based online
udio distribution
ilatform, has
ppointed former
lySpace senior VP
•f strategy and
ilobal marketing
amie Kantrowitz as
•card director. Prior

0 her appointment,
;antrowitz worked
3r five years at
lySpaceand played
n integral role in
verseeing the
ompany's
iternational
xpansion across 30
^rritories.

•>>ITALY'S
ilAE

)IRECTOR
)UIT5

alian collecting
aciety SIAE
irector-general
omenico Caridi,
'hose two-year
landate ended Oct.
.has left the
rganization. His
7le is temporarily
lied by assistant
irector-general
ianlio Mallia. The
landate of SIAE
resident Giorgio
ssumma is due to
xpire in November,
nd his future
iould be decided
t a general
ssembly set for
ct. 27.

>> YOG ABBA
iABBA! SELLS
)UT

3 Gabba Gabba!
ive: There's a Party

1 My City, the first
.S. touring shows
if the popular
lildren's program
/o Gabba Gabba!."
•oks like a hit.
onceived by the
limation/entertain-
lent company

/Ildbrolnand

roduced and
romoted by Michael
ohl's Miami-based
2BN Entertainment,
le tour production
jt six shows in three
ties— New Vork,
hicago and Los
ngeles— on sale
ct. 9 and

imediately sold out
ew York's two
lows.

SPIRIT OF RADIO

'World Cafe' lends name

MOBILE MUSOS

Verizon Wireless dives
Into artist apps

SILVER THREADS

How to make a great
concert T-shirt

RAIN IN SPAIN

Spanish labels, telecoms
target piracy

Mkmw

A chat with EMI's
international A&R chief

Viva la Nokia:
COBRA STARSHIP;
hisei: Band drummer
NATE NOVARRO
appears in a
videoclip using the
Nokia Twist handset J

FULLY LOADED CLIP

Major Labels Exert Greater Control Over Monetizing Music Videos

In jusi five short years, music videos
have gone from a marketing and pro-
motional expense for record labels to
the linchpin of their strategy to profit
from online advertising.

So far. at least, such efforts have
been hampered by low advertising
rates (measured by the cost per thou-
sand impressions, or CPM). which ac-
cording to industry sources generated
less than 1% of the labels' total digi-
tal revenue last year.

In a bid to reverse these fortunes,
major labels like Universal Music
Croup, Sony Music Entertainment and
Warner Music Group are taking con-
trol of the distribution and monetiza-
tion of their content. Rather than
simply license videos to aggregators
like YouTube and AOL and let them
pitch to advertisers, the labels are em-
bracing a syndication strategy under
which they supply the videos and sell
advertising around that content.

Universal and Sony are doing so in
their Vevo joint venture with YouTube.

through which they hope to establish a
destination site for all music videos.
Warner is establishing branded chan-
nels within YouTube and other video ag-
gregators in an effort to drive more
traffic to and monetize its artists' Web
sites, and it recently partnered with Out-
rigger Media to sell these opportunities
to brands and ad agencies. They hope
to more than double the CPMs gained
through the old model, with the aim of
raising their current single-digit CPMs
to the estimated $30-$40 CPM rate
charged by the online video portal Hulu.

"This model flips the economics so
we take a bigger share of the total rev-
enue generated," says Michael Nash,
Warner executive VP of digital strategy
and business development. "It's win-
win for us. More money is generated
and we take a larger percentage of it."

To do so, the labels will have to do
more than sell a few banner or pre-roll
video ads. Instead, they'll need to offer
advertisers deeper opportunities to in-
tegrate their brand with artists and

their content. An example of how this
may play out is the way Atlantic
Records filmed some behind-the-
scenes footage of Cobra Starship at the
MTV Music Video Awards using the
new Nokia Twist phone as part of a
multitiered digital marketing cam-
paign by Nokia that's still unfolding.
Future examples could include prod-
uct placement in music videos and
sponsor skins of artists' Web sites.

Warner's partner Outrigger Media
has studied Warner's structure, label
organization and artist roster so it can
pitch clients on these kinds of oppor-
tunities, according to Outrigger CEO
Mike Henry.

"Whether or not a marketer has a
music strategy." Henry says, "we can
really efficiently go after the group of
artists that attract the highest concen-
tration of their target audience, which
in media is the name of the game.'

Vevo, meanwhile, is building an ad
sales and support team in-house with
about 30-40 employees. They'll be

d with creating integrated mar-
programs, branded content op-
ities and metrics reporting for
isers and brands partnering
le service. In September, Vevo
Nokia mobile ad sales head
Kohl as executive VP of sales
stomer operations,
ces close to the Vevo venture say
m will consist primarily of vet-
1 executives with existing client
?ncy relationships and include
r employees of Yahoo. MSN.
4BC Universal, MySpace. AOL
ler major online portals. Kohl,
mple. previously led MTV Net-
works' online and TV ad pro-
grams before joining Nokia.

This strategic shift comes
at a time when online video
is hitting its stride. Total on-
line video streams and lime
spent per viewer both surged
25% in the United States
during September from a
year earlier, spurred by a 12%
increase in unique viewers in the same
period, according to Nielsen Online.

Although Nielsen doesn't break out
music video views in its report, data
compiled by the tracking firm Tube-
Mogul suggests that music videos re-
main among the most valuable online
video assets. In a recent examination of
all-time views for videos that have landed
in YouTube's top 25 most-viewed clips.
TubeMogul found that the four major
labels and Disney's Hollywood Records
accounted for 76.5% of all views.

This new approach by the majors has
won praise from industry analysts like
Gartner's Mike McGuire. who says the
labels need to get more skin in the game
if they're to benefit from new digital
revenue streams. Now, he says, it's
about execution.

"You can only whiteboard it and
spreadsheet it so many times," McCuire
says. "At some point, you have to get
sotnething out into the Held to see what
happens. And that's what you're seeing
right now." ••••

Additional reporting by Glenn Peoples.

Jriz

'MOBILE: For 34/7 n«wt and analytit
yn your c«ll phon* or mobtl« dsvtcv,
\}oto: moblto.blllbowd.blz.

OCTOBER 24, 2009 I www.tjillboard.btz

THE
LATEST
NEWS
FROM

iT| ■

www.billboarcl.bi2

>»SPANISH
STUDY

The Spanish government
Is creating an Inter-
mlnlsterlal working
commission to study the
violation of Intellectual
property rights online.
The country's cabinet,
the Council of Ministers,
Issued a statement
saying the study— to be
presented before Dec.
31— will focus on
analyzing existing
legislation and suggest
ways to "Improve legal
action In the civil and
penal areas." However,
the move falls short of
creative Industries'
demands for specific
concrete proposals by
the end of October (see
story, page 17).

»>IMAGEM
MUSIC U.K. UPS
MINCH TO CEO

John MInch has been
promoted to CEO of
Imagem Music U.K. Based
In London, he will report to
Imagem Music Group co-
founder/CEO Andr6 de
Raaff. Minch's new rote will
incorporate his position as
CEO of the classical
pui>lisher Boosey &
Hawkes, which Invagem
acquired in April 2008. He
also takes charge of
Imagem's pop catak>gs—
Rondor Music U.K., ZomtM
Music U.K., 19 Music and
the greater part of the
BBC catak>g— acquired
from Universal Music
Publishing Group two
years ago following a
EuroiMan Commission
antitrust ruling on UMPG.

>>>BLOG
NETWORK MOG
TO ADD WEB
SITE SERVICES

The music-focused blog
network MOG expects to
add a music streaming,
download and Internet
radio service to Its site by
Thanksgiving. Dubbed
MOG All Access, the musk
service wiU t>e Web-t>ased
and cost $S per month for
unUmKed music
streaming and five free
downloads per month.

Compiled by Melissa VIrzl.
Reporting by Antony
Bruno, Howell Llewellyn,
Andre Paine, Richard
Smirke, Ray Waddelland
Mark Worden.

.biz

For 24/7 news and
Analysis on your
nwMto d«v(ca, go to:

BY AYALA BEN Y6HUDA

Eyeing

Opportunities

Regional Mexican Music Summit
Addresses Cost Pressures,
Promotion Vehicles

How does one promote and de-
velop talent at a time when no
one wants to pay for anything?
The struggle among artists, la-
bels, radio stations and tour
promoters over their share of a
shrinking pool of money was a
consistent theme at this year's
Billboard Regional Mexican
Music Summit.

The fourth annual confer-
ence—held Oct. 8-9 at the Hyatt
Regency Century Plaza in Los
Angeles — featured a lot of
hand- wringing over a depressed
economy and the failure of var-
ious sectors of Latin music's
highest-selling genre to adjust.

Artist Lupillo Rivera, whose
family has spawned a dynasty
of recording stars, said during
a panel that artists should no
longer be expected to perform
for free at radio festivals. After
the conference, radio pro-
gramming consultant Jose
Santos countered that radio
still drives music sales and

that free shows play an essen-
tial role in exposing new and
midlevcl artists. Established
acts can "start cherry-picking
festivals based on where [they]
need the most exposure." San-
tos told Billboard.

But radio stations are facing
their own problems, such as
covering the costs of producing
festivals in the first place. Dur-
ing the conference's touring
panel, Santos spoke up from
the audience, saying, "I had to
cancel three events in Septem-
ber because we saw the artists
are charging a lot when they're
just starting out. The labels
don't have money either . . .
there weren't sponsorships, the
cities are asking more money
to rent parks . . . We've sought
trades with hotels and flights,
but the money isn't there. "

Asked during the touring
panel what his biggest mistake
was during the prior year, pro-
moter John Frias responded that

Talking pr ; i Musica TV VP of programming/executive producer TOM AS RUBIO,

TeleRitmo, r-i ,ji i m n Jios Television production/programming director MAURICIO ALATORRE
GONZALEZ and Bandamax executive producer VICTOR MANUEL MORENO VALADEZ (from lefl

it was paying as much for talent
this year as last. "If we bought
cheaper, we could reduce our
costs." Frias said. "Groups have
to understand that."

Amid the doom and gloom,
there were signs that the indus-
try is adapting. Fonovisa/Disa
president Gustavo Lopez
pointed to the opportunities the
labels are bringing to artists like
Espinoza Paz, a breakout
singer/songwriter who placed
a song on Universal pop star
David Bisbal's album.

Live Nation is looking to
work with newer regional Mex-
ican acts at the club level, VP of
ethnic programming/touring
Manuel Moran told those in at-
tendance at the touring panel.
And Spanish Broadcasting Sys-
tem is selling overnight in-
fomercial spots to artists and

labels that consist of a full-
length track coupled with an in-
troduction identifying the
song's sponsor. "We will sell in-
fomercials to multinationals
and indies," said SBS director
of new business development
Manny Mora on the talent de-
velopment panel. "This will
give programmers a chance to
see what's working and what
gives them ratings."

What was clear at the confer-
ence was that while radio air-
play remains crucial, online
promotion has filled an impor-
tant void in terms of exposing
new talent. "Before, [regional
Mexican acts] would go on pro-
motion [tours] from little town
to little town and then they
would go to the big cities — now.
they do this through the Inter-
net." said Tomas Rubio, pro-

gramming VP/executive pre
ducer of the new satellite char
nel A Toda Musica TV, durin
the "It's All About Image" pane

Other channels represente
on the panel, Bandamax an
TeleRitmo, have shows that rc
ward new acts that win audienc
votes with such prizes as pre
duction of a new music vide
that they'll put into rotation.

That was music to the eai
of the many people in atter
dance who were relatively ne^
to the business. Jcnni Rivei
summed up their views by ci
ing a recent radio festival sh
attended that had many wel
known acts but didn't dra
many people.

"People are tired of hearir
the same thing over and over
she said. "They want somethir
original and different."

BRANDING

BY GAIL MITCHELL

Branded 'Beats'

Jimmy lovine, Dr. Dre Partner With PC Maker HP

If Interscope Geffen A&M chairman
Jimmy lovine and Dr. Dre are to succeed
in developing products with improved
digital sound, they won't be able to do
it alone.

TTiat could make their new partner-
ship with computer maker Hewlett-
Packard an important step forward,
lovine, Dre and HP executives recently
unveiled a new H P notebook PC called
the Envy 15 Beats, which includes soft-
ware and hardware tweaks that H P
claims offers dramatically better sound
quality from digital music.

The computer was developed in con-
junction with Beats Electronics, a com-
pany lovine and Dre co-founded in 2006
that has already developed a line of
high-end Beats by Dr. Dre headphones
in partnership with the audio/video ac-
cessory company Monster. In addition
to Dre, other artists and producers liki-
Will. i. am, Pharrell. Timbaland and
Poiow Da Don helped HP engineers
fine-tune the project.

The Envy 15 Beats, which also ir
dudes music-mixing software and a pa ;
of Beats by Dr. Dre headphones, won t

8 I BILLBOARD I OCTOBER 24, 2009*^

come cheaply, retailing for S2.299. De-
spite the relatively steep price, lovine
said during an Oct. 9 press conference
that the Envy will appeal to anyone who
values great sound.

Digital audio quality "has been de-
graded to such an extent that it's at times
not even representative of what actually
went on in the recording studio," he
said. "With H P. we found a partner will-

ing to lake the step to improve the over-
all sound in the PC. This is for anyone
who plays music."

lovine and Dre's partnership with HP
comes at a time when few consumers
seem focused on sound quality. Even
Apple and other consumer- technology
companies rarely market their com-
puters and digital media players as
sounding better than the competi-
tion, choosing instead to tout features
that offer improved versatility and
convenience.

Carlos Montalvo. VP of product ex-
perience at HP, acknowledges that
"the MP3 revolution was driven by

Nuthin' but a '8' thang:
Interscope Geffen
ASM chairman JIMMY
lOVINEand DR. DRE

convenience and portability." But \
adds that there's a need in the mark
for products that can deliver bettt
sound quality.

"As Jimmy and Dre say. it's about ir
proving the entire sound chain," Mo;
talvo says. "The emergence of the P
notebook as the entertainment hub gjvi
HP, artists and the music industry i
opportunity to deliver to consume
richer, better-sounding music."

HP accounted for the largest sha
of U.S. and worldwide PC shipmen
during the third quarter, according
the market research firm IDC, givir
Beats Electronics a high-profile partn
with significant marketing and disti
bution muscle.

The H P partnership also represen
the latest chapter in Beats Electronic
ambitious eflforts to extend artist bran
ing to consumer electronics. Monster
Beats by Dr. Dre headphone line w
launch a new product Oct. 18: Heai
beats by Lady Gaga, in-ear headphoni
that will retail for SIOO.

A representative for Beats Electro
ics declined to discuss the financi
terms of the Monster and HP deal
HP's Montalvo says the PC maker h
a "global , multiyear innovation and ma
keting partnership" with Beats Electro
ics, but declined to comment on tl
structure of the deal.

BY MITCHELL PETERS

SEE THE WORLD

World Cafe Live F^lans Expansion Into Delaware

Ive years after launching e World Cafe Live
1 Philadelphia, founder He I Real Is planning
m opening another similarly branded facility
bout 35 miles away in Wilmington, Del.

Real, who licenses the mioniker of the na-
lonally broadcast noncomnrercial WXPN radio
how "World Cafe," is plann ng to open in 2011
I venue tentatively named World Cafe Live at
he Queen. The venue will be the second of
i/hat he hopes will be man> World Cafe Live-
tranded venues to open in che coming years.

Like the Philadelphia space, the new multi-
»vel venue/restaurant will use the brand iden-
ty of the 18-year-old daily i^rogram (which is
arried on NPR in 200 markets and broadcasts
>cally in select parts of Pennsylvania, Mary-
ind and New Jersey) to di'aw concertgoers
1 the region.

"Everybody knows that WXPN is first-class
nd that the 'World Cafe
rand ts their baby and very
acred to them," Real says,
oting that the station's
ame gives his venue cred-
)ility with listeners. "It's got
5 be one of the most lis-
»ned-to contemporary
idio shows on all of radio—
ertainly public radio."

Under a long-term
censing agreement with
hiladelphia-based
/XPN, Real's Real En-
^rtainment Group holds
ie exclusive rights to
se the World Cafe Live
ame for music venues
I North America. The
riginal conditions of
ie licensing deal "an-
cipated there would be
3me expansion, and it kind of required that
lere would be an expansic n in order to keep
lose rights," WXPN GM Roger LaMay says.

Bolstered by the success of World Cafe Live
I Philadelphia, Real accet: ted an offer from
le Wilmington city government to be part of
$250 million downtown levitalization plan
lat irK:luded the reopening of the Queen The-
:er, which has been dark since the '50s. To
ind the project, the city teamed with local
eveloper Buccini/Pollin (iroup to start the
ight Up the Queen Founiiation, which has
siped raise the $21 million needed to restore
te facility. After it's renovated during the next
0 months, Real's company will lease the the-

:er from the foundation.

In addition to a 950-cap3city ground level
>om and a ISO-capacity s 3Cond level with a
>5taurant, the World Caf<' Live in Wllming-
)n will contain a WXPN control room and
nail studio that can broadcast live concerts.
fi/e won't have any permanent staff there,
ut the idea is that we ciin broadcast any
lows or interview any artists from there,"
3May says. "So it will really tiroaden ouf reach
! that respect."

Real says that launching i\ new music venue
a bad economy could be risky, but adds that

the opening date is far away enough to put
him at ease. "In some ways it's great that it
won't be open until early 2011 when hopefully
the economy is starting to turn around," he
says. "We're not about huge touring artists
and taking huge risks on a nightly basis— the
economics are certainly more challenging now
than they were, but we think we can make a
go of it."

Real is also confident that the Wilming-
ton venue's proximity to Philadelphia
shouldn't cause a problem with overlap. "I
don't really think it's going to cannibalize
Philly," he says. "Some of those folks who
can't get to Philly on a weeknight will find
that they would go to Wilmington."

Although WXPN and World Cafe Live reg-
ularly team for events, LaMay and Real stress
that the station and venue are two separate

Cafe society: Exterior rendering of the new
World Cafe Live venue in Wilmington, Del.;
inset: Real Entertainment's HAL REAL

business entities and don't have any contrac-
tual obligations other than the licensing deal.
Following the October 2004 opening of World
Cafe Live, "there was enormous concern on
the part of local promoters who thought we
were going into competition with them,"
LaMay says. "For the most part, that's now
gone because we've continued to work with
everyone who promotes music that appeals
to our listeners."

WXPN is also careful to make sure that
World Cafe Live doesn't receive special
treatment over other venues and promot-
ers in the area. "We pay for spots just like
Live Nation and everybody else does," Real
says, adding that his venue also hosts con-
certs in conjunction with other radio sta-
tions in the market.

Meanwhile, there aren't any solid plans to
open an additional World Cafe Live venue be-
yond Wilmington, but Real is already looking
into potential new locations, which he declined
to reveal. While he isn't opposed to establish-
ing future venues outside of the Northeast,
"we're very interested in expanding in this part
of the country," he says. "We're not trying to be
a Hard Rock Cafe, a Fillmore or a House of
Blues— we're very much a part of the commu-
nity that we're in."

Across The Sea

Roots Music Exporters Cater To Foreign
Demand For Hard-To-Find U.S. Titles

At a time when CD sales continue to plunge,
it's unusual to find someone who's running
to embrace the physical marketplace.

But that's exactly what former artist man-
ager and music journalist John Lomax Ml is
doing with his company Roots Music Ex-
porters. The Nashville-based wholesaler sifts
through U.S. music releases to track down
hard-to-find titles, then sells them to whole-
salers in Europe. Asia and Australia.

Roots Music Exporters is a modest two-
person operation that also gets help from a
couple of part-timers, Lomax's wife and a
bookkeeper. But the growing business expects
to top $1 million in annual revenue this year
for the first time. Through the
first nine months of 2009.
Lomax says he shipped about
60,000 album copies to about 2S
international wholesalers.

Lomax boasts a strong music
pedigree: He's the grandson
and nephew, respectively, of
famed musicologists John
Lomax and Alan Lomax. He's
also the son of John Lomax Jr. ,
who recorded for Folkways and managed
Lightnin' Hopkins.

)ohn III started Roots Music Exporters dur-
ing his days as an artist manager for talents
like Townes Van Zandt. Steve Earle and
Kasey Chambers. At the time, he was trying
to widen distribution beyond the United States
for another artist he handled. David
Schnaufer, a renowned dulcimer player.
Lomax recalls attending the M 1 DEM conven-
tion in 1996 to move Schnaufer's album
abroad and realizing that there was demand
around the world for other rare U.S. releases.
Lomax launched Roots Music Exporters upon
his return while continuing to manage artists.
In 2001, the exporting work became a full-
lime venture.

Business really took off in the middle of

this decade when big-name acts like Garth

Brooks, the Rolling Stones and Prince

started cutting exclusive deals with retailers
like Wal-Mart. Best Buy and Target. So far this
year, Lomax says he has sold nearly 5,000
Brooks albums, which he still buys from Wal-
Mart, even though the artist's albums can be
found at other chains.

Lomax says he hit the jackpot selling
Prince's Target-exclusive set "LotusFlow3r,'"
selling 42.000 copies, or 11% of the 385.000
copies counted by Nielsen SoundScan.
Lomax's claim couldn't be independently con-

firmed. as Target doesn't "release informa-
tion on guest purchases." a company spokes-
woman says.

"We started buying Prince from Target cor-
porate." Lomax says. "They would ship it to a
Target store nearby and we would go pay and
pick up. At one point we bought 8,000 at one
time. . . It was pretty interesting when I pre-
sented a check for $95,000 to them."

Then word came down from Target corpo-
rate that bulk sales could no longer be made.
Lomax says. So he started buying out Prince
inventory at individual stores in the sur-
rounding area and in other states by calling
ahead so the stores wouldn't be caught short
when he cleaned them out.
After placing the call, he says,
he just goes to the customer
service desk, where the product
is waiting for him.

"1 drove down to Atlanta and
in two days got about 3,500
[Prince copiesl from 16 stores,"
he says of a weekend trip in )une.

Lomax isn't the only music
merchandiser miningexclusive
albums at big-box chains. Most independent
merchants, and even chain retailers, buy
plenty of exclusive product from the big-box
retailer.s. It'salso well-known that U.S. whole-
salers shop for exclusivcs at retail so they can
ship those titles overseas. But most whole-
salers like to keep a low profile to avoid com-
plaints from major labels and artist managers
about how the practice hurts ihcir overseas
sales and marketing plans.

When an act or its manager cuts a deal to
give a retailer an exclusive, such agreements
typically include terms of trade, like whether
it can be sold in bulk to other merchants or
wholesalers. Bui those agreements are hard
to police. And the U.S. Copyright Act's first-
sale doctrine allows a copyrighted work to
change ownership as long as additional copies

aren't made. That, coupled with the escalat-
ing trend of established artists breakingaway
from labels to cut their own distribution deals,
leaves Lomax feeling optimistic that his busi-
ness will keep growing — that is, as long as
music is being sold physically.

Meanwhile, the exclusives keep coming.
Kiss' new album "Sonic Boom" hit Wal-Mart
stores Oct. 10, and Lomax says he expects to
see strong demand for the title. ••••

.biz

for 24/7 retail news and analysis, see
blllboard.blz/retall.

OCTOBER 24, 2009 I www.billboard.biz I 9

BY ANTONY BRUNO

Can You Hear Me Now?

Verizon Turns To Artist Apps To Recharge Mobile Music Offerings

Record bbels disappointed
with the low adoption of music
services on mobile phones
often say wireless operators
need to get more aggressive
with their music services if the
mobile music market is to es-
cape its current rut.

Careful what you ask for.
Verizon Wireless — already
one of the more music-foaised
operators — is turning up the
volume by developing and sell-
ing its own artist apps. the first
of which is coming from Pearl
)am Oct. 19. Apps from Green
Day and Keith Urban will be re-
leased in the weeks ahead, and
all will precede the launch of the
operator's new VCast Apps pro-
gram— Verizon's answer to the
iPhone App Store — which is ex-
pected to go live by year's end.

By itself, offering three artist
apps is hardly the kind of strong
music statement labels are
seeking from wireless opera-
tors. But it is certainly a notable
escalation of Verizon's music
strategy, one that could gener-
ate as much tension as oppor-
tunity between the operator and
its music industry partners.

On the positive side, the apps
illustrate the potential of Veri-
zon's new open development
program. The operator wants
to help jointly create new apps
with developers and device
manufacturers by providing ac-
cess to network services like lo-
cation data, messaging services
and billing functions.

The Pearl jam app. for exam-
ple, lets users buy and download
music directly from within the
app rather than forcing them to
find it in the VCast Music Store.
Selecting "buy" in the app sim-
ply directs users to the section

Dialed in: PEARL JAM; right: screen
grabs from the band's Verizon artist app,

of the VCast store for that song,
album or artist. The same goes
for ringtones or ringback tones.

Access to Verizon's location
data lets artists send news alerts
or ticket discounts to fans in a
specific city. Soon the ability to
buy tickets and even merch will
be added to the app.

Artists can also set their own
prices for content and give away
items like ringtones to fans as
gifts or prizes. And Verizon will
advertise the launch by send-
ing an alert to any customer
who has purchased a ringtone
or other content by the partic-
ipating artists and inviting
them to download the new app.

It's a pretty compelling take on
the artist app model. But it's also
potentially disruptive for record
labels — by

ROCK THE HOUSE

Why bother connecting an IPhone to
multiple speaker docks when you can
use the device to control a sound
system that reaches your entire
house Instead? Sonos. the multlroom streaming music
system, gives IPhone owners that option with Its new
Sonos ZonePlayer S5.

The S5 lets users use their iPhone or IPod Touch to
play music from their ITunes library or online music
services like Rhapsody, Last.fm, Napster, Pandora,
Sirlus Internet Radio and Oeezer. The 55 base unit has
built-in speakers and requires additional units to stream
music to other rooms.

The 55 will hit retail shelves in late October for
$400. -AB

design. Verizon and other wire-
less operators have so far moved
slowly on music services be-
cause they don't like the econom-
ics. Labels, they say. want to keep
the majority of revenue while
leaving the operators to carry all
the marketing cost.

"There's still a reluctance to
step away from old business
models," Verizon director of
strategic business development
and partner management Ed
Ruth told attendees of Billboard's
Mobile Entertainment live con-
ference recently. " Innovation has
to come from both sides, and
until that paradigm shifts, we'll
probably be at a stalemate."

These artist apps are Veri-
zon's way ofbrealdng that stand-
off. It's pitching these apps to
artists who are ei-
ther already out
of their label re-
lationships or
who will soon be
as a way of avoid-
ing those diffi-
cult licensing
negotiations. And their offer
is tempting — distribution over
a nationwide wireless network
with nearly 90 million sub-
scribers (not to mention po-
tential synergies with its
landline Internet service
provider and FiOS TV serv-
ices), tour sponsorship, possi-
ble features in TV ads and now
collaboration on digital apps
for a range of BlackBerry- and

Android-powered devices.

"This is a chance for [artists]
to distribute their content di-
rectly to consumers," Ruth
says. "Apps are the new format.
They are the way for artists to
have a one-to-one conversation
with their fans."

Verizon will work with labels
and signed artists who also
want to create apps for the Ver-
izon platform, but the best op-
portunities will go to artists free
to work with the operator di-
rectly. While that means fewer
artists, it gives Verizon access
to the exclusive content it hopes
will translate to not only better
profit margins, but also attract
new music-minded customers
and keep existing ones.

Whether Verizon or any
other mobile company can ef-
fectively compete with iTunes
isn't important — it can't. Nor
can it replace the role of a
record label, and it's of no use
for traditional necessities like
radio promotion, physical dis-
tribution and so on.

Still, labels should take heed.
Verizon is signaling it will offer
the full power of its nationwide
wireless network, retail pres-
ence and advertising dollars to
artists free to strike content deals
outside the confines of a label
licensing agreement How's that
for aggressive.^ • ■ • ■

Jmz

For 24/7 digital news
and analysis, see
billboard.biz/dlgltal.

BITS & BRIEFS

ACTIVISION UNVEILS
'DJ HERO' SET LIST

Activision has finally re-
leased the set list for "DJ
Hero," which comes out
Oct. 27. The game, which
represents the first expan-
sion of the rhythm game
genre Into hip-hop and
electronica, features 93
exclusive mixes. The mash-
ups include 50 Cent's
"Disco Inferno" vs. David
Bowie's "Let's Dance," the
Beastie Boys' "Intergalac-
tic" vs. Blondie's "Rapture"
and Bell Biv DeVoe's "Poi-
son" vs. Cameo's "Word
Up!" Other participating
acts include Rihanna,
Queen, Weezer, M.I.A.. Pub-
lic Enemy, Kool Moe Dee,
Kid Cudi, the Black Eyed
Peas and Herbie Hancocl<.

SLACKER ADDS
TWITTER FEATURE

The Internet radio service
Slacker has added a fea-
ture so users can automat-

ically send alerts and link
to Twitter every time the;
launch a new station, adt
a new song to their fa
vorites list or perform otha
tasks to customize their lis
tening experience. The if
tegration works with th
free and premium Siackc
services. Their Twitter foi
lowers will receive an alei
and a link to Slacker's sen
ice to hear the station c
song themselves.

GOOM STRIKES
LICENSING DEALS
GOOM Radio, which is sti
in beta mode, says It hi
secured licensing deal
with SoundExchange an
the performing rights oi
ganizations ASCAP,
and SESAC ahead of its ei
pected formal launch b<
fore the end of the yea
The company hired the la'
firm Greenberg Traurig t
assist with the rights a<
gregation process.

HOT MASTER RINGTONES

coMHUasr lllcLsCn

UMHilWL ARIISr MoWUrStwT

WSM ''OREVER

WPM i'l^.'- nsTURWGKMMWSl UIWAYW SEHIHtM

EMPIRE STATE OF MIND

RUN THIS TOWN

im i. mtMM, & KMVE M(S1

PARTY IN THE U.S.A.

BIG GREEN TRACTOR

■

OBSESSED

HAWH plHEr

T''

DOWN

JAV SEMf FEATURING LK. WWK

6- ...

SUCCESSFUL

WMl ftirjniNG IREV SOMW & IR. WAVK

■

WHATCHA SAY

JASON liimsi

BEST 1 EVER HAD

- 4 1

BILLBOARD I OCTOBER 24, 2009

John Carp«nt«r'c "Halloween (Movl«
Theme)" rockets 13 positions, to No, 14,
after re-entering the chart last week at
No. 27, The timely tune peaked at No. 13
in the same issue last year and reached
as high as No. 16 during the 2007 season.

1 GOTTA FEELING

TOES

PAPARAZZI

HALLOWEEN (MOVIE THEME)

,i'i.r(i;Ai':UJIU(

IMMA STAR (EVERYWHERE WE ARE)

WASTED

1.1 1[ rMfil K ATiniNO PICS OR (U M JUCEHM

NEED YOU NOW

BREAK UP

I.'" "1 1 !■ Mi' II .1.1 MAW ft SEAN GAflMTl

DO 1 ,

1 WE HKWt

NUMBER ONE

CTIA - Th

Tn»a>m nngtann Mtos daU nfionad tv Nl*l««n ^^BBBHH _ _
• ««rvK«ofM«lianMaeaaSarLCfwt«nclorHdby Hl95la3 1 1 1 A
aWrai««( A«uciMnn«ndMoM»Em«n«lnm*ni rorum ^■■'^

lercedes,

I you were and will always be the voice of hope, justice, and freedom]

ercedes Sosa
1935-2009)

We will miss you.
Your family at Sony Music

SONY MUSIC

Cni

EVENT

HONORING

OZZY OSBOURNE
2009 Billboard
Legend of Live
^ Award Recipient

• KEVIN LYMAN

2009 Billboard
Humanitarian
Award Recipient

Congratulate this year's Billboard Touring
Award recipients on their success and major
contributions to the touring industry!

ISSUE DATE: NOVEMBER 7
AD CLOSE: OCTOBER 22

BONUS DISTRIBUTION

BilllMaril 6thannual November 4-5, 2009

TfllTllIlVIll """"^ ROOSEVELT HOTEL, NYC
v,.'?^.^^?^.^^ ».T,. A? Attended by the key decision
V^FERENCE & AWARDS ,^^^.„g

WWW.BILLBOARDEVENTS.COM

TO ADVERTISE OR FOR EVENT SPONSORSHIP INFO:
Cynthia Mellow • 615.352.0265 • cmellowacomcast.net
Lee Ann Photoglo • 615.376.7931 • laphotogloagmail.com
Frederic Fenucci • 44.207.420.6075 • f.fenucciAeu.billboard.com

Evolve Or Die

Indie Promoter Frank Productions Has
Intelligent Designs On Concert Booking

This year's commemoration of Charles
Darwin's 200th birthday has intensified the
discussion of natural selection. But the con-
cert business has always subscribed to an
especially harsh form of Darwinism: Adapt
or die.

Those who successfully evolve, however,
can thrive. Consider Frank Productions, the
Madison, Wis. -based independent concert
promotion firm founded more than 30 years
ago by Herb Frank. At a time when promoter
consolidation has made it .
tougher for independents to
compete with giants like Live
Nation and AEG Live, Frank
Productions has carved out
enough of a niche to get its first
listing as a fmalist (alongside
Chicago's |am Productions and
Austin's C3 Presents) for the
top independent promoter
award, U.S. at the Billboard
Touring Awards. The awards, which will be
handed out at a Nov. 5 reception in New York,
are determined based on box-ofiice grosses
reported to Billboard Boxscore as opposed to
a vote.

Frank Productions partners Larry and Fred
Frank successfully grew a small promoter of
country music and family entertainment into
a healthy midsize company that focuses its
efforts on hard rock bands playing markets
too small to make much of an impression on
corporate radar.

"When my brother and 1 got heavily in-
volved in [the company] we started with main-
stream country — Alan Jackson, Brooks &
Dunn." Fred Frank says. "Our roots have al-
ways been country, but I have to tell you in
the past six or more years we've morphed into
about 80% rock, mostly active rock. That
seems to be our niche."

That focus has paid off. "Larry and myself
decided to do what nobody else was doing:
taking hot. new. up-and-coming rock bands
and selling them to the markets where the
big guys aren't going anymore," Frank says.
"We're taking these bands into markets that
don't usually get shows, the Mankatos and
Topekas of the world. We're exposing these
bands to new audiences and our numbers
have been through the roof."

12 I BILLBOARD | OCTOBER 24, 2009

On The
Road

RAY

WADOELL

The company's success in 2009 was drive
largely by the whole tours it promoted for Dl:
turbed, Buckcherry and Avenged Sever
fold and a package with Mudvayne :iiid Blac
Label Society. The company also f requent
works with Metalllca. "We just did three ia:
weekend, all sold out: Tampa (and) Fort Lau<
erdale [Fla.] and Atlanta, all tnillion-dol
grosses.' Frank says.

Since they run a family-owned compan
the Frank brothers can chart their own cours
"That's one of the luxuries
being a promoter in charge
your own destiny." Frank say
"We're able to change quick
and roll with the times."

Of course, that same indi
pendence also means tl
Franks don't have the deepei
pockets. "We say this to a lot
people: 'If it's just about tl-
money, then we're probably
your guys,' " Frank says. " 'Weall know wlio
got the checkbook. But if it's about buildir
a career and longevity, give us a call, betau
that's what we're all about.' "

Adam Kornfeld, Metallica's agent at Arti:
Group International, says of Frank Produ
tions, "It's about time they were a finalist ft
top independent promoter. We have workc
with them on both big and small shows acroi
the country for many years. Larry, Fred ar
their stafTare great to work with."

Allen Kovac, president of Buckcherry
management company 10th Street Ente
lainment, adds. "Working with Frank Pn
ductions is a partnership with a capital 'P
They really understand how integrated iiia
ketingand smart tour packaging cotnbiru
with a reasonable ticket price are what woi
in this economy. As managers, we are loo!
ing for innovative ways to market and pic
ent in changing times, and the Franks a
us that flexibility."

Frank knows that independents have b
come an endangered species in the last detad
"We look at ourselves as being very fortiuiatc
he says. "There are not a whole lot of ind
pendent promoters left. They've either Iiee
bought out or squashed out. But we con liiu
to fight for our niche, and we feel like w
in a pretty good spot right now."

ONE MILUON TICKETS

SOLD OVER THE PAST YEAR
WAY TO GO BRAD!

[FECIAL Thanks To[f

-BRAD PAISLEY -

-THE DRAMA KINGS \sf /

-BILL SIMIViONS & ^ /
nTZGE^RALD-HARTLEY

-ROB BECKHAIVl & ^
WILLIAM MORRIS ENDEAVOR
ENTERTAINMENT

-BRENT LONG ^

-KEVIN FREEMAN

V I

BOC AND YOUR FRIENDS AT

lial

B^^XSCC^RE roncert Grosses

VENUES THAT ROCK.

Introducing CDE, a dynamic new entertainment company with a stable of unique and

celebrated venues. Featuring exceptional seating for 12,000-50,000, each venue can
host concerts, festivals, and electrifying events of all sizes.

www.cdentertainment.conn

Churchill Downs

■ Louisville, KY

• 50,000 seats

• World-renowned iconic location

Arlington Park

• Chicago. IL
• Great suburban location
METRA train stop on-site

Churchill downs enteilainment

Churchill Doivns Arlington Psu k Calder Race Course Fair Grounds Race Course
Louisville. KY Chicago, IL Man;, FL New Orleans. LA

GROSS/

ARTIST(S) Attendance

Venue, Dale IJtKjL ■ ,

Promoter

U2, MUSE

Q $6,71B,31S

FedEx Field, Landov«r. Md., 84,754

Sepl, 29 icu!

Live Nation Global Touring

H $5,746,430

S2SO/ $ 30

U2, MUSE

Georgia Dome. Atlanta, Oct. 6

Live Nation Glot>al Touring

H $4,962,240
Kfl 5250/$- SO

U2, MUSE

Carter-Finley Stadium, Raleigh, 55,027
N.C.. Oct. 3 ... i :

Live Nation Global Tourlf>g

H S4,73e,695

U2, MUSE

Scott Stadium, Ch«rloK»sv)ll*, 52,433

Va., Oct. 1 -.. i,

Live Nation Global Touring

■■ S2.326,062

CHER

Th« Colost«um at Caotars 15,992 )6.967 four
Palace, Las Vegas. Oct. 6-7, lO-lt / -.vs two spilouts

Concerts West/AEG Live

M $1,711,295

RUBEN BLADES

Collseo d« Puerto Rtco, Hato 25,985

Hey, Puerto Rko, Aug. 21-22 27V,i > /.r ■,iv.v.\--

Rompeofas Productions

■1 $1,150,896

TAYLOR SWIFT, KELLIE PICKLER, GLORIANA

H s»

Allstate Arerva. Rosemont. III.. 26,265
Oct. 9-10 -.-.c

The Messina Group/AEG Live

■■ $976,062

TAYLOR SWIFT, KELLIE PICKLER, CLORIANA

Madison Square Garden, 13.597
New Vork, Aug. 27

The Messina Group/AEG Live

■■ $867,495

ARETHA FRANKLIN

^1 (SO

Radio City Music Halt. New York. 11,672 >.
Sept. t7-18 i-icwi one sviloml

MSG Entertainment. The Bowery Presents

M $835,071

MILEY CYRUS, METRO STATION

Mlfl t79SO/i^S

HP Pavilion, San Jose, Calif.. 13.100

Sept. 20 :-.-,]-.

AEG Uve

n $831,990

BRUCE SPRINGSTEEN « THE E STREET BAND

Bi-Lo Center, Greenville, S.C., 10,201
Sept. 17

AEG Uve

Wj $821,425

DAVE MATTHEWS BAND, GREGG ALLMAN

Dkltey-Stephens Park, Nortti 12,725
Utile Roctt, Ark.. Sept. 29 ..|. ,„f

Jam Productions

Aao^

Sri $821,422
Ifii tS2S(>/i?8SO

NICKELBACK, HINDER, PAPA ROACH,

SAVING ABEL

Brsi Midwest Bank Amphitheatre, 21,544
Tintey Park. III., Aug. 21

Live Nation

■1 $794,596

BRITNEY SPEARS, JORDIN SPARKS

^1 VS9

BOK Center. Tulsa. Okla., Sepl. 15

Concerts West/AEG Uve

Pi $788,024

ItJ (W4ai.T67Cjrvy3.*^t

Northern AJberta JuMee Audltorkan, 9,586

Live Nation

M $784,920

RASCAL FLATTS, DARIUS RUCKER

xcel Energy Center, St. Paul, 12.372
Minn,, Sept. 19 . iiijut

Live Nation

HI $765,470

KINGS OF LEON, GLASVEGAS

ComcAst Center, Mansfield. 18,621

Mass.. Sept. 11 j lkjo

Uve Nation

WM $743,492

TAYLOR SWIFT, KELLIE PICKLER, GLORIANA

Quicken Loans Arena, Cleveland. 15,524

Oct. J sellout

The Meulna Group/AEG Uve

■■ $738,656

BRITNEY SPEARS, JORDIN SPARKS

UJ »12V1!>£,.S--.'J'jO/

ToyoU Center. Houston, Sept. 16

Concerts West/AEG Live

HS $735,309

JOURNEY, NIGHT RANGER

New Orleans Arena, 12,893
New Orleans, Sept. 26 .v.?!ir, i

Beaver Productions

R $728,326

MILEY CYRUS, METRO STATION

UJ ^79SO''32:>

Rose Garden. Portland. Ore., 10.917
Sept, 14

AEG Live

■■ $722,618

BRITNEY SPEARS

m $39 50

Allstate Arena, Rosemont. III.. 15,695

Sept. 9 ',.'ik.i.i

Concerts West/AEG Live

ffl $718,706

MILEY CYRUS, METRO STATION

tSi S7t|50/(2S

Thomas A MKk Center. 11.426

U*> V««M. S*Dt 26

AEG Live

CTlnlOA

DAVE MATTHEWS BAND, SWITCHFOOT

UM SG!^7S'S^S2S

Cricket wireless Amphllheatre, 13,862
Chula Vista, Calif., Sept. 12

Uve Nation

H $707,901

JAY-Z

m 554 so

Madison Square Garden, 14.663
New York. Sept. 11 > i, ,,:

Live Nation

M $699,885

Uli S59/i25

BRAD PAISLEY. DIERKS BENTLEY. JIMMY WAYNE

Rj $697,411

JAMIE FOXX

S 7S ^V$45 DO

Chestain Park Amphitheatre. 10.255

Atlanta, Sept. S-6 15.400 two ^ho<\--

Uve Nation

ffl $695,633

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

■■■■ ssr/vSd^5

Darten Lake Performlna Arts 18,965

Center. Dan en Center, N.Y., Aug. M < ^ '■jjo

Uve Nation

M $693,533

RASCAL FLATTS, DARIUS RUCKER

Verizon Wireless Amphitheater. 15.998

Virginia Beach, Va.. Sept. 10 ?vO'-v,

Uve Nation

$693,347
Mil SS8/$21.2S

NICKELBACK, HINDER, PAPA ROACH, SAVING ABEL

Riverbend Music Center. 15,717

Cincinnati, Aug, 19 20,S0y

Live Nation

M $693,221

KATHY GRIFFIN

566 50/tS6 50/
^1 i46SO

Chicago Theatre, Chicago, 12,489 t-i m icu
Oct. 8-11 -.rnuv-^ H-.F.... ■.;<-lli>iii-

MSG Entertainment. Live Nation

Rl $688,569

PINK, THE TING TINGS

Allstate Arena, Rosemont. 111.. 14,472
Sepl. 26

Concerts West/AEG Live

H $688^28

BLINK-ie2, WEEZER, TAKING BACK SUNDAY, CHESTER FRENCH

Em t<]3/S775

Comcast Theatre. Hartford. Com. 24,767
Aug. 29 -.Hioui

Lbn Nation

n $687,437

BRITNEY SPEARS. JORDIN SPARKS

^1 S3950

Amway Arena. Orlando. Ra., 11,408
Sept. f stUiii.i

Concerts West/AEG Live

ffl $685,819

NICKELBACK, HINDER, PAPA ROACH, SAVING ABEL

Em S79/(29

FMdIer's Green Axruhithealre. 17,178
Englewood, Colo„ Aug. 25 %L>!iout

Uve Nation

-■-1-7 ''a • -I.'- I -'I

And The Winner Is. .

Jnivision Makes The 'Idol' Model Work, With A Few Tweaks

>4usic-themed reality coniests like
American Idol" have traditio laliy been
losing proposition for Spsnish-Ian-
;uage networks in the Unit .'d States.

Although the format has flourished in

countries like Spain and Mexico, in the
States home-grown Latin music real-
ity shows have failed to garner substan-
tial interest and ratings. One reason
behind the lack of success was the ex-
orbitant costs of synch and mechani-
cal licenses, which sometimes exceeded
Latin TV production budgets.

But now the Univision network is
bucking the trend with its reality show
"Viva El Suefto" (Live the Dream), a
weekly two-hour live competition on
which the up-and-coming acts already
have record deals.

The show, which airs Sundays at 8
p.m., was the eighth-most-watched
prime-time program among Hispanic
viewers for the week ending Oct. 4,
according to Nielsen data. This week
it was the eighth-most-watched
show, with an average of 2.5 million
I>eopIe and 1.5 million households
tuning in.

While part of the show's success
can be attributed to Univision's
clout and multimedia promo-
tion— the show is heavily touted on
Univision.com and its judges are all
Univision radio personalities — that
is just part of the equation.

"Viva el Sueno," produced by a team
led by Cisco Sudrez (producer for Pre-
mios luventud and the Latin Grammy
Awards) is detail-oriented and more fo-

Sing while you're winning:
DIEGO DIBOS

Latii
Notas

LEILA
COBO

IjL. r « «

cused on talent than on good looks.

Prior to the start of production,
the network cleared the use of hun-
dreds of songs, almost all of them
hits. Contestants are accompanied
by a live band that per-
forms original arrange-
ments they learn and
rehearse every week.
Prior to the show's tap-
ing, which is done be-
fore a live audience,
contestants rehearse
for two days with guest
artists at the Gibson
showroom in Miami.

In other words, subpar acts really
don't have a space on this show — the
onus to perform well under pressure
is too great — and this was a powerful
lure for labels to convince signed artists
to participate.

"Viva el Sueflo" kicked off Aug. 30
with 14 artists, and one is eliminated
every week by audience vote. Although
the bulk of contestants come from
Mexico, overall competitors represent
the vast array of styles and nationali-
ties necessary to attract the broad U.S.
Latin audience.

While those who last longest get the
most exposure, even early losers gain,
says Paula Kamlnsky, marketing VP
for Sony Latin, which had two artists
on the show — Barbara and Zuly. Both
were eliminated but stirred a strong re-
action online, measured by new fans

and comments and visits to blogs.

"These kinds of shows are very im-
portant windows of opportunity."
Kaminsky says. "Particularly the fact
that Univision feels it's important to
work with labels in find-
ing new talent, and ex-
posing this new talent is
key for any artist devel-
opment story."

Warner has four art-
ists on the show —
Fedro, Paco de Marfa.
Diego Dibos and Do-
natella, who was elimi-
nated last week. All have
albums out, but, according to market-
ing VP Gabriella Martinez, the show
allows for the development of a mar-
keting strategy almost in real time.

"Their image and style get promoted
and known far quicker than it would
normally lake us." Martinez says.

"Viva el Suefto" is slated to run for
six more weeks, during which ratings
are expected to rise as the show contin-
ues to gain momentum.

The winner will receive 5200,000 in
cash. But one of the bigger prizes to be
gained from this show is that given the
proper promotion and exposure, new
artists can gamer big ratings — as they
do in the mainstream — leading to sales
and revenue for labels. • •

For 24/7 Latin news and analysi»,
see bfllboard.biz/latln.

THE BILLBOARD

esus Lara has been busy re
iversary of MTV's U.S. Lati
ing the eighth Installment c<
a. the network's annual av
ho Is the senior VP of must
oth channels, helped preslc
ity format for the show, wh
cgota. Colombia; Buenos
3gether in a live broadcast
hitheatre Oct. 15.

multi-city show across
attn America sounds like
logistical challenge. Can
be done live?
certainly adds some more
>mplexity to the whole pre-
ss. Our first and foremost
bjectivf was to come up with

:ently, celebrating the third an-
n channel MTV Tr3s and plan-
f Los Premlos MTV Latin Amer-
'ards show for the region. Lara,
c and talent/artist relations for
ie over an ambitious new multi-
ch saw pretaped ceremonies In
Aires; and Mexico City brought
from Los Angetes' Gibson Am-

a new and innovative format
that can really take the format
to the people. It's the first time
we [did] it, so we just needed
to make sure that we can de-
sign something that was ac-
tually executable. We want to
keep building a bigger and

better show every year, so we'll
see how it goes this year and
build on that.

What have you learned
about balancing English
and Spanish content In the
United States? For exam-
ple, MTV Tr3s and other
Latino youth channels
have been Incorporating
tetenovelas.

The U.S. marketplace con-
tinues to be influenced by
Latin America and vice
versa. It's a continuous ex-
change of music culture.

(The Vpnpxuplan toon trlon-

ovela] "Isa T.K.M." became
a massive success for us at
Nickelodeon Latin America.
We programmed it on MTV
Tr3s because we strongly felt
it would find an audience,
and it did.

Has Increasing MTV Tr3s'
regional Mexican program-
ming led to ratings results?

Sure. The U.S. marketplace

is a very complex
marketplace. When
you talk about Latino
music, there's seg-
ments of Latino mu-
sic, and that's a very
important segment.
You can't ignore it.

Is the music indus-
try fully aware of
how exposure on
MTV Tr3s can help
move the needle?
The majority of them
do get it. The Inter-
net has democratized

music (o such an

extent. I do still
strongly believe that you
have a need for program-
ming— media companies
that program music and have
an intelligent push. If you
just have a plethora of Inter-
net sites out there where
people can find music, I'm

sure they'll find great music.
But if you don't have media
companies giving the audi-
ences intelligent pushes be-
hind particular artists, I
think it's very difficult to
break through the clutter.

— Ayala Ben-Yehuda

EN ESPANOL: All the great Latin music coverage
jOMT) you've come to expect from Billboard— In Spanish!
Billboard* nespanol.com.

OCTOBER 24, 2009 I www.billboard.blz I 15

BRIEVE

DIGITAL DOWNLOAD
THEMED CAFE OPENS
Stars Caf6 Digital, a new chain
of cafes in Argentina, opened
its first location Oct. 2 in a
Buenos Aires mall.

The cafes feature machines
where patrons can legally
download music to their
phones, MP3 players, CDs or
USB drives. The machines
offer 1 million tracks from the
four major labels at a price
that reportedly Is an average
of 52 cents, though some
songs sell for as much as $1.17.

The chain is part of Vi-Da
Global, which operates the
download site Bajamusica.com.
Dell, Helneken, wireless carrier
Personal Y and Banco Macro
are sponsors.

—Ayala Ben-Yehuda

SGAE ISSUES COLLEGE
SCHOLARSHIPS

The Spanish collecting society
SGAE will issue seven scholar-
ships to study at the Berkiee
College of Music In Boston, as
it prepares to open the first
Berkiee center outside the
United States in Valencia, on
Spain's southeast Mediter-
ranean coast, in 2011.

The scholarships are part of
a deal signed between Berkiee
and SGAE in 2008 to build the
27-story Valencia center, whose
latest estimated cost exceeds
$150 million. Berkiee Valencia
will offer advanced courses
currently unavailable in Spain
but taught in Boston.

The application deadline for
the scholarships is Nov. 24;
they will cover an academic
period from September 2010
to July 2013. Three scholar-
ships were awarded last year,
and the Spanish students and
SGAE members began their
courses In September

Berkiee Valencia will tie the
star project of SGAE's Arteria
program, which envisages the
construction of several cultural
centers in Europe and Latin
America. Some already oper-
ate in cities like Buenos Aires
and Mexico City. Arteria alms
to promote international artis-
tic exchange.

A few of SGAE's 95,000
members— mainly from the
music publishing sector— have
criticized Berkiee Valencia and
Arteria for advocating real es-
tate development rather than
cultural promotion.

—Howe/I Llewellyn

IIPFPnMT

HOW TO

1AKE A T-SHIRT THAT REALLY SELLS

by DELL FURANO, CEO, LIVE NATION MERC

Retail sales of music are struggling, but no one can download a T-shirt. So nnerchandise is
becoming increasingly important to the music business— especially for touring bands, and
creating must-have swag can be central to the success of a marketing campaign.

"Your concert shirt is your badge and tells everyone a great deal about who you are," says
Dell Furano, CEO of Live Nation Merchandise. Band T-shirts not only promote an artist but
also generate revenue. "One of the very positive trends In the past several years is that the
quality, colors, styles and printing techniques have improved dramatically," Furano says. "As
a result, you can provide better quality to your fans and still maintain reasonable prices."

Furano's division runs the official Web sites and merch businesses for dozens of acts in-
cluding U2, the Beatles, Bruce Springsteen, Kiss, Madonna and Coldplay. He has spent more
than 30 years in the business, helping artists translate their music and personas into col-
lectible, wearable statements for fans.

In this economic climate, however, even small bands can use some advice on how to cre-
ate a cost-effective T-shirt that will fly off the merch tables.

1. TIE THE T TO THE TOUR

It's axiom No. 1 in the merchandise bible: The
best-selling merch is the products with designs
related to the imagery, photo, itinerary and logos
that promote your tour and its twin brother, the
new album cover. And many times they're the
same or related. Coldpla/s "Viva La Vida or Death
and All His Friends" artwork is a classic example
(of album art that was repurposed for tour art and
high-seiling merchandise|; Bruce Springsteen's
biggest-selling shirts right now are related to the
"Working on a Dream" tour and album. And, yes.
a staple that hasn't changed in 35 years is that
everyone likes the tour T-shirts with the itiner-
ary on the back. Everyone likes to see the dates,
turn the shirt around and point to their city. It
connects everyone. Everyone still looks back on
the Rolling Stones" Steel Wheels tour, U2's Joshua
Tree tour, Madonna's
Blond Ambition. So
time-stamp it in
terms of year, in terms
of city and venue.

2. LIMIT THE
OPTIONS— MORE IS
NOT MORE

One of the most common myths in the
merch business is that more is better.
More isn't better when it comes to prod-
uct lines, so don't offer too many differ-
ent options with the thought they'll attract
more sales. The selling window at the con
cert is brief. Fans arrive later and later, need
to go to the bathroom, buy a beer, find their
seat and at the end they want to leave — the
longer they have to stand in line while peo-
ple look and choose, the more sales you
lose. Ask Kiss' manager Doc McGhee
about this. He uses a stopwatch to clock
the transaction times. If it's too long, he
has us reduce the choices. v

3. BE STYLE-INCLUSIVE

While you don't want to give pwople too
many choices, you do want to make sure
all your fans can show ofT their loyalty. We
sell a lot of women's-fit shirts, as well as
double extra-large, so it's smart to make
those styles available — sweatshirts for
cool weather, children's sizes, etc.

4. WEIGH THE COST OF EACH PRINT

The more prints you put on a shirt — front print,
back print, sleeve print — the higher the cost. If
a sleeve print costs, say. 30 cents per shirt, you
can charge an extra dollar for the shirt, 25% of
which you might have to give to the venue —
but you don't want to sell a shirt for $34 or S36,
you want to sell it for S35 or $40 because of the
transaction time at a show. So adding a sleeve
print so many times — do the bands like it? Yes.
Do the fans think it's cool? Yeah. But we don't
think it generates more sales or total revenue.

5. STAND OUT FROM THE CROWD,
LITERALLY

It goes without saying that your T-shirt needs a
great design, but that's not necessarily enough.
Last year we worked closely with Tom Petty's
manager Tony Dimitriades and came up with a
burgundy shirt with this great bust print ofTom
in an ofF-yellow that we sold at the Pemberton
festival in Canada. And you could see those
10,000 fans who bought Tom Petty shirts of
the 50.000 in attendance — from airplanes,
from the stage, as you walked through
the crowd, in a picture in the newspa-
per the next day — because the shirt
was so distinctive. And I told
Tony, "You deserve the credit. "
When this shirt was up on the
wall with the other 40 shirts
of acts playing at the festival,
it completely jumped off the
wall. Same thing in an
arena — merchandise has
got to grab your attention
and pull you over.

— Interview by Evie Nagy

Give me a T! Shirts for Mos
Def (on model) and Sllimy

BY ROB SCHWARTZ |

BILLBOARD

OCTOBER 24, 2009

Tokyo Hang Up

Mobile Market Changes Lead To
Decline In Japanese Digital Sales

TOKYO — A ripple of apprehension has spread
across japan's recording business in the wake
of its first digital sales dip.

Japan's success in offsetting declining phys-
ical sales with digital has been the envy of other
territories in recent times. Notably, demand
for mobile music has been increasing despite
a drop-off in other markets — including the
United States, where the RIAA reported a 7.3%
fall in 2008.

But insiders say the slowing rate at which
japanese consumers replace their mobile
phones, combined with piracy and a weak re-
lease schedule, has taken its toll. The Record-
ing Industry Assn. of |apan registered its first
quarterly digital sales decline in the April-
june period, when values fell 2% year on year
to 22.1 billion yen (then the equivalent of
$228.2 million). In comparison, second-quar-
ter 2008 digital sales had risen 28% year on
year to 22.5 billion yen (which equaled $212.8
million at that time).

The RlAj insists there's no need to panic.
"The market is stable," GM Shigeta Shoji says,
adding that first-quarter digital sales stayed flat

at 22.5 billion yen ($227.8 million)
and first-halfsales only fell 1%. Shoji
also notes that small quarterly
changes can reflect "a stronger or i
weaker release schedule."

Universal Music japan GM of sales,
marketing and digital Naohiro Fukao says
the digital drop is signiBcant, but partly attrib-
utable to a "weak release schedule." He notes
that the first half of 2008 featured major mo-
bile sellers from Japanese stars like Thelma
Aoyama. GReeeeN and Hikaru Utada, but such
huge hits were lacking in 2009.

Sources agree that the cell phone market's
slowing growth has hit mobile music, which
dominates japan's digital sales (88% of retail
value in 2008, according to the RIAJ).

The trade organization Telecommunica-
tions Carriers Assn. of japan says total mobile
subscriptions increased by 355,000 in April
(its most recent figures); that figure was

408,000 in April 2008. According to the I F PI
Japan had 110.6 million mobile phone sub

scriptions in 2008.

The slowdown followed an October 2(K)7 gov
emment recommendation that carriers rcduc
mobile phone fees. Carriers complied but bogai
charging for handsets, which had prcviousl
been free with subscriptions.

Before the change, "users had replaced thei
handsets every four to six months," says H
roshi Yamazaki, GM of digital distribution a
the market-leading mobile music store Rco
Choku. Yamazaki estimates hatidsci replace
ment now happens every 12-18 months.

That, he says, has a "twofold effect" o;
music sales. "First, more users have phone
which aren't compatible with certain |cmer(
ing] mobile music formats, and when a tisc
gets a new phone, they're more likely to inak
music purchases."

The RIAJ figures show master ringtone
were hardest hit in the first and second quai
ters. In the first quarter, their retail valu
fell 24% year on year to 4.4 billion yen (S45
million), while an 18% drop to 4.1 billio
yen ($44.4 million) o(
curred in the second quai
ter.

Full-track mobile dowr
loads and online sales fare
better, however. In the se<
ond quarter, full-track m(
bile download sales staye
unchanged at 12 billion ye
($130 million), while onlin
sales rose 8% to 2.4 billio
yen ($26 million).

In an attempt to bolste
yj revenue, Yamazaki say

IP ^ Reco Choku is engaging i;

"one-to-one marketing" t
update consumers digitall
about artists and release
"that appeal to their person.
prci'tTcnccs" through a fre
membership scheme.
Fukao says Universi
will step up digital mai
keting. including di:
tribution of mor
vidcoclips and digit
booklets with rnobil
tracks. On llic A&
front, he adds, "we'll cn
ate more [Japanese po[
lyrics and tracks that appeal t
women in their 20s who are the main target fc
mobile distribution."

Piracy remains problematic, however. Th
RlAj claims mobile phone users illegall
downloaded 407 million master ringlon
and full-length tracks from October 2007 t
September 2008. compared with 329 millio
legal sales.

And Fukao remains realistic about the it
dustry's challenges. "The more people g<
used to mobile [formats]," he says, "thoeas
ier it becomes to find ways to downloa
tracks illegally." >•■

Sanity Regained

Management Buyout Aims To Boost CD, DVD Sales

BRISBANE, Australia — Following a management

juyout. the Australian retailer Sanity Entertainment
s staking its future on consumer interest in physi-
:al formats.

A consortium led by the Sydney-based merchant's
ZED Ray Ilaoui recently acquired the company from
ts parent Brett Blundy Retail Capital (BBRC) for an
indisclosed sum (Billboard. biz. Sept. 24).

The 2.iX-store operation includes the Sanity, Vir-
jin and HMV brands Down Under and. accord-
ng to Itaoui. will continue to devote about 49%
>f its floor space to CDs. with most of the remain-
ng space for stocking DVDs and a small space for
)ther merchandise.

That underlines the fact that, for Itaoui. "the core of
vhat we do al Sanhy Is physical product."

"The key focus for us is as music and movie spe-
ialists." he adds. "We really want to get back to what
ve do well."

Despite Sanity shuttering its Loadit music sub-
scription service Ian. 1. less than five months after
aunch, Itaoui says digital is "an important part of
vhat wc do" and that Sanity is gearing up to deliver
ligital rights management-free content from its Web
ite (Sanity.com.au).

Digital sales have taken off in Australia in recent
nonths {Billboard, Oct. 17). with the sector worth S37. 1
nillion Australian (S32.6 million) in the first half of

2009.accordingto the Australian Recording
Industry Assn. ButCDs still account for 90%
of alt album sales, with Itaoui claiming San-
ity is "seeing growth in physical music prod-
uct in our Hke-for-like stores."

Sanity has another year of the licensing rights to the
HMV name Down Under, through an October 2005
deal; the Virgin name is licensed until 2015. Neither
BBRC nor Itaoui would comment on the deal's struc-
ture, which, although never publicly announced, was
completed in early September. Retail sources estimate
the price was around $30 million Australian ($26.6 mil-
lion). Itaoui won't identify his financial backers.

Tlie first Sanil>' Entertainment store opened in 1992
in Melbourne. At its peak at the turn of the decade, it
was Australia's music market leader with 300 stores.
However, label /distributor estimates now give it sec-
ond place with 2i%-2S% of (he market behind ] B Hi-
Fi's 40% (Billboard. |uly 25).

Labels have welcomed the Sanity developments.

"We feel very positive about the management buy-
out," says Universal Music Australia managing direc-
tor George Ash. "The core focus of the new group is
music and movies, which is music to our ears."

"I respect the maverick spirit they are showing,"
says EMI Music Australia chairman Mark Poston. "Ray
and his team have proven to be smart operators in
looking to broaden their store coverage regionally."

Colin Daniels, managing director of the Sydney-
based indie Inertia, welcomes the move but warns that
Sanity needs to "improve its range and re-establish its
connection with customers.'

Some label sources suggest Sanity had lost focus in
recent years, concentrating too much on top 40 al-
bums, cheap boxed sets and DVDs.

|B Hi-Fi's rise to prominence has been fueled by a
deeper range of music product than Sanity and cheaper
prices. Paramore's chart-topping new album. "Brand
New Eyes." is $19.99 Australian ($17.80) at jB Hi-Fi
and $21.99 Australian ($19.50) at Sanity.

I B Hi-Ei didn't return calls requesting comment,
but Gavin Ward, executive director of the 170-store
Leading Edge Music chain, says )B Hi-Fi will continue
as the market leader. "This isn't going to affect [ | B Hi-
Fi] one way or another." he adds.

However, itaoui is confident he's made the right
move and remains bullish that Sanity can avoid the is-
sues that have caused other international retailers to
shutter in recent times.

"I know the numbers and the business." he says.
"Am 1 nervous.* No."

BY HOWELL LLEWELLYN

HOT OCTOBER NIGHTS

Spanish Telecoms,
Creative Industries
Fight Over Illegal
Downloads

1ADRID— The Spanish govern-
nent faces a "hot autumn of
:onfrontation" with the cre-
itive industries If tt doesnt get
ts act together on unautho-
ized dowrnloading, says Joan
Javarro, director of lobbying
iroup the Coalition of Creators
1 Content Industries. The coall-
ion's members include the IFPI
>ffiliate Promuslcae, authors'
ociety SGAE and representa-
Ives of the cinema and soft-
vare sectors.

Navarro's threat follows
irst-half Promusicae figures
howing music sales fell 35%
o €87.7 million ($128 million)
his year, compared with
:i26.2 million ($185 million) in
irst-half 2008.

Promusicae blames online
liracy for stunting digital
jrow/th and harming physical
ales. From January to June,
nobile sales— previously the
lominant digital format in
ipain-fell 37.4% to €6.4 mll-
ion ($9.4 million); online digi-

tal sales rose 68%, but only to-
taled €7.1 millon ($10.4 milinn).

Navarro suggests mobile's
slump partly reflects that the
novelty of downloading to
phones has passed for many
young people, but Insists
piracy Is tt>e real problem.

Promusicae claims more
than 2 billion tracks were ille-
gally downktaded in 2008. "The
situation is desperate," Promu-
sicae presklent Antonto Gulsas-
ola says, adding, "It is a joke to
think that, in the current situa-
tion, there could exist a viable
digital market [here] similar to
that in neighboring countries."

The coalition wants the gov-
ernment to resolve an impasse
with the trade group Redtel.
which reprosents telecoms
and internet service providers
including Telefonica, Vodafone
and France Telecom/Orange.

Lengthy talks between Red-
tel and the coalition on tack-
ling unauthorized download-
ing collapsed in April. "For one
year we had been insisting the
solution must involve the col-
laboration of all sides to gener-
ate an attractive and legal In-
ternet content offer," Redtel

Pain in Spain: Promusicae
president ANTONIO
GUISASOLA (top) and EMI
Spain director general
SIMONEBOSE

director-general Maite Arcos
says. However, she adds that
the coalition was "entrenched
in solutions that demand pe-
nalizing Internet users."

So far, the coalition says it
has received conflicting re-
sponses from the government
In September, Secretary of
State for Telecommunications
Francisco Ros deferred action
until after a May 2010

European telecommunications
ministers' meeting in Madrid.

But shortly after, industry
minister Miguel Sebastian
wrote to both sides express-
ing his desire to close a deal
before 2009 ends, saying it
was "absolutely necessary"
that talks resume.

Redtel, however, has refused
to return until the government
puts proposals on the table.
Navarro says Sebastian prom-
ised that would happen by the
erKl of October, hence hts threat
of unspecified "confrontation"
if none materialize.

The music industry is ham-
pered by a 2006 recommen-
dation from Spain's attorney
general that peer-to-peer ex-
changes of copyrighted files
be viewed as legal, provided
there isn't a profit motive. That
makes it "virtually impossible
to take offenders to court,"
Guisasola says. "There's little
labels can do."

A May IFPI report said 81%
of Spanish Internet users
younger than 24 years old
downioad copyrighted con-
tent illegally. However, Arcos
suggests that's largely be-
cause fewer legal services op-
erate in Spain than in other es-
tablished European markets.

Although Apple's iTunes
does operate In Spain, Arcos
notes that other key players.

includir>g Amazon, have yet to
launch. "If Spaniards could
gain [easier] access to tracks
online," she says, "it would
reduce piracy."

Nevertheless, the difficulty
In competing with unautho-
rized free music was illus-
trated in June when sub-
scription-based streaming
operation Yes.fm withdrew
Its service after It attracted
slightly fewer than 5,000
subscribers In eight months.

Individual labels say they're
stepping up online efforts.
EMI Spain director general
Simone Bose says he's work-
ing with existing services to
bundle exclusive merchandis-
ing, movie or concert tickets
with download sales. "We are
also looking to establish
direct consumer relationships
through [various] online
tools," he says.

Meanwhile, Universal Spain
director Fabrice Benolt insists
the Industry must stand
together and "make govern-
ment understand that while it
isn't checking the problem,
Spain's cultural patrimony ts
being destroyed."

Guisasola adds, "If the gov-
ernment does not act as soon
as possible. It will go down in
history as the government that
helped do away with the local
record industry." • •

GLOBAL
NEWS

LINE

www.billboard.biz/global

KENYAN,
NIGERIAN STARS
SHINE ON MTV

Nigerian and Kenyan
artists were the big
winners at the second
MTV Africa Music Awards,
held Oct. 10 in the Kenyan
capital Nairobi. Kenyan
hip-hop artist Nameless
won two awards, and
Nigerian hip-hop artist M.I,
was also a double winner
at the event in the Moi
International Sports
Complex. The popularity
of African hip-hop was
underlined when South
Africa's HHP took home
the award for best video
for "Mpitse"(EMI). U.S.
vocalist Akon led winners
and performers in a
version of Michael
Jackson's "Wanna Be
Starting Something" for
the show's finale.

SKY SONGS
LAUNCHING

The U.K. pay-TV
broadcaster/Internet
service provider BSkyB
launches its long-awaited
digital music service Sky
Songs Oct. 19. BSkyB
announced the service
almost 15 months ago.
when Universal was
confirmed as the first
major onboard. Sky Songs
offers access to more than
4 million tracks for
download and ad-free
streaming. All four majors
have licensed their
repertoire, along with
various indies. The service
(songs.sky.com) is
available to anyone with a
broadband connection
and has a two-tier
subscription, priced at
£6.49 ($10.25) or £7.99
($12.62).

SIX-PACK FOR
LADYHAWKE

The U.K. -based alt-pop
singer/songwriter
Ladyhawke collected sli
awards Oct. 8 at the New
Zealand Music Awards In
Auckland, including
album of the year for |
"Ladyhawke." She also *
performed at the
ceremony, organized by
the Recording Industry
Assn. of New Zealand at
the Vector Arena.
Universal Music hip-hop
act Smashproof
collected three awards,
while Warner Music rock
band Midnight Youth
collected two.

Reporting by Diane
Coetzer. John Ferguson:^
and Andre Paine.

OCTOBER 24, 2009

v.billboard.biz

Cni

I Hl= Rll I ROAR

BY AYMERI.C PICHEVIN

/EMI MUSIC

fesiOENT OF

lEW MUSIC-

iNTa

RNATIONAL/

lESIDENT OF

AR1

tIST GLOBAL

AJMAGEMENT

BiUy Man

The EMI A&R guru talks about
taking international artists global.

Billy Mann is the man with the golden ears. As a songwriter and producer, he's worked on proj-
ects from the likes of Take That. Joss Stone, Celine Dion and Ricky Martin, helping to sell
more than 75 million albums worldwide. His collaborations with fellow Philadelphian Pink have
produced hits including "God Is a DJ," "Stupid Giris," "I'm Not Dead" and "Nobody Knows."

Having joined the EMI Music investor board in November 2007, he became chief creative
officer in January 2008 and was promoted in July of that year to oversee the major label's
A&R for the world outside North America and the United Kingdom. He works alongside
Nick Gatfleld. president of new music— North America, the United Kingdom and Ireland, as
part of EMI's new music unit, with a mission to strengthen local rosters and steer international
acts toward global success.

Mann can now point to French dance artist David Guetta as proof that his approach is
working. Guetta's "Sexy Chick" is his biggest international hit so far. peaking at No. 34 on the
Billboard Hot 100, and the album "One Love" has sokJ more than 700,000 copies vroridwlde,
according to EMI.

Mann spoke to Billboard about the challenges in making EMI attractive to artists again after
the upheaval of recent years.

David Guetta's manager, Caro-
line Prothero, praises you for
pushing his success as an artrst,
as opposed to a OJ. What did you
do that wasn't done before?
When David played me "When Love
Takes Over." my first thought was.
"The songfeets likea smash, but how
do we make sure people understand
David is the driving artistic force be-
hind these records? How do we build
that international traction for him?'

We challenged our marketing
teams with the proposition that
there is a difference between a "DJ"
and David Guetta. David is more like
a P. Diddy than he is like any other
D) in the world. He is an entrepre-
neur with clubs, products, compila-
tions, brands and a spectacular team
around him. Also, the French and
global marketing teams made it crit-
ical that we provide David's audi-
ence with unprecedented online
access. This varied from 24-hour
day-in-the-life access to webcast par-
ties to in-studio footage.

Each time he reached out, the
fans spoke and we listened. His
growing fan base is actually collab-
orating with EM I on the way we de-
liver Guetta to market.

EMI acts like Bebe, Bunbury and
Jaguares have 23 nominations
for the 2009 Latin Grammy

Awards, up from eight In 2008.
Is this due to your reorganiza-
tion of EMI Music Latin America?
There is a momentum in the Latin
space that feels more unified and
focused than ever. New signings like
Panda. Anahi and continued suc-
cesses like Zoe, jaguares and Aieks
Syntek speak volumes about where
we've been and where we're going.
We moved the Latin operation from
Miami to Los Angeles because so
much of the Latin industry is based
in Southern California. With [COO/
senior VP of new music — interna-
tional/global artist management]
Camilo Kejner — who works closely
with me and [Capitol Latin senior
VP] Diana Rodriguez — chairing the
Latin priorities board, and the fact
that I can participate in a Spanish-
only board call, we are seeing a
healthy roster get healthier.

You also signed a licensing deal
with the Mexican label Movie.
What are your plans for that?
The Movie team has an amazing ros-
ter: Panda. I.os Ctaxons. Insite and
Nina Pilots are all unique, talented
artists. Wc arc augmenting what
they do with a full slate of services —
marketing, promo, publicity, digi-
tal distribution, as well as licensing,
merch and synch support. Panda's
No. 1 debut in Mexico [with its

"Poetics" album] speaks volumes
about the potential for our partner-
ship, and I 'm looking forward to the
development of other key artists on
their roster.

Traditionally, EMI has relied upon
the strength of its U.K. repertoire
for international success. Does
that mean unearthing interna-
tional stars with cross-border po-
tential is one of your main tasks?
1 found that EMI's local strike rate
was really strong. Even when there
wasn't the level of U.S./U.K. re-
leases from Coldplay, Kaly Perry.

Depeche Mode or Robbie Williams,
local territories maintained focus
on building their own stars.

We put in place a gold mine ini-
tiative where our new-music divi-
sion can champion acts on a more
local- to-local basis. I n the past, the
tendency was to centralize more.
Now territories can communicate
directly without any presidential
stamp of approval.

This is currently happening with
[the soul singer) Sabrina Starke,
signed to EMI Netherlands and al-
ready released in Brazil. Belgium.
Germany, Italy and India. It is also
starting with [EMI France-signed
rootsy singer] Hindi Zahra. This lib-
erates creative executives who can
be more entrepreneurial.

Why do record companies sign
more non-U. S./U.K. acts that sing
in English nowadays?

There is definitely a growth of Eng-
lish-singing acts, but this is not a
record-company strategy. It might
be a trend [among artists]. It is naive
to assume that the only English-lan-
guage repertoire of value is from
the U.S. and U.K.— for EMI, artists
like Roxette. Marit Larsen and Lykke
Li speak to that. But acts singing in
their own language can still make
it; it all depends on their aspirations.
Look at [the Swiss rock artist] GClS.
singing in his [Bernese German] di-
alect. His fans are dying for him.

Does being an established writer
help you interact with artists?

1 have lieen told many times by artists
how thc>' appreciate my ability to go
into shorthand when it comes to
music, but al.so when it come to un-
derstanding the processand the psy-
chology that goes with it. Record
companies often avoid real creative
conversations/diailcngcs with artists,
and this is where it can go wrong.

Key acts have left EMI In the
past — not just In the United
Kingdom, but also territories
you oversee, such as France.
Do you feel that EMI needs an
Image change?

EMI has an extraordinary
history, but nothing speaks
like success. We have 23
nominations at the Latin
Grammy Awards. 22 at the
[Australian Recording Indus-
try Assn. Awards]. This says
a lot to the artists' commu-
nity about EMI's identity as
a music company.

EMI cut back Its opera-
tions In some territories
and said it would be less
likely to pay big advances.
Does this affect your abil-
ity to attract artists?
Wc are doing the same thing every-
one is doing in the current mar-
ket, but we don't lose our ability to
offer the resources and the skills
to deal with who the artists actu-
ally are. Hindi Zahra was a very
competitive signing.

How much do you rely on Inter-
net users for your A&R policy?
While the core of A&R will remain
the same — great songs, artists you
believe in. relationships — the skill
set is changing. |ust as there are a
lot more choices for consumers on-
line, there are a lot more artists to
choose from for labels, if they can
free themselves of the "bring it to
me" attitude.

While I love people saying how
great someone's ears are. actually I
don't think a 40-year-old father of
three like me can "out-listen" a 16-
year-old girl from Fort Wayne.
Cologne. Uppsala. Milan or Minsk.
I can maybe out-market her. but
A&R has to enhance its listening
skill to more than the music — actu-
ally listening to the people who mat-
ter, the consumers and the outlets.

I've had hits even after some
"golden ears" have rejected the
same song as a dud. Who's right?
The one guy in my job or the mil-
lions of people who disagreed and
bought it? «••-

I've had hits even after some 'golden ears' have rejected
the same song as a dud. Who's right? The one guy in my job
jor the millions of people who disagreed and bought it? ^

OCTOBER 24, 2009

Cri

NOVEMBER 12-13, SDOg • THE RDDBEVELT HOTEL • NEW YORK cItV

AVID ABRUTVN
I MO Conwihlng

nielsen

MEDIAandMONEY

NAVIGATING CHANGE:
SOLUTIONS AT A CHALLENGING TIME

Now in its 3rd year, this conference unites the most innportant —
forward-thinl<ing leaders to examine the evolving media and entertainment
landscape, and reveal new business opportunities for 2010.

KEYNOTES

MICHAEL BURNS

CHASE CAREY

Prevds-it & COO

KARA DIOGUARDI

GREGORY MAFFB

"IM,.!*-!! ^ CtO

STEVE T15CH

Co-Owie-
Naw York Qtarn

ROYCE YUDKOFf

PrcLllcnt & C--- Found*.
ABJtY Partnm

CONFIRMED SPEAKERS INCLUDE

MILES BECKETT lEN BERMAN

Eq*l L«fiBemi«riSporU-COfn

SONIN BOUGH

and Social Medu

JOSH MARSHALL
T^UngPoMiMMM

JAMIE MCCOURT
Lm AngalM t>od9«r«

KIRK MCDONALD

DAVE MORGAN
SimulnMdii

SCOTT O NEIL

ALAN PATRICOF

Foundfli «rid
Mincing ^tkioi

^010

jrMMY P1TARO

VIKRANT RAINA CHRISTOPHER RUSSO

ROY SALTER

The Sailer Group

IAN SCHAFER

CEO & F<x#ider

DANIEL SCHEINMAN
SW A Geoor>l M»nagBr
Citco Mvdia Sotulioni

TOM UGER

KoMtavrg, Krawit.
RotwttftCo,

CHRSTOPHBt AX. VOUMER

NETWORK WITH TODAY'S TOP DEALMAKERS

BILLBOARD SPECIAL RATE $1400 • REGISTER BY NOVEMBER 11 • USE PROMO CODE; BBAD
REGISTER TODAY! SPACE IS LIMITED
WWW.MEDIAANDMDNEYCaNFERENCE.CaM

REGISTRATION: Usa Kastnet 646.654.4^43 • SPONSORSHIPS: Kim Griffiths 64«.«54.4718 • THE ROOSEVELT HOTEL 884.833.3969 Discounted Rate $299/nlght

SOLD SPDNSORB

.l|l.l|li

ummJCO. The Salter Group CISCO.

CONFERENCE SPnNBDRB

UKI

^SNLKagan ,,,^sW

IN ASSOCIATION WITH:

TM WALL STREET JOURNAL QIQSa MarketV/atdi Dow Jones LBO Wire DowJones Private Equity Analyst

BilllKMrd. iminifrwiMin BBmOk BMDIffl

Cni

PLAYINC

WITH NEW CO-WRITERS AND
CONFIDENCE FROM TWO
MULTIPLATINUM ALBUMS,

Carrif Underwood just
spent several hours sitting in
Audio Prodtitlions — :i Music Row
radio and TV production facility
doini; interviews with radio stations
across the country-, but she looks Trcsh and
relaxed as sht- prepares for her final chat of the
day. She talks with the engineer about how excited
she is to hear Miranda Lambert's new CD. 'Revolution.
And when someone offers to give her a copy, Underwood
sweetly protests, "Oh. no. I'm going to buy it."

It's that combination of girl-next-door charm and a killer
set of pipes that has made Underwood the most successful
artist to come out of "American idol" in any genre. Since win-
ning the fourth season of the Fox competition. Underwood
has released two albums, the 2005 "Some Hearts," which has
sold 6.8 million, according to Nielsen SoundScan, and the
2007 'Carnival Ride," which has sold 2.9 inilUon. She's won
four Grammy Awards and numerous other accolades includ-
ing three Country Music Assn. (CMA) female vocaHst titles
and three Academy of Country Music female vocalist hon-
ors. Last spring, she took home the ACM's entertainer of the
year award, becoming only the .seventh woman in the show's
42-year history to earn that accolade.

With such impressive accomplishments just four years
into her career, one might expect Underwood to feel a little
pressure before the Nov, 3 release of her new Arista Nashville
album, "Play On." Instead, she radiates a quiet confidence.

"I feel like the second album had the most pressure for me,"

she says, acknowledging that
she felt the first one had a shot
ucceeding because of her built-
in "Idol" audience. Tlieii it exceeded ex-
pectations. "It kept going and kept going
and kept going and the next thing it was like
triple-platinum and quadruple-platinum and fivc-
times-platinuni and it was like "Oh, my gosh!' "
Looking svelte in a black sweat shirt dress with a red
belt, red bracelet and red Marc jacobs flats, 26-year-old Un-
derwood is the epitome of casual chic — but don't mistake
laid-back for unambitious.

"I want to be somebody in the music business, not just
somebody that [people say], 'Oh. yeah, five years ago she won
that. Where did she go.^' So making ["Carnival Ride"] was
pretty stressful , but on this one I feel like 1 'm home, " she says.
"I'm in the music business. When people mention names like
Kenny Chesney and Keith Urban and Brad Paisley, sometimes
my name is in there too,"

Sony Music Nashville chairman Joe Galante feels Under-
wood's confidence has translated into a more personal body of
work on "Play On."

" 1 1 already has scored a victory because it represents growth
for her sonically, vocally and from a lyrical standpoint," he says,
seated in a conference room at Sony Music Nashville's head-
quarters. "We had more fvm on the last album with some of the
things that she was writing. With this, there is a balance be-
tween the fun Carrie and also one that is revealing more about
herself, her views about life." »>

OCTOBER 24, 2009 www blllboard.biz I 21

UP CLOSE AND PERSONAL

"Play On" features 13 tracks, seven of which were co-
written by Underwood. "I'm not an easy person to get
to know, and I feel like I keep a lot of myself closed off
to the world." she says. "It's really nice to be able to
scratch the surface and to be able to open myself up a
little more."

In recording "Play On." Underwood once again
worked with producer Mark Bright, who produced "Car-
nival Ride" and seven tracks on "Some Hearts." "Over
the summer, we spent more time with arrangements,
and Carrie experimented more than ever with vocal
textures," Bright says. "What came out on the other
side is extraordinary. I think we got it right."

Underwood says she trusts Bright and that makes
recording a more comfortable process. "I've known
him now for five years," she says. "I've worked with
him on every album and I trust him and he trusts me.
I 'm comfortable with him now — whereas in the begin-
ning it was like. 'Oh. my gosh. This guy is a big-time
producer. What if I do bad.^' I was really afraid to mess
up. Now I'm not afraid to screw up. lean screw up roy-
ally when I'm in the studio and it's OK. I trust him."

In the past. Underwood co-wrote with a stable of
Music Row tunesmiths including Hillary Lindsey
and Luke Laird, who co-wrote "So Small" and "Last
Name," and Brett James, who co-wrote "Jesus Take
the Wheel" with Lindsey and Gordie Sampson. In
writing for "Play On." she expanded her circle to
collaborate with "American Idol" judge/BM I 2007
pop songwriter of the year Kara DioGuardi; Mike
Elizondo, known for his work with Dr. Dre and Em-
inem; and Raine Maida. co-founder of the rock band
Our Lady Peace, and his wife, Canadian singer
Chantal Kreviazuk.

"1 listen to all kinds of music, all genres," Under-
wood says. "Bringing somebody from a different world
into my world to see what their influence can do in my
writing style — it's a lot of fun,"

These new collaborations don't mean that Under-
wood's about to switch genres — she's still a country
girl at heart- "I'm promising right now it would never
happen." she says.

Several of the songs on "Play On" are standouts;
"Temi>orary Home" is a poignant ballad in which Un-
derwood, a Christian, speaks of her belief that "life on
this Earth is just passing through" and heaven is the
final destination; and "Mama's Song" is a loving trib-
ute to her mother. "I really am in a good place in my
life and I think that does show," Underwood says.

"What Can I Say" features special guests Sons of Sylvia,
a trio consisting of brothers Ashley, Austin and Adam
Clark. The group won Fox's "The Next Great American
Band" contest and are working on its Universal South
Records debut. "The lead singer was actually my first
fiddle player. I've known him for five years now," Un-
derwood says of Ashley Clark. "When thinking of duet
partners, you think of the common names — but I wanted
someone that people would say, 'Who's that?" "

SINGLE-MINDED SUCCESS

Judging by the success of the first single, "Cowboy
Casanova," "Play On" looks sure to follow the platinum
path of its predecessors. In its first week, "Casanova"
sold 1 10,000 copies, according to Nielsen SoundScan.
It's No. 6 on Billboard s Hot Country Songs chart. "An
unfinished version leaked," Underwood says of the
label rushing the finished version to radio. " It was re-
ally frustrating, but then it was exciting too. Radio sta-
tions were immediately putting it into heavy rotation
and it was like, "Oh, my gosh, this is good.' "

Galante says the track seemed like an obvious
choice as the first single. "There's a number of great
ballads on this album, but we had just come off of
'1 Told You So' and 'Just a Dream' and really wanted
to say. 'I'm back and this is different.' " he says. "It

just gives her a fresh attitude."

Galante attributes much of Underwood's success to
her multigenerational appeal. "Carrie goes from cra-
dle to grave," he says of her fans. "She has positioned
herself as somebody that cares about this format deeply.
She is a country artist. She's made it very plain."

In the past four years. Underwood has dominated
country radio with such No. 1 hits as "Jesus Take the
Wheel," "Before He Cheats," "Wasted," "All-American
Girl." "So Small" and "Just a Dream." Galante speaks
with obvious pride of how Underwood has handled
success. " I think it all hit her like a ton of bricks in the
first couple of years and now this year has been eas-
ier," he says. "Carrie has grown up a lot considering
she got dropped into this format on her head, not on
her feet, and people were standing on the sidelines
going, 'You're not really coimtry, you're a TV show star.'
I think she's impressed the heck out of people by her
reverence for country music."

Underwood's manager Simon Fuller, chief execu-
tive of 1 9 Entertainment and creator of the "Idol" fran-
chise, has high expectations for "Play On." "I think
we'll exceed the success of the last album with this
album," he says. "It's stronger in depth and there's
more variety. The first single is just a complete smash."

'ORGANIZED STALKING'

Part of the efforts to alert Underwood's fans that there's
a new album coming involved revamping her Web site,
CarrieUnderwoodOfficial.com. "What we're trying to
do with the Web site is give fans a place to go where
they could participate with what's going on with Car-

rie, and that's why the site is set up to be more con
munity-based," says Sony Music Nashville VP of dig
tal business Heather McBee. "They can upload photo;
They can participate on the message boards and tal
about the project."

One thing Underwood doesn't plan to use is Twitte
"It just sounds like organized stalking to me,' she say;
"I'll be in a restaurant and I'll get home and somcbod
tweeted and talked about what I ordered and what I wa
wearing. In some cases that could be dangerous betaus
you don't want everybody to know where you are i n cwi
second of every day." (There's someone posing as Ur
derwood on TVitter, in the comments on her Web sit
and on MySpace, and she warns fans that it isn't her.)

McBee says the label has planned special promc
tions with iTunes to roll out new music from the albun
Starting Oct. 3, a track will be released each week o
clusively through the retailer, leading up to a "Con
plete My Album" promotion when the full album i
released Nov. 3. "People have already paid for thos
first four tracks, so it's about getting them to buy inl
the album because obviously the album is the cxper
ence we want people to have," McBee says.

Paul Bamabee, senior VP of sales and operations ;
Sony Music Nashville, says retail is eagerly antitipa
ing "Play On." "It's been amazing to see our retail par
ners embrace this long-awaited release so passionately,
he says. Underwood will participate in Wal-Mart'
Soundcheck program, and Bamabee anticipates mor
opportunities since Underwood and labelmale Bra
Paisley will co-host the CM A Awards the week befor
her album is released.

22 I BILLBOARD I OCTOBER 24, 20O9

THE 'IDOL' ADVANTAGE

Even After Two Albums, Underwood's Win Still Resonates

Carrie Underwood is the best-selling artist
to emerge from "American Idol"— and the
experience gives her a distinct advantage
over other acts.

"1 started out with a fan base," Under-
wood says. "Who starts their music ca-
reer with a fan base already? Nobody.
That's so wonderful. Every single day I
hear, *l voted for you.' "

Sony Music Nashville chairman Joe
Galante says "Idol" provided Underwood

with valuable training. "I'm really impressed
with what they go through," he says. "It con-
ditions them to a very pressurized environ-
ment They are constantly working with peo-
ple on arrangements, learning new things
about music, really testing their skills. I re-
member [TV/video producer] Robert
Deaton saying the first time Carrie did the
[Country Music Assn.] Music Fest and she
was given copy [to read], he showed it to
her once and she went out there and nailed

6,846,000

it. She was impeccable. We have people
who have been in this format forever, and
they can't read a teleprompter."

Though some alumni tire of talking
about their "Idol" backgrounds and try to
distance themselves from the show, Un-
derwood says she'll always be apprecia-
tive. "1 do credit the show for every single
thing that 1 have," she says, "and as long as
they want me to come back year to year
and perform, I am so there." —DEP

Another opportunity that should help drive sales is
Jnderwoods first TV special slated to air Dec. 7 on Fox,
ith guests including Paisle/, Dolly Parton and David
!ook. "It's a variety special f maturing Carrie and that's
omcthing we've not done before." Fuller says, "As Car-

dfvfhtps more as an artist we can do things like this,
^rric has potential to be an ac tress as well, so who knows
hat is coming in the next few years?"

Though plans are still in the works, Fuller wants to
xpose Underwood's music internationally. "We've got
shot at actually breaking o it of America and having
run at a couple of other cou ntries around the world,"
le says, adding that he plans to first focus on Australia,
If United Kingdom and Germany. "The world needs
D discover Carrie U nderwoc d. so that's something ex-
iting to come. Carrie always said that she'd love to take
ountry music to the world ind that would make her
cry proud."

For the immediate future. Underwood is just look-
up forward to co-hosting the CMA Awards and em-
arkin^ on her new tour in 2010. "We'll go into
ehcarsaU early next year, bjt it's going to be bigger,
t's going to be awesome. We're pulling out all the
tops." says Underwood, who was the top-ranked fe-
nale country touring artist of 2008, according to Bill-
►oard Boxscorc. grossing $2/ . 1 million from 90 shows.

"I don't need to make any money, let's just do this."
JiidtTwood jokingly told her handlers about the tour.
Lei's just step it up. 1 know everybody is going to say,
Oh, my gosh. This cost what But, shoot, we can come
latk next year with an acoustic tour. This year let's just
[o for broke."

NOT SO
SMALL

Underwood's Post-'ldol'
Splash Was Bolstered By
A strong Second Album

SOURCE; The Billboard 200 throiigh the Oct 24
chart Sales through the week ending Oct 4

COUNTRY CLUB

Carrie Underwood's ties to the Nashville songwriting community have served her
well on the Hot Country Songs chart.

DtM

DdHitOite

n/IO/2007

Peak

PukDalt

1 nn/05

WMks On Chart

"Some Hearts"

"Carnival Ride"

H/trisWMstaHashvillt/IHK
2005

)9/tilsti/«Kstall«tiv«le/HK
2007

imi

Daw

muiMn

PEM

PEMnm

WEBQOMOiUT

"Jesus, Tal<e the Wheel"

n/5/200S

Ksliwels)

1/21/2006

Arista/Arista Nashville

"Before He Cheats"

"Don't Forget to Reniember Me"

S9
S4

vwaoi

2/2S/2006

KAwwdis)
2

n/n/2006

8/V2006

Arista/Arista Nashville
Arista/Arista Nashville

"Wasted"

C/W2009

tOhRewtts)

4/21/2007

Arista/Arista Nashville

"So Small"

IfllmewdB)

19/Arista/Arista Nashville

"Ail-American GirT

IQnoimIs)

yeim

19/Arista/Arista Nashville

"Last Nanrte"

VTSfm

19/Arista/Arista Nashville

"Just a Dream"

inmot

UtwoiMeks)

wnox

19/Arista/Arista Nashville

"1 Told You So" (featuring Randy Travis)

1/31/2009

S/K/2009

19/Arista Nashville

"Cowboy Cassanova"

VN/2009

W/24/2009

19/Arista Nashville

SOURCE. Hot Country Songs through the chart dated Oct. 24

OCTOBER 24, 2009 I www.billboard.blz I 23

PRIME TIME

PROGRAMMING

A NEW WAVE OF SPANISH-LANGUAGE TV NETWORKS
WANTS TO STEAL THE REMOTE

NOT FAR FROM where Los Angeles'
elite park their private planes, a battle
of the bands was raging june 18^ — albeit
in tightly tiined TV intervals — under-
neath the giant dome at Santa Monica
Airport's Barker Hangar. Q Sponsored
by Wrigley and taped to air in cities na-
tionwide on the Latino youth-oriented
LATV network, the event featured a live
audience, a panel of celebrity artist
judges and a performance by Mexican
chart-topper Camila. In keeping with
the motto of Wrigley's 5 gum — "Stimu-
late your senses" — there was also an oxy-
gen bar to sample the gum's flavors and
a gyroscope ride in which audience
members could be strapped in and
whirled around astronaut-style in case
they got bored. And there was a VIP
loimge and a light show that accompa-
nied the entrance of each competing
band. Q The scene — witnessed by this
reporter, who was also a judge of the con-
test— was a far cry from LATV's begin-
nings as a two-hour programming block
on Southern California TV station K) LA.
A 2002 Los Angeles Times story de-
scribed it as having "the look of a televi-
sion show taken over by a band of Latino
college kids with an unruly enthusiasm
for music and esoteric tastes," and "the
edgy spontaneity of something that
sooms va^uelv underoround."

Today, fur from bciiiy a bilingual "Wayne's World." LATV is
available in more than 40 million liomes on basic digital cable
and broadcast, according to the channel, thanks to a national
rollout on local stations' digital channels that began in 2(K)7.

LATV isn't the only upstart network targeting a Latino audi-
ence to grow its distribution in the last few years. Family-owned
and publicly traded broadcast companies alike are carving out
their share of Latino viewers with new channels. Many of those
prominently feamre Utin music as an integral part of their pro-
gramming. As a host of emerging home-grown networks like
LATV. Estrella TV and Mega TV pick up distribution — and as
Mexico-based entertaiiurient chatmels pursue stateside car-
riage— they oiX-'n the field of promotional platforms for Latin
artists on a national scale.

The newest Spanish-language TV channels are still just find-
ing national audiences, so their full promotional potential may
not be realized for a while. But they're growing with the goal
ofbuilding multiple platforms around their programming and

working with sponsors and distributors on innovative promo
tions.

The broadcast behemoths Univision and Telemundo sti i
dominate the Spanish-language TV world. Butahostoffacton.
has made the national TV landscape for Latin artists decidedll
more interesting, including the 2010 Census. "Hie looming su:c
vey is pro)cctcd to show l lispanics. already the nation's fasless
growing and largest minority group, making up more than 16*?
of the U.S. population (up from 12.5% in the 2000 Census).

In addition, the transition to digital TV signals opens up sec
ondar>' channels and gives broadcast affiliates entry to cabIN
systems. Competition by cable and satellite companies for thf:
Hispanic viewer are also driving opportimities. according tl
industry observers.

"If you look at the population that is not Hispanic, the mmri
ber of channels they have at their disposal in English is enon
mous." says Cynthia Hudson-Fernandez, chief crcativ.
officer/executive VP for Spanish Broadcasting System (SBS2

24 BILLBOARD OCTOBER 24, 2009

CopynyiUcu maieiiai

ind managing director of Mega TV. "There is a real window for

^roviJmgu JifFcrcnt typco programming oppuitunily to t'lir
Hispanic market."

The growth of opportunit es for TV promotion can be a boon
:o developing acts, wth airpl ly on most Spanish-language radio
n the United Slates difficult for them to obtain. In addition to
focusing programs around major stars when they're releasing
new albums, the bilingual ycuth channels mun2 and MTV Tr3s
regularly feature fresh faces (see story, pa^e 26).

While those channels an- built specifically around music,
ithers with more general-interest programming also rely on
music to drive ratings. Mega says its nightly variety show " Esta
troche Tu Night" came in first among adull Hispanics 25-54
in the Miami market Sept. 21 when it featured tropical star
Dlga Tafion.

GROWTH STRATEGY

5BS, which owns and/or ope "ates 21 radio stations in the United
Hales and Puerto Rico, got into TV with a local Miami station
n 2006 and has since gainec satellite, broadcast and cable car-
iage for its Mega TV in abcut 4 million homes, according to
)BS, mostly in Florida and I'uerto Rico. But Mega TV is look-
ng west, and it recently picked up carriage on Las Vegas* Cox
::ableandon Palm Springs. :alif 's HDTV station. KLPS 19.2.

Another Spanish-language radio powerhouse. Los Angeles-
)ased Liberman Broadcastit g, has been aggressively building
ts new Estrella TV network, with its own TV stations and broad-
ast afiiliates. Liberman ow is and operates 22 radio stations
ind seven TV stations in lop Hispanic markets, including Los
\ngeles and New York, and has affiliated with local stations in
8 markets. As of Oct. 1 , thai included Tribune Broadcasting's
channel in New York, WPIX, which carries Estrella TV on
ts second channel, 11.2. Estrella TV says it's in 70% of U.S.
Hispanic homes.

Liberman has been pursjing Estrella TV distribution in
narkels where the company has a radio presence, with the
ioal of filling in as many of he lop 50 Hispanic markets as it
an. Al press time, Estrella TV was in V) of the top 25 His-
)anic markets.

A down economy may not seem like the ideal time to create
new TV network; advertising on Spanish-langiiage TV was
lown nearly 13% for the firtt half of 2009 compared with the
lame period last year, according to TNS Media Intelligence.
5ul Hudson-Fernandez says :;he expects Mega IV to break even
n its third year of operation. Liberman Broadcasting COO Win-
er Horton says Estrella TV's affiliates "were ready to embrace

TV time: OLGA TAN6n (above left) makes an appearance on Mega TV's 'LaMusica.com Live'; right: Estrella TV
personalities join KBUE Los Angeles' PEPE GARZA (third from left) and JENNI RIVERA (fifth from right) on the 2008
telecast of Premies de la Radio.

Spanish-language broadcasting. It's not going to eat into their
existing English-language audiences. It's a totally separate rev-
enue stream."

WHAT HAVE YOU DONE FOR ME LATELY?

In the case of Mega TV and Estrella TV. they can leverage ex-
isting radio assets to promote their TV shows and use their
radio programming clout to book artists on them. Other chan-
nels can feature artists and brands as part of a sponsor pro-
motion or help the cable operator market itself through an
artist sweepstakes.

In )uly, SBS unveiled Debut Digital, a multimedia promo-
tional push in which Tanon debuted her new single on SBS
radio stations, SBS' online portal Lamusica.com and Mega TV's
" Lamusica.com Live" the same day. Tafl6n also held a press con-
ference for international media thai streamed live on the site.

According to SBS, the webcast drew more than 2,300 same-
day viewers and 1 3,000-plus in the month since it aired, as well
as more than 300 concurrent chat-room users, That was enough
for SBS to plan on doing a minimum of six Debut Digital pro-
grams per year, Hudson-Fernandez says, and shop the concept
to sponsors. The first try with Tafion "showed what we arc ca-
pable of doing as far as providing that type of experience." Hud-
son-Fernandez says. "Because we're not saddled with a big
bureaucracy, we're able to work that way."

Mega TV also has the ability to create original programming
around artists, as it did with pop star Chayanne when it cast

him as the lead In its "Gabrier series last year. SBS premiered
Chayanne's theme song for the show on its radio stations and
offered it as a free download on Lamusica.com.

Estrella TV also has access to major artists through Liber-
man Broadcasting's influential radio programmers, who are
heavily involved in booking artists on the channel. Pepe Garza,
PDat Los Angeles' KBUE (La Que Buena), is known for break-
ing regional Mexican artists, including jenni Rivera; his goal
is to use Estrella TV as a way to create and monetize its own
stable of stars, similar to the model Televisa has used to create
pop acts like RBD.

Garza is a judge on "TengoTalento. MuchoTalento." Estrella
TV's new talent competition in which the winner gets $1 00,000
and help in landing a recording or management deal. The idea.
Garza .says, is to feature the winner or other new acts as on-air
personalities and at Liberman's events. Garza eventually wants
the broadcaster to own master recordings of artists that come
up through its star system and sell them online.

"I don't know how long it'll take but if 1! happen," Garza says.
"We want to create stars . . . we're an engine for the music in-
dustry because we're looking for new artists."

Last year, Liberman aired KBUE's annual star-studded re-
gional Mexican awards show live on its stations for the first
time; this year, the live broadcast will be expanded to the stew
of new Estrella TV affiliates.

Horton says that as the network expands east, "we'll con-
tinue with the regional acts but you'll see more pop acts." In

BORDIER CROSSINGS

As Interest In Spanish-Language Programming Grows, Mexican Entertainment Channels Stake Their Claim In The U.S.

n addition to the fledgling U.S.-based net-
vorks, established Mexican channels with
trong musical content have been steadily
igning carriage deals nortn of the border
Brupo Multimedios, a medl a conglomerate
vith radio, TV, print and liv(? venue proper-
les in Mexico, launched its Te eRitmo regional
•lexlcan music video chanr el and general-
fntertalnment Multimedios TV on U.S. cable
ystems a year ago, beginni ^g in Texas. The
;hannels have spread to thi! San Francisco
5ay area, the Pacific Northw3St and Chicago
and can now be seen in about 1 million homes,
iccording to their U.S. distri aution rep.

Mauricio Aiatorre Gonza ez, production
ind programming directoi for TeleRitmo
ind Multimedios TV, says U. S. audiences in-
Huence what artists get fe.itured. "Artists
ike Selena. Intocable and P ?sado are obvi-
ously big in our programrring," says Ala-
:orre. referring to the Texas-based musical
cons. Aiatorre also wants to break acts that
;ome up through Multimedi ds' two Monter-
ey, Mexico, performance venues, La Fe Hall
jnd El Volcan. "It's a comf lete system of
aromotion." he says.

Fonovisa artist FIDEL RUEDA (left) chows down with winners
of a sweepstakes from Vtdeo Rola and Time Warner Cable.

Multimedios TV and TeleRitmo were
part of Comcast's launch of 13 new Span-
ish-language channels in the San Fran-
cisco Bay Area in August, as was TuTV, a
joint venture between the Mexican broad-
casting giant Televisa and U.S.-based Uni-
vision. TuTV's viewership is still small, with
about 2 million total homes, according to
TuTV, which Comcast picked up for na-
tional distribution.

TuTV includes Latin music-based Ritmo-

son Latino and the pop-cul-
ture-heavy Telehit, but its
most popular offering in the
United States is Bandamax,
which focuses on regional
Mexican music. "It cuts
across a lot of demos," TuTV
president Chris Fager says.

Being carried in a market
provides TuTV the oppor-
tunity to promote Itself lo-
cally around concerts, of-
fering ticket sweepstakes
through direct mail and
print ads in local Spanish-
language newspapers. A four-week promo-
tion of an Alejandro Fernandez concert at
Los Angeles' Gibson Amphitheatre last year
was accompanied by an on-site booth invit-
ing concertgoers to sign up for Time Warner
Cable's new Spanish-language package.

Live Nation VP of special markets Emily
Stmonitsch says it's hard to track whether
a ticket sale came from a promotion by a
niche channel. But "it does help," she says,
adding that it's become more common for

those outlets "to take part in a show and
offer their viewers some of the same oppor-
tunities we give to radio stations."

Family-run. Mexico-based regional Mex-
ican video channel Video Rola, which en-
tered the U.S. market in 2001, regularly
broadcasts events and artist interviews from
the States back to Mexico and Central Amer-
ica. The channel held a sweepstakes in April
to promote Time Warner Cable's video-on-
demand service in Southern California, In
which the channel gave away a dinner date
with Fonovisa star Fidel Rueda. The give-
away was advertised through direct mail.
TV and radio spots, and automated calls to
customers. Video Rola's next promotion
with the cable company likely will involve
artists signing autographs before a Chivas
USA soccer match at Los Angeles' Home
Depot Center.

"There is no talent fee associated with it,"
says Time Warner Cable of Southern Califor-
nia Hispanic marketing director Marlyn Gar-
cia, "but it's a mutually beneficial marketing
campaign for the cable operator, the network
and the talent." —ABY

OCTOBER 24. 2009 www.billboard.brz I 25

Top: Estrella TV's 'Tengo Talento, Mucho Talento'
judges HECTOR SUAREZ, LORENA HERRERA and
PEPE GARZA (from left): below: Reggaetoneros
ALEXIS Y FIDO (left) chat with host CARLOS SANTOS

on bilingual channel MTV Tr3s' 'Entertainment As a
Second Language' show in New York.

addition, the company will unveil a new Web site in the
fourth quarter on which full episodes of its shows can be
streamed online.

LATV doesn't own radio stations, but its distribution
has grown to the point where it can attract more commit-
ments from sponsors like Wrigley. For the Vive Tu Mu-
sica With 5 campaign, "they didn't just buy 30-second
spots." LATV president Daniel Crowe says, "they used us
as a media partner and they worked with us to execute
this national promotion wherein they promoted through
Internet and TV to a national audience. That wouldn't
have happened when we were a regional network only in
Southern California."

In the end. Los Angeles-based Vinyl Soul won the
battle of the bands, national exposure and 32 hours of
recording studio time. But perhaps more to the point,
Camila's performance that night was a paid gig, not
merely promotional.

Crowe says only Warner Bros, made an upfront ad-
vertising commitment in LATV's first year of selling
nationally, for 2007-08. "Our second year we had 14 up-
front advertisers." he says. In another shift for the pre-
viously more bilingual channel. "We are clearly shifting
more to Spanish-dominant programming because that's
been performing better ... we find it easier to compete
in the Spanish-language world than in the English-lan-
guage world."

In October. LATV will debut two new artist promotional
campaigns, which are similar to MTV's "52/52" bumper
program. LATV will produce a weekly 30-second promo
that will air about 50 times per week, showing excerpts
from an established act's video with some explanatory
narration and an invitation to visit LATV's Web site, which
will feature concert dates and possibly links to purchase
songs from the artist. The network will do similar pro-
mos for unknown bands.

Even though music forms a strong programming foun-
dation, "our long-term plan is to be more of a general en-
tertainment channel with a variety of program types and
to reach the same number of homes as Univision and
Telemundo do," LATV's Crowe says. 'We want to go be-
yond being a niche-type channel." ••••

READY FOR
YOUR CLOSEUP?

Latin Acts Have More TV Opportunities Than Ever— But Sometimes It's About Who
You Know As l^uch As What You Know BY AYALA BEN-YEHUDA

ESTRELLA TV

Estrella TV goes to 8.7 million Hispanic homes In 24 markets,
including 19 of the top 25 Hispanic markets, according to the
network. Parent company LIberman Broadcasting's influential
radio programmer Pepe Garza books higher-profile musical
guests on the company's TV shows "Estudio 2" and "A Que
No Puedes." Contact Vanessa Diaz in programming at
vdiaz a lbimedia.com.

LATV

The entertainment channel is incorporating more film, series
and talk shows in its lineup, though it frequently hosts In-stu-
dio musical performances. Music videos make up 1S%-20% of
programming, with a focus on pop and rock and some English-
language and developing acts, says executive director of
programming and production Eduardo Marrdn. The Los
Angeles-based talent coordinator is Enrique Pif^erua
(epinerua a latv.com). LATV also co-pro-
duces some of its shows with Mexico City-
based Multivision.

MEGA TV

Given Mega TV's strong tie-in with parOTt
company Spanish Broadcasting System's
radio properties, key contacts for partic-
ipation in the Debut Digital program are
executive VP of programming Polito Vega
and assistant VP of programming Marilyn
Santiago. Rene Solorio, editorial director
for SBS' Internet portal LaMusica.com,
and SBS marketing and communications
director Isabel Buca ram- Montana also are gatekeepers. Start
with Bucaram-Montana at imontanacasbscorporatexom.

BANDAMAX

The regional Mexican music and lifestyle channel's executive
producer Victor Manuel Moreno Valadez says he follows what* s
hot on the radio charts. But new acts can get in through ■"Con
Alma Grupera," in which developing artists" videos face off
weekly. (Televisa charges an entry fee— about $1,100— to get
into the competition, Moreno says.) Contact Gina Pedroza in
the new business department at gp>edroza a televisa .com.mx.

Good to know: Spanish Broadcasting
System executive VP of programming
POLITO VEGA (left) and mun2
programming VP FLAVIO MORALES

TELERITMO/MULTIMEDIOS TV

TeleRitmo's regional Mexican videos reflect the channel**
home in the northern Mexican hub of Monterrey, says Mauri<
cio Alatorre Gonzalez, director of production and program-
ming. The channel programs a blend of Tex-Mex, banda
norteilo, tierra caliente and other subgenres. Multimedio;
TV's programming includes music and variety shows as wel
as "Gruperfsmo," a regional Mexican performance-basec
show. The channels work closely with Multlmedios' live ven-
ues on talent booking. Contact Alatorre at mauricio.ala-
torrea multtmedios.com.

KSAT

ABC's San Antonio affiliate, whose signal also reaches Texas
Corpus Christ! and Laredo, began airing back-to-back Latir
music shows on Saturday nights— "Tejano y Mas" anc
"Zonido"— about a year-and-a-half ago. The latter covers
a mix of local l_atin and non-Latin artists
as well as internationally known Latir
acts. Both shows are in English. "For £
market like San Antonio, which is 609^
Latino and English-dominant, it's work
ing really well," producer Christiar
Storandt says. "We compete in this mar
ket against the 'CSI* shows and 'Satur
day Night Live.' We don't win ever)
week but we take turns." Storandt car
be reached at christian<.a~>13thfloor.tv.

ATODAMUSICATV

The new Los Angeles-based channe
devoted to regional Mexican music videos and concerts
launched on DirecTV Mas in August. Its founders are Latir
music industry veterans Martin Fabian and Guitlermo San-
tiso. Contact Tomas Rubio, VP of programming and execu-
tive producer, at trubior^sbcglobal.net.

VIDEO ROLA

The regional Mexican music video pioneer entered the U.S
market in 2001. Heavy on video blocks, the channel say;
it's in 2.7 million homes. The programming contact is Samue
Yafiez at sammya videorola.com.

Bilingual entertainment channels mun2 and MTV Tr3s are further along In their distribution and marketing goals than
some of their Spanish-language counterparts, having grown with the support of media conglomerates NBC Universal and
MTV Networks. SI TV, another Latin entertainment channel, broadcasts mainly in English, but mun2 and MTV Tr3s are bilin-
gual in their programming and advertising. With their focus on youth, they compete with everything from Univtsion's
cable channel Telefutura to Comedy Central or the C W. MTV Tr3s and mun2 have been key in creating awareness of acts
like Calle 13 that appeal to young people yet don't fit neatly into a radio format; more conventional Latin artists have also
taken advantage of the generous screen time to create a base of awareness around a new release.

Emerging networks "can provide a good filter to see if something can stick," says mun2 programming VP Flavio Morales.
In the early days, labels "treated [us] as them doing us a favor. Now they see us as a strategic partner."

MUN2

Telemundo's bilingual youth-targeted entertainment chan-
nel is distributed on cable and satellite in 32.4 million homes,
according to Nielsen. Mun2 had the biggest percentage
gain in households carrying the channel year over year be-
tween April 2008 and April 2009 among all cable networks,
according to SNL Kagan. Morales says the channel's video
mix is about 60%-40% Spanish/English, with 15% of the
videos fitting into the regional Mexican genre. To compete
with what's on English- and Spanish-language TV, prime
time on mun2 tends to consist of English -language wrestling,
Spanish-language telenovelas and videos, with fewer of
the channel's bilingual productions on during that time. For
talent booking, contact Sara Kantathavorn, director of tal-
ent and artist relations, at sara.kantathavorn d:nbcuni.com.
To pitch videos, contact manager of music scheduling
Roberto Isaac at roberto.isaac a nbcuni.com.

MTV TR3S

MTV's U.S. Latin channel is on broadcast, satellite and
cable in nearly 38 million homes, according to Nielsen.
Jesus Lara, senior VP of music and talent/artist rela-
tions at MTV Tr3s and MTV/VH1 Latin America, uses
MTV's pan-regional reach to "see what's bubbling under
in other countries in Latin America before other media
outlets do. Sometimes we can take a risk on a certain
thing that we think is working in Mexico or in Colom-
bia." MTV Tr3s promotes developing acts on its "Des-
cubre y Download" program, which offers free down-
loads, wallpapers and on-air promos. "It's not a
requirement that they be signed, as long as they have
a plan in place" for U.S. marketing and promotion, Lara
says. Initial contact for bookings and video servicing
is music and talent manager Henry Quintero, at
henry.quintero'a mtvstaff.com. ■-■

26 I BILLBOARD I OCTOBER 24. 2009

T -I

CROSSING OVER

Katherine Jenkins tri«s
for U.S. success

YES,SUR

Jay Parrar inUrSPIt!

SOUL MAN

M Stewart rsri»!!f

the classics

METAL LIVES
Parody becomes reality
for Steel Panllier

RETURN ENGAGEMENT
Tegan & Sara go from

'Ngll'tO'3Slntl18Sd'

■ BY LEILA COBO |

TRANSATLANTICISM

David Bisbal Attempts
World Domination

Spanish singer David Bisbal has the boister-
ous exuberance of a puppy and his trademark
curls literally bounce with enthusiasm as he
bounds into his label's offices to discuss his
new album.

"Did you hear it? What did you think?" he
asks, not anxiously, but excitedly, willing you to
have loved every second of an album that mixes
romantic ballads with uptempo, danceable pop
and. always, the authentic Spanish rhythms and
inflections that are his trademark.

Slated for release Oct. 20 on Universal Music
Latino, Bisbal's fourth studio set. "Sin Mirar
Atras," will be released in Spain. Latin Amer-
ica and the United Stales simultaneously, in
keeping with Universal's plan to continue de-
veloping Bisbal as an international star beyond
Latin music. The album will then be released
in Hurope and other territories next spring.

Not content with merely having a trans-
Allantic debut. Bisbal will hold release events
in three countries — his native Spain, the
United Stales and Mexico — within 24 hours,
holding an initial press conference in Madrid,
then traveling to Cancun with media and fans
onboard a private plane and finally traveling
the foilowing morning to Miami, where he'll
host another press conference and give an
acoustic performance.

Tile intensit)' of the promotion is typical for
Bisbal, whose work ethic, dynamic stage pres-
ence and entrenched star appeal in his native
Spain and, increasingly, overseas, have made him

a priority for Universal. Bc-yond being h'm label,
the company's artist development arm. Global
Talent Services (GTS) , has signed him as the first
artist it's managing in full, including touring.

)esus Lopez, chairman of Universal Music
Latin America/Iberian Peninsula, who oversees
all of Universal's Latin operations worldwide,
says Bisbal's deal "is a new approach to (he busi-
ness and one with which we'll test the market."

Bisbal came to Universal from Vale Music,
the indie that signed him when he was a final-
ist in the 2()00 inaugural version of "Operacion
Triunfo," the Spanish music reality show that

Frequent flier;
DAVID BISBAL

launched Bisbal as a superstar in Spain. Vale
had a licensing deal with Universal, which dis-
tributed the product in Spain and released Bis-
bal overseas, including the United States and
Latin America. When Universal purchased Vale
in 2006, Bisbal became a full-fledged Univer-
sal signing.

The relationship is now expanding, with Uni-

versal overseeing and handling all aspects of
Bisbal's career worldwide.

While Bisbal's stance on sharing manage-
ment duties with his label may sound like anath-
ema to some acis, it's a situation that, while still
rare, is gaining ground in the Latin realm. Sony
Latin, for example, handles several of its acts
through Day 1/Westwood Entertainment, its

artist development arm.

In GTS' case, the company was created to
provide management and development sup-
port for select acts, particularly those with pan-
regional scope. Earlier this year. GTS extended
its relationship with Bisbal. taking over all man-
agement and touring functions.

Bisbal's touring power and potential — he
plays an average of 100 shows per year across
three continents — was a factor in GTS' deci-
sion to sign him. Indeed, the launch of "Sin
Mirar Atras" has been set up with major live
promotional performances in Spain (where he
sang for an eshmated half a million people dur-
ing a performance lobbying for the Olympics),
the United States and Mexico, which will help
set up his tour in 2010.

In addition. Bisbal has already been pro-
moted in non-Spanish'Speaking markets, in-
cluding Germany, Switzerland and Austria.
Last year, he paired with Rihanna for a video
and a bilingual version of her song "Hate That

1 Love You," which was released as a stand-
alone single. This time. 'Sin Mirar Atris" in-
cludes a bilingual track. "SufrirSs," with British
newcomer Pixie Lott.

"There is a lot of interest in Europe for Latin
music." says Bisbal. who's acutely aware of the
downturn in music sales, "There's a growing
number of stations and channels, and that's a
wonderful thing.'

While "Sufriris" may further open the door
for Bisbal in non-Latin markets, in the United
States and Latin America Universal is working
the single 'Esclavo deTus Besos." which is No.

2 on Billboard's Hot Latin Songs chart.

The track launched with a massive four-week
national promotion with the Univision Radio
network that included a live show in Los Ange-
les for Univision listeners and ads thai aired on
radio and TV stations in 16 markets. In addi-
tion, say-; Universal Music Latino GM Luis
Estrada. Bisbal will be the image of a Univision
TV spot campaign promoting its radio stations
in key markets — Los Angeles, Miami and Puerto
Rico. The spots will kick off the week of the
album's release and run three to four times per
day for one to three months.

"It's the first time a David Bisbal album is
treated with the same importance in the U . S . as
in Spain," says Universal Music Latino president
Walter Kolm. "He is definitely an international
act with potential in multiple countries." ••••

OCTOBER 24. 2009 I www.btllboard.biz I 27

MilSiO,

BY HAZEL DAVIS

»>WYCLEF'S HIP-
HOP RETURN

Wyclef Jean is set to
return to hip-hop with the
release of "Fronn the Hut
to the Projects to the
Mansion." The 13-track EP,
featuring all-new materia)
produced by DJ Drama, is
due Nov. 10 on Carnival
House through Mega-
force/Sony Music. The set
features guest spots from
Eve, Tlmbaland, Maino and
Cyndi Lauper, among
others. The songs tell the
story of Toussaint St. Jean,
a character loosely based
on the 18th-century
Haitian revolutionary hero
Toussaint L'Ouverture.

> 'LOVE* CLIMBS
TO NO. 1 IN U.K.

Barbra Streisand's "Love Is
the Answer" (Columbia/
Sony Music Entertain-
ment) climbed 4-1 on the
U.K. albums chart, be-
coming her sixth chart-
topper on the tally but her
first No. 1 studio album
since 1980. Streisand last
led the U.K. albums market
in 2002, when "The
Essential Barbra Strei-
sand" was No. 1. The
vocalist has only once
before topped the list with
a studio release, when
"Guilty" was No. 1 for two
weeks in 1980. The new set
was propelled to the top
with the help of her
appearance on a special
edition of BBC I's "Friday
Night With Jonathan
Ross" Oct. 2. It sold
27,000 copies last week,
according to Official
Charts Co. data.

- 'THIS IS ir HITS
THE AIRWAVES

Michael Jackson's new
single "This Is It" began
streaming online and
airing on the radio Oct. 12,
nearly four months after
the King of Pop died of a
prescription drug over-
dose at age 50. The track,
which features backing
vocals by Jackson's
brothers, opens with a
soft, soulful introduction
and the lines, "This is it,
here I stand/I'm the light
of the world. I feel grand."
It will be available for
purchase as part of the
two-disc album "This Is It."
which is due Oct. 26
internationally and Oct 27
in North America to
coincide with the Oct. 28
global release of Jackson's
movie of the same name.

Reporting by Silvio
Pietroluongo. David J.
Prince. Paul Sexton and
Reuters.

OUTOF
THE VALLEY

Welsh Sensation Katherine Jenkins
Eyes Global Success

In the United Kingdom, if a sentence
contains the words "classical music"
along with "first" or "biggest." chances
are it'll have Katherine Jenkins' name
in it, too.

The Welsh soprano was working as a
teacher when she signed her first deal
with Universal Classics in 2002. but she
has since rewritten the rule book on clas-
sical crossover with a string of achieve-
ments, including becoming the first
female artist to win two con.secutive Clas-
sical BRIT Awards (for album of the year
in 2005 and 2006).

Now. aftercareeralbum sales of more
than 2. J million copies in the United
Kingdom, according to the Official
Charts Co., Jenkins has her eye on in-
lernationai success with the release of
her seventh album. "Believe," Oct. 26.
In an effort to grow on tlie world stage,
she has secured new management and
signed a new, mullirights deal with
Warner Music Entertainment.

The WMH contract covers three
albums plus a special, as-yel-
unannounced multimedia project and
encompasses recorded music, video. TV
material (including Jenkins' TV hosting
work), merchandise, brand sponsorship,
advertising and special live perform-
ances, Regular touring isn't part of the
deal. WME president Conrad Withey
calls theagreement the label's "biggest-
ever U.K. classical deal."

Jenkins sa>'s she signed with WMEbe*
cause "they can take me to the next level
and really make me a global artist.* In
August, she also split with manager Brian
Lane — managing director of London-
based Bandana Management, who bro-
kered the WMl: deal — in favor of a
worldwide deal with Terry McBride's Van-
couver-based Nettwerk Management.
She declines to comment on the split,
but Nettwerk's international profile is
likely to assist her bid for global domina-
tion. So far, her main international suc-
cess has come in Australasia, where her
third album. "Livinga Dream," went top
20 in Australia and New Zealand, but
Wamer plans a global push for "Believe,"
with releases scheduled for Australia in
December. France in January and the
United States in the spring.

"Katherine is an important prospect
for us internationally, and that's why we
have decided to give different territories
freedom with release dates," says
Matthieu Lauriot-Prevost, senior VP of
international marketing at Warner
Music International. "Katherine is the
best person to sell Katherine."

Musically, her new album marks a
move to a poppicr sound. Produced by
David Foster (Michael Bubl6. Josh
Groban), it features a cover of Sarah
McLachlan's "Angel" and a dazzling, op-
eratic version of Kvanescence's "Bring
Me to Life, " as well as her traditional arias.

"David Foster calls it 'growth without
alienation.' ' she says with a smile. "I
am broadening my range but staying
true to my audience. I can guarantee
you I won't ever be doing a pure pop
record though. There are other people
who can do that kind of thing better than
me."

Jenkins kicks off an 1 1-date U.K.
arena tour booked by the Agenc)' G roup
March 3, 2010, at Birmingham Na-
tional Indoor Arena and plans dates in
Germany. Japan and the United States
before the U.K. summer classical fes-
tival season.

Her regular promotional appearances
have made Jenkins a prime-time and
daytime TV favorite in ihe United King-
dom— she has already appeared on B BC
I's "Strictly Come Dancing" and "The
Andrew Marr Show" during the current
campaign — and her U.S. label. Reprise
Records, hopes similar tactics will boost
her popularity stateside.

"We're still in the introduction
process." says Reprise president Diar-
muid Quinn. also COO of Wamer Bros.
Records. "She's not done much here and

we hope to raise her proiik- li\ ^;i itinj
her known on TV first."

The introduction process will be grad
ual; Jenkins will start her U .S. campaigr
witJi an appearance on Andrea Bocellf*
PBS Christmas special. She also duet;
with Bocelli on the album track "I Be
lieve."

WME and Nettwerk plan to boos
Jenkins' merch sales and expand hei
branding business; she's already <
"brand ambassador" for the accessories
firm Montbianc. Her new official Wet
sitefkj.tv) has launched a Diamond Glut
section, where fans can pay £20 ($32
for six months' access to exclusive con
tent and special offers.

'At the moment her demographic ii
really 45 upwards," says London-basec
Nettwerk artist manager Tara Joseph
"We want to go 9-90.'

Jenkins says she's ready to make the
final step on the journey from Welst
teacher to worldwide superstar.

"1 have made what 1 hope is a globa
album but one which I feel 1 own ever^
part of," she says. "1 am definitely read)
for the next phase."

BY KERRI MASON

Cecilia Bartoli could have followed the path of least
resistance. When the Italian mezzo-soprano burst
onto the opera scene In the early '90s with a mostly
standard repertoire of Rossini and Mozart, she
looked like she could establish a career as a tradi-
tional classical artist. Her 1992 album, "If You Love
Me," has sold 190,000 copies, according to Nielsen
SoundScan; a later effort, the 1999 "Vivaldi Album,"
sold 75.000 copies.

It would have been easy for her to
simply release more mainstream ef-
forts and watch the money roll in. But
as her fame grew, so did her appetite
for more adventurous work. And while
none of her more recent albums have
sold as many copies as her earlier
projects, Bartoli says she's grateful
to have the opportunity to bring
lesser-known music to light. Her
2005 album, "Opera
Proibita," unearthed music
that was outlawed in 18th-
century Rome because
of papal censorship,
while the 2006 "Maria"
explored the work of
eariy-19th-century

Pitch
Perfect

Opera Star Cecilia Bartoli Explores
The Music Of The Castrati

singer Maria Malibran and featured eight
world-premiere recordings. BartoM's latest
research project/release, out Oct. 27. is
Sacrificium" (Decca), a deep dive into
the cruel world of the castrati— 18th-
century male singers castrated
as boys to maintain the high
^ tones of their voices.

M ^^^^B "I have always sung a lot
^^^^^B of music which Mozart
V ^^^^^1 wrote for the
\ ^^^^^H Bartoli says. "But when
J^^^^^H devoted a project ["Opera
^^'^^^ Proibita"} to my home-
Exploring hidden
history: BARTOLI

BILLBOARD

town, Rome, I for the first time read more atxiut the
Strange and sad facts that lie beneath the castrat
phenomenon. I noticed that many people know
music that was written for castratos, but do not
know about the tragedy behind it. I think it is most
important to talk about this, because it deepen:
our understanding for this music and it helps mc
as an interpreter"

In addition to the music, the two-CD set include:
deluxe packaging: a hardback book that come;
standard (there won't be a jewel case release) anc
a thick 152-page booklet that includes a Mbrettc
and the "Castrato Compendium," an A-2 guide tc
the era assembled by Bartoli that also features ar
essay she wrote.

It's a heavy undertaking for an artist and a label
but Decca is steadfast in its support. "Cecilia Bartoli
is not a typical classical artist, nor does she creat€
typical ciassJcal releases," marketing mar^ger Joseph
Oerke says. "With her, more than any other artist, the
customer gets not only the music but also a com-
pletely researched project and supplemental mate-
rials. Though we recognize that this is a tryir>g time for
the industry, such is the name Bartoli has built for her-
self, the quality of her work and Decca's unwavering
confidence in her that we believe this packaging to be
not only deluxe but essential to the project"

Cri

juiusirt

QUESTIONS

with JAY FARRAR

Best-known for leading the alt-country rock bands Uncle Tupelo and Son Volt. Jay Farrar teanied
with Death Cab for Cutie's Ben Gibbard for his latest project, an album with lyrics based on the
prose from Jack Kerouac's 1962 novel "Big Sur" that's due Oct. 20 from F-Stop/Atlantic Records.
The partnership began when the two artists were asked to contribute a few songs to the sound-
track to the upcoming documentary "One Fast Move or I'm Gone: Kerouac's Big Sur." about the
time the writer spent in the Northern California town.

1 You had never met Ben
Gibbard before working on
the film. Why did the part-
nership click, and how did it
turn into a full album?
Ben and I met the night before
we started recording, and
throughout the process I think
it became apparent that we had
a shared sensibility. Under the
circumstances things could
have easily not gone well, be-
cause we were basically getting
to know each other in the stu-
dio as we were working, and
sometimes there were cameras
rolling in the studio as well, but
it all turned out in the end. I

think that both of us having
gone through that experience
resulted in a bond that you can't
create any other way.

2 How has Kerouac's work
and the themes in his writ-
ing influenced you through-
out your career?

I've always been a follower of
Kerouac's work. I got started
when I was a teenager reading
"On the Road." and 1 think that
book gives voice and meaning
to a wanderlust that exists in all
of us. The quest for self-discov-
ery is encapsulated in that book
very well. "Big Sur" is almost

kind of the bookend to that,
even though it was written dur-
ing a period in Jack's life where
he's kind of looking back and
taking stock. Probably the
biggest influence from Kerouac
that I've picked up over the
years is his method of writing,
the idea of getting all your first
thoughts out there, more of a
stream-of-consciousness style
of writing, not worrying about
structure or form.

3 What was the songwrit-
ing process like using Ker-
ouac's words as your lyrics?
Was it easier or in some ways

On the road; FARRAR (right) and
Death Cab for Cutle s BEN

I I

harder to adapt than if you
were putting your own ideas
to music?

It was much easier for two rea-
sons. The first being there was
a familiarity with Kerouac's
work just from having read so
many of his books over the
years. Also there was this kid
being let loose in a candy store
element to the project when I
first started getting into the
writing. Secondarily, because

1 was using jack's lyrics, words
and lines from the text of "Big
Sur," I think it took away a de-
gree of self-consciousness
that's sometimes there when
I'm writing my own stuff.

4 How important is it that
people read the book and/or
watch the film in order to get
the most out of the music?

The fact that Atlantic is putting
out an edition of the book along

with the DVD and the record it
self is great. It is a very comple
mentary experience.

5 What are your touring
plans to support the album
and will shows include ele
ments other than music, suci
as readings or film clips?
Ben and I talked about that, bu
I think because we're first anc
foremost musicians I thini
we're kind of falling back on thi
idea of just making it a rod
show. The plan is to do a hand
ful of shows near the end of thi;
month concurrent with the re
lease of the package.

6 What can you say abou
the reported Woody Guthrii
project you're working on:

It actually won't be a continua
tion of "Mermaid Avenue" [a:
has been reported). It's some
thing that I started working or
with [Woody's danghtcrl Nor
Guthrie that's still in the wurk^
and if everything goes well, i
could be ready for release sonu
hme next year.

> EDITED BY TOM FERGUSON

>»TRUE FAITH

Currefttly appearing on cinema
screens alongside Johnny Depp
and the late Heath Ledger in
Terry Gilliam's critically ac-
claimed "The Imaginarium of
Doctor Parnassus"— which
opens stateside Dec. 25— Lon-
don-born actress/singer
Paloma Faith is also proving a
hit in the music business.

Faith's debut album, "Do
You Want the Truth or Some-
thing Beautiful" (Epic/Sony),
entered the United Kingdom's

Official Charts Co. Oct. 10 at
No. 14. Marrying upbeat R8B
arrangements with jazzy soul-
ful vocals— often compared to
Amy Winehouse— the 10-track
album was preceded by the
U.K. top 20 singles "Stone Cold
Sober" ar>d "New York."

"There's lots of great songs
on this album and lots of great
opportunities," says Epic Rec-
ords U.K. managing director
Nick Raphael, who identifies
women aged 16-40 as Faith's
target demographic. "She

spent two years writing this
record and I think that shows.
As we go forward, people will
see the depth of the album."

Cosmetics firm Rimmel also
used "Stone Cold Sober" in a
glottal (except for North Amer-
ica) TV ad campaign this sum-
mer. The 24-year-old artist is
published by Sally Isaac/Uni-
versal Music Publishing.

"Do You Wantthe Truth" will
have a staggered European
release throughout the fall
backed by a U.K. and European

tour, booked by London-based
Creative Artists Agency, be-
ginning Nov. 17. A third U.K. sin-
gle is planned for early next
year, coinciding with a second
European tour. There aren't
any U.S. plans at present.

—Richard Smirke

>»FLAMING
JUNE

Damien Leith took a novel ap-
proach when writing his third
studio album, "Remember
June"— the Australian chart-
topping Australian Recording
Industry Assn. (ARIA) Award
winner penned a parallel txx>k
of the same name.

'There are themes around
the book which I couldn't dis-
connect," Leith says. "I'd finish
writing a chapter in the book,
then write a song."

Three years ago, the Irish-
born singer/songwriter
became the oldest winner
(at the age of 30) of "Aus-
tralian Idol." Four ARIA
platinum (70,000 ship-
ments) albums followed,
but he says "Remember
June," with themes tracing
the highs and lows of life, is
the "only one that really
feels like a 'me* record."

"Remember June" ar-

rived Oct. 9 at retail, sup-
ported by shows at Syd-
ney's State Theatre (Oct. 16)
and Melbourne's Thornbury
Theatre (Oct. 17). The lead
single, "To Get to You," is-
sued Sept. 25, has already
been used in a national
promo campaign for home-
grown TV series "Mercy."

Next on the agenda is
breaking Leith overseas.
"The intent with this record
is certainly to get a release
in the Irish market and bleed
it into the English market,"
Leith's manager David
Champion says. Leith is pub-
lished by Universal Music
Publishing Australia and
booked by the Harbour
Agency. Harper Collins is ex-
pected to publish "Remem-
ber June" early 2010.

—Lars Brandle

»>MILKING IT

Belgian dance duo Milk Inc's
Oct. 9 completion of a sellout
six-show run at Antwerp's
16,800-capacity Sportpaleis
venue has confirmed its status
as a major home-grown act.

Now the duo of Regi Penx-
ten and Linda Mertens is eye-
ing other markets, with fall re-
leases scheduled for Spain and

France for their current albun
"Blackout" (ARS/Universc
Music) and its title track.

The act launched In 199i
as a studio-only project o
producers Penxten, Filip Van
dueren and Ivo Donckers ani
scored its first major domes
tic hit single with the 199
song "In My Eyes." A string c
hit singles and albums fol
lowed, with the act's popu
larity undiminished by sev
eral lineup changes.

Milk Inc switched label
from Antler Subway to ARS
Universal for its previous a
bum, "Forever" (2008), whic
the act's manager says ha
sold 75,000 domestic copie:
The act has a worldwide I
censing deal with Universe
Music; publishing is copy
right control.

Before the release
"Blackout," the duo empha
sized its crossover appeal b
headlining Belgium's Roc
Werchter festival (July 5
"Milk IrK has a very strong liv
reputation with the pop aud
ence," says the act's mar
ager/booking agent Mich(
Lenaerts. "[But] their appear
ance at Rock Werchter wo
the cherry on the cake."

—Marc Mae

30 I BILLBOARD I OCTOBER 24, 2009

Copyrighted materii.

BY ANN DONAHUE

Dut of the many classics in this genre, how
lid you pick which songs to sing?

t was like the "Great American Songbook"
albums]. We argued, shouted, pushed,
ought and then came up with a good com-
iromise. We tried to stay away from the ones
hat are really often on the radio. like ("Sit-
in' On) The Dock of the Bay' and "When a
vlan Loves a Woman' and "i Heard It
Through the Grapevine." I think we've come
ip with a good collection.

>id you choose any tracks based on what
:ind of vocal spin you could put on them?

\s a vocalist, you never know what you're
;oing to sing until you put the headphones
>n and the microphone is in front of you. I
ven surprised myself sometimes. On "Rainy
Jight in Georgia." 1 changed the melody a lit-
le bit but I didn't lose sight of the original,
t's never preplanned — I guess that's why it's
atled "soul singing."

Knd you obviously have a personal con-
ectlon to many of these songs.

think ")usl My Imagination' has a connec-
ion with me because it was the same year as
Maggie May" was a hit — 1971 — so that one
its home.

t's great that Al Schmltt was involved. It
lakes it all come full circle.

've met Al before — he did some of the "Amer-
;an Songbook." But when I sit next to him
t a desk. I feci like putting my arms around
im because that's as near as I'll get to Sam
!ooke. I never, obviously, met Sam Cooke,
nd I never saw him live. I saw Otis [Redding]
nee. I've seen |ames Brown, and I've seen
ickie Wilson. It was fabulous seeing Otis
erform — I had tears in my eyes. It's funny
1 those days, because it was called the Soul
evue and they would come over in the late
iOs and Otis would come on and sing 1 5-20
linutes maximum, and then Caria Thomas
^r 20 minutes max, and then Wilson Pickett
ouid only do 20 minutes.

ow important was it for you to change
ie arrangements of these songs?

>n some of them. I said we have to change
. or we wouldn't do it at all. but some of the
ongs won't be changed, On "(Your Love
eeps Lifting Me) Higher and Higher," that's
St in stone. You can't do that another way.
tr "What Becomes of the Broken Hearted."
: won't work. For lack of a better word, they
'on't bend.

hese songs were recorded in an era when
sday's technology wasn't available. Did
-lat have any impact on your interpreta-
on of them?

/e were trying to get the same drum sounds,
ut we didn't want to go back and sound the
ime because then there wouldn't be much
oint to it. I think the record sounds very crisp.
What 1 will tell you. though, is that lots of
le vocals were done in my house in England,
1 the bar. and my house here, in the library,
nd in a hotel room in Florida. That's the great

Soul Survivor

After Delving Into The Great Annerican Songbook/
Rod Stewart Returns To His First Love

Rod Stewart brings a splash of color to the staid surroundings of the Beverly Hills Hotel. He's
wearing a blue striped shirt, a white business sultcoat with thick red trim and blue Converse
slip-ons— a look that combines nautical and vaudeville, which seems perfectly fitting for Stew-
art, the perpetual showman.

After completing a 20-city North American tour earlier this year, Stewart returned to record-
ing and made the album he says he's been waiting his entire life to create. "Souibook," a col-
lection of ciassic soul songs from the '60s and '70s. will come out Oct. 27 on J Records. It's a
natural next step after recording standards for his four-album "Great American Songbook" se-
ries. Those four albums have sold nearly 9 million copies combined, according to Nielsen
SoundScan, since the first was released in 2002, and the 2006 "Still the Same . . . Great Rock
Classics of Our Time" sold 724.000. A "Songbook" boxed set has also sold 89.000 copies.

"Souibook" features duets with Mary J. Blige (on "You Make Me Feel Brand New") and Jen-
nifer Hudson Con "Let it Be Me") as well as two tracks featuring the original performers: "Tracks
of My Tears" with Smokey Robinson and "My Cherie Amour" with Stevie Wonder Ai Schmitt,
Sam Cooke's original producer and engineer, engineered the album.

"1 couldn't keep putting it off," Stewart says, "i was very frightened of doing it. because as
I say in the liner notes, these are the guys I looked up to and admired all my life, it was a big step."

thing about now: You can record anywhere you

want. It's just fabulous. It's so comfortable. If
you feel like singing now. you go sing. It's the
way to do it. because Atastair. my little son, will
just wander in the studio, even though we've
got |signs that say], "Keep out. Dad's record-
ing"— he doesn't know, he just wanders in. The
other kids wander in. my wife wanders in. and
I'm singing away. It's just wonderful.

You were a mentor on "American Idol"
a few years back. Do you have plans to
do more TV appearances to promote
this album?

rll be doing "Dancing With the Stars" and its
equivalent. "Strictly Come Dancing' [in the
United Kingdom). They reach a huge audience.
The music business is dead when it comes to
selling records: you've got to do everything you
can possibly do to make people aware that
you've got an album out.

You're known so much as a live performer.
Are you looking forward to performing
these songs in concert?
We actually have a band rehearsal at my house
tomorrow. I'm really looking forward to it. It's
up in the air right now. but we'll be touring
next year for sure.

Will you Incorporate some of your other
music into the show, or will it be all soul,
all the time?

Oh, I'll always have to do "Maggie May" and
"Some Guys Have All the Luck" and "Tonight's
the Night" and "Hot l-egs." But I'll present this
as its own little segment somewhere in the
show. A soul revue, or something.

Talk a bit about your most recent tour.

We did a mini-tour of the U.S. of places I
haven't been in three or four years: Dallas and
Houston and Denver. I made a point of thank-
ing everybody every night, because there's a
recession on and the dollar is hard to come by.
You look at the amount of dollars you got, and
you think, "New ironing board? Or tickets to
the Rod Stewart concert?"

Have you ever had any Issues with stag*

fright?

I did one show with the leffBcck Group — the
first show I ever did in America, in 1969 at the
Fillmore East — when 1 hid behind the amps
and sung because I was so scared. And K'fT
said, "The singer's going (o come out in a
minute . . . and stand here." And 1 did. and all
was forgiven.

I have a routine of warming up my voice. I
wouldn't bf libit" to sing the way I sing unless
I warmed up. It's like running. A reoccurring
dream for me is being placed in Madison
Square Garden, and someone says. " Rod! Did
you do your warm-up?" And no — and then not
being able to sing.

Which do you prefer: touring or recording?

Give me touring any day. The spontaneity of
it all, the element of risk every night, you never
know what's going to happen. Keeps you lively,
keeps you young. ••••

OCTOBER 24, 2009

v.billboard.biz I 31

ALBUMS

ES3

DEL THE FUNKY
HOMOSAPIEN &
TAME ONE

Parallel Uni-Verses
Producer: Parallel Thought
Gold Dust

Release Date: Oct. 13
There aren't any chart-topping
guests on the new release
from Oakland, Calif., hip-hop
pioneer Del the Funky Ho-
mosapien and New Jersey
underground stalwart Tame
One. "Parallel Uni-Verses" is
a true East Coast/West
Coast dual team-up; every
track a shared effort of like
minds and tight handoffs.
The song "Gaining Ground"
revisits Del's past with futur-
istic ambient grooves, while
"Teddy" is a hot metallic mix
of crackly funk horns and
space-age effects. Some
may hear tracks like "The
Franchise" as sour grapes for
other rappers" current com-
mercial success, but the duo
backs up its devotion to clas-
sic sounds with rich layers of
funk, soul, lazz. blues and
rock sampling that honor the
genre-bending experimen-
tation prevalent in 'SOs and
early-'90s hip-hop, It's a
blending that the pair calls
out in the song "Flashback,"

with references to Herbie
Hancock and Hall & Oates
alike.-E/V

BACKSTREET BOYS

This Is Us

Jive Records
Producers: various
Release Date: Oct. 6
Years removed from their
teen-pop prominence, Back-
street Boys continue to pro-
duce pleasurable hooks and
hummable vocal harmonies
on "This Is Us," the group's
seventh studio album and
second as a foursome. Work-
ing with longtime producer
Max Martin as well as in-de-
mand dance maestro Red-
One, Backstreet Boys offer
standard bubble-gum fare
while also taking a few
intriguing forays into throb-
bing electronica. While
"She's a Dream" and "Bigger"
are expertly produced love
songs, tracks like "Bye Bye
Love" combine slick R&B and
vibrant beats into command-
ing dance music. In any style,
A. J., Nick, Brian and Howie
can still slay high notes and
whisper come-ons with
equal aplomb. Although the
lyrics never reach too far. the
foursome simmers because

BRIAN Mcknight

Evolution of a Man
Producer: Briar) McKnight
EI Music

Release Date: Oct 27
Since his last album, the 2006
"Ten," Brian McKnight has been busy moonlighting as
a morning show personality (on smooth jazz KTWV
Los Angeles) as well as host of a self-titled syndicat-
ed urban radio program and a new late-night TV talk
show ("The Brian McKnight Show"). The singer/song-
writer returns to his original bread-and-butter gig for
his 11th album, "Evolution of a Man," and his El Music
debut. Now an elder statesman in the R&B and pop
arenas, McKnight offers another mood-setting mix of
mtdtempo cuts and ballads. In addition to the lead
single, "What I've Been Waiting For," McKnight more
than holds his own on the midtempo numbers "When-
URIovinME" and "AlwaysbeMYbaby," whose catchy
hooks and lush harmonies linger long after the last
notes have sounded. But ballads remain his strong
suit, especially the moving "Another You." It's signa-
ture McKnight: just him on the keyboards singing
passionate, heartfelt lyrics. One quibble: two dis-
tracting interstitials at the beginning and midway
through the set. While not groundbreaking, "Evo-
lution of a Man" shows McKnight still has a way with
the ladies.-GM

THE SWELL SEASON

Strict Joy

Producers: G/en Hansard. Peter

Katis
Anth

Release Date: Oct. 27
The Swell Season's Glen Hansard
and Marketa Irglova gained notoriety two years ago
after starring in and releasing the soundtrack to the
Academy Award-winning film "Once." With the arrival
of its second album, 'Strictly Joy," the duo proves It-
self as much a real-life band as believable characters
onscreen. The lyrics continue to center on relation-
ships, providing a raw and emotionally charged narra-
tive to songs that are sonicatly more integrated and
refined than on the group's debut. The Van Morrison-
inspired "Low Rising" layers swaying bass, punchy
horns and Hansard's soulful vocals, while "The Rain"
should sound familiar to fans of "Once," drawing on
more restrained versions of cinematic strings and
Hansard's fast-paced guitar strumming. The duo
works better together than apart on the album, best-
exemplified by the '60s folk harmonies of Hansard
and Irglova on "Love That Conquers" and the uplifting
"Feeling the Pull." "Strict Joy" maintains the relatabil-
ity and sincerity that made the soundtrack to "Once"
so compelling.— >CS

the album's production
keeps up with the singers'
harmonizing. "This Is Us"
may be a steppingstone in
ushering Backstreet Boys
away from their days on pop
radio and firmly through the
club d,ooT.—JL

BEBE & CECE
WINANS

Still

Producen: various

B&C Records/Malaco Music

Group

Release Date: Oct. 6
Reuniting after 15 years,
BeBe & CeCe Winans offer
definitive proof that things
do indeed get better with
time. On "StIM" (the first re-
lease under their own label),
the gospel duo settles right
back into the inspirational
groove that powered its ear-
lier R&B crossover hits, in-
cluding "Lost Without You"
and "Addictive Love." The
pair's smooth yet arresting
blend of R&B. pop. soul and
jazz carries a contemporary
vibe that subtly under-
scores faith-based lyrics
about strength, hope and
love that are the Winans'
stock in trade, as are their
pristine vocals. The album's
title track doubles as a rein-

troduction. cleverly weaving
the titles of the duo's hits
into the lyrics. They also get
down to business on stand-
outs like the God-is-love-
themed "Close to You." the
joyous "Reason to Dance"
and the reflective "Never
Thought." After all this time,
BeBe & CeCe Winans haven't
lost their touch.— GM

ELECTRONIC

TieSTO

Kaleidoscope
Producers: various
Ultra Records
Release Date: Oct. 6
Only Timbaland could corral a
guest list more impressive (or
more eclectic) than the one on
Dutch producer/DJ Tiesto's
new studio album, "Kaieido-
scope." Atop Tiesto's whoosh-
ing keyboards and pulsating
beats, the new set features vo-
cals from Nelly Furtado. Tegan
& Sara, Bloc Party frontman
Kele Okereke, Calvin Harris and
Sigur Ros' Jonsi Birgisson,
among others. Unlike Timbo,
Tigsto isn't much of a song-
smith— a lot of this is longer on
groove than on tune, and it all
hews pretty closely to one
sonic template. The listener
can't always tell why one track
called for the folk-soul stylings
of Priscilla Ahn ("I Am Strong"),

for example, as opposed to
Okereke's post-punk yelp
("It's Not the Things You
Say"). Still, there's no deny-
ing the big-room throb of
cuts like Furtado's "Who
Wants to Be Alone" and

"Knock You Out," with Me
ric singer Emily Haines. An
given the generally facele*
nature of most trance a
bums. "Kaleidoscope" repr*
sents a virtual avalanche c
personality.— MW

LYLE LOVETT
Natural Forces
Producers: Lyie Lovett. Billy
Williams

Curb/Lost Highway
Release Date: Oct 20
LyIe Lovett's 12th album, "Natural Forces," should be
hailed as an antidote to the absurd commercialism
that permeates much of American popular music.
That's not to say his previous albums were lacking in
this— each stands as a testament to Lovett's peerless
ability to seek out and Illuminate the often hidden
Irony of the human condition. Considering that
Lovett penned four of the songs on the new album
(with the balance authored by such poets as Townes
Van Zandt, David Ball, Don Sanders and Eric Taylor),
one might expect a somewhat disjointed listening
experience. But that's hardly the case, as Lovett
deftly accomplishes the opposite and triumphs In
taking the listener on a cohesive journey. "Whooping
Crane" is clever wordplay devoted to the sometimes
futile search for life's meaning, while "Loretta" is a
man's wry concoction of a not-so-perfect imaginary
lover. And the title track is a multi-act drama that zig-
zags between meandering individualism and social
justice. From the blue double-entendre of the song
"Farmer Brown/Chicken Reel" to the cautionary "It's
Rock and Roll," "Natural Forces" satisfies from start
to fInlsh.-kVJ

32 BILLBOARD 1 OCTOBER 24, 2009

Copyrighted materia

/ICO c

iabilla

>roducer Vico C
:MI Televisa
telease Date: Oct. 6
our years after his last stucio
Ibum. one of Latin urb.in
lusic's truly original artists
hines once again. Form9r
Irug addict and born-again
hristlan Vivo C has little u ;e
or the monotonous sextal
ontent most associated with
he reggaetbn of his nati /e
'uerto Rico. While some of the
lythmson •■Babilla"approa':h
le genre, the intncate prodLC-
on and evocative lyrics t ?ll
lore finely nuanced street sto-
es. "Agua" is an emotiona ly
3w memory of arrest and j ail
me. the anthemic "Polvora"

counts violence wrought by
le drug trade, the club tra :k
^ngellna" is about a single
lother, and "Prueba de Pi r-
lacia'" is a bluesy rock duet
fith Gustavo Laureano.
\/hethGr it's his confident.

mble delivery or clever laycr-
ig of piano and organ over
rum machines, Vico C shows
lat the devil— or the ange —
nthedetails,-/4Sy

HE RAVEONETTES

1 and Out of Control
reducers: Thomas Troelst n.
une Rose \>Vagner
'ice Music

lelease Date: Oct. 6
he girl-group sound has .iil-
'ays been about just thai —
ie sound and its evolutic n,
jther than a strictly distiiff
onceit (think Blondie and
oily & the Italians in the 7 Ds
nd 'SOs. Transvision Vamp
nd the Primitives in the '9 Ds
nd Yeah Yeah Yeahs and t ie
aveonettes today), "in and
)ut of Control." the newest
Ibum from the Danish duo

the Raveonettes, may be the
purest distillation in decades,
thanks to a wall of sound pro-
duction so draped in echo
that it borders on the tactile.
Raveonettes singer Sharin
Foo provides sassy yet
vulnerable come-ons. while
guitarist Sune Rose Wagner
lends unfurling twangy peals
of psychedelic guitar. From
the minor chords on the
Yardbirds-styled "Heart of
Stone" to the noisy. Jesus
and Mary Chain-meets-Pink
Floyd "Break Up Girls!." "In
and Out of Control" is non-
stop exhilaration.— FAf

CHRIS BELL

I Am the Cosmos (Deluxe
Edition)

Producer: Chris Bell
Rhino Handmade
Release Date: Sept. 28

"Children by the millions/Wor-
ship Alex Chilton." so goes the
Replacements song, but only
thousands know about Chris
Bell, hrs bandmate in Big Star's
first incarnation. Bell helped
shape Big Star's take on British
Invasion rock, then left after
its first album to tackle per-
sonal demons and record as a
solo artist. (He died in a car ac-
cident in 1978.) During the
'80s and '90s. as Big Star
gained critical respect as one
of the greatest bands that
never had a hit. Bell finally got
props as its studio craftsman,
the underappreciated artist
in an underdog band. And h -
legend grows still. The albur-i
"I Am the Cosmos" wasn't
released until 1992. Now. to
mark the long-awaited re-
lease of its Big Star boxed set.
Rhino is releasing a deluxe
version with a second disc of
early work and alternate ver-
sions. Almost all of it lives up
to the legend.— ffi.

RIEVIIEWS-

SINGLES

DITEO BY MITCHELL PETER!
ALBUMS) AND MONICA
ERRERA (SINGLES)

ONTRIBUTORS: Crystal Bell.

) Ben-Yehuda, Mariel
oncepcion, V/ade Jessen, Eved
, Jones. Robert Levine. Jason
psfiutz. Michael Menachem.
■ed Mills. Gail Mitchell. Evie
agy, Kelly Staskel. Mikael W/ood

HITICS' CHOICE *: A new

lease, regardless of chart
Dtential. highly recommended
r musical merit,

PICK A new release predicted
to hit the top half of the chart in
the corresponding format.

All albums commercially available
in the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard. 5055
Wilshire Blvd.. Seventh Floor. Los
Angeles. CA 90036 and singles
review copies to Monica Herrera
at Billboard. 770 Broadway.
Seventh Floor, New York. N.Y.
10003. or to the writers in the
appropriate bureaus.

THE BRAVERY

f Slow Poison (3:30)
Producers: John Hill. Sam
Sndicott

Writer: S. Endtcott
Publisher: Chrysalis

i Island
I The Bravery rode a wave of
synthesizers and droning vo-
cals to success in 2005. and
the band's lead single from
its upcoming third album.
"Stir the Blood," is true to
that blueprint. Harmonious
guitar strums and a static
drumbeat kick off "Slow
Poison," as electronic loops
crawl in and around the riffs.
The song's quick tempo and
happy-go-lucky melody
work in opposition to front-
man/songwriter Sam Endi-
cotfs bleak lyrics. "Burn
burn the house on fire/I'm so
sick and tired." Endicott
wails. "I can still remember
your sound/It's cut-cut-
j cutting me down." Only at
the bridge does Endicott let
his veil of apathy slip and in-
ject some urgency into his
vocal delivery. The Bravery's
signature sound is in full
force on "Slow Poison." and
t pays off in dividends.— fC-/

JUSTIN BIEBER

One Less Lonely Girl <3:49)
Producer: Stargate
Writers: various
Publishers: Ezekiel Lewis

Music/Uivvers^l (BMI).

Jahque Joints/Universal
Music (SESAC). ADRAWN
Publishing/LA Reid
Publishing (EMI)
Island

Justin Bieber continues to
croon his way into the
hearts of tween girls every-
where with his sugary sec-
ond single. "One Less
Lonely Girl." Much as he did
on his debut single, "One
Time." Bieber makes a
strong case for why he's the
next pop/R&B heartthrob.
"I'm gonna put you first, I'll
show you what you're
worth/If you let me inside
your world," he sings. The
stump speech is hard to re-
sist, especially when set to
an arrangement that follows
the lineage of hit midtempo
ballads "With You" and "Ir-
replaceable." Although the
lyrics are rather generic.
Bieber's smooth delivery is
right on point, and his ten-
der vocals blend well with
the song's easy-flowing
beat. With this latest effort.
Bieber keeps building mo-
mentum for his Nov. 17
debut album— and young
girls around the world
couldn't be happier.— CB

JUVENILE

Gotta Get It <TK)
Producer: Precise
Writers: Juvenile.
L Edwards

Publishers: Breka Music/

MICHAEL JACKSON

This Is it (3:46)

Producers: Michael Jackson. John
McClam. Mervyn Warren
Writers: M J. Jackson. P. Anka
Publishers: Mijac Music admin, by

Warner - Tamerlone Publishing (BMI)
Sony

The controversy over its origins aside, "This ts It"— re-
leased Oct. 12 on Michael Jackson's official Web site— is
yet another testament to the fact that the King of Pop
was very much full of life when he died. "I never heard a
single word about you/Falling in love wasn't my plan/1
never thought that I would be your tover/Come on please,
dear, understand." Jackson belts in his high-pitched,
vibrating tenor. His voice is boosted by a medley of gen-
tle violins, jazzy guitar strokes, intermittent finger snaps
and horns while a choir chants an escalating series of
"oohs" in the background. "This ts It" will be included on
the soundtrack to Jackson's movie of the same name. He
will forever tje missed, but releases like this wilt make his
music live on.— MC

THE BLACK EYED PEAS

Meet Me Halfway (4:44)
Producers: Keith Harris. William
Writers: various
Publishers: various
Interscope

The third Black Eyed Peas single from 'The E.N.D ' is
somewhat of a departure from previous hits "Boom
Boom Pow" and "I Gotta Feeling," which collectively
spent a record-breaking 26 weeks atop the Billboard
Hot 100. While the Peas' circa-3008 production aesthet-
ic is still at the forefront, "Meet Me Halfway" boasts a
slightly breezier, more downtempo beat and a vintage
Madonna-inspired chorus: "Can you meet me half-
way/Right at the borderline/Is where I'm gonna wait for
you." Fergie elongates each note for a sensual vocal and
offers a nice complement to co-producer Will.i.am, who
handles the majority of the rhymes over funk guitar,
hand claps and distorted pulses. Already climbing the
Hot 100 with their latest, the Peas are evidently on a
quest to prove that their hit parade is far from over.— MM

EMI Blackwood Music (BMI)
UTP/El/Atlantic
Juvenile is a pioneer in his
own right. The New Orleans
rapper enjoyed a slew of
Southern bounce hits years
before Lil Wayne sold his
first millions. Unfortunately,
his first official track in three
years shows he hasn't
evolved as much as one
might hope. While the pro-
duction on "Gotta Get It" has
potential (thanks to its organ
synths. double-speed drums

and those famous "Nolia"
claps), the track is missing
the kind of Infectious chorus
Juvenile is known for on past
favorites like "Slow Motion."
Lyrically, the rapper is also a
bit unoriginal, bragging
about his "yellow Chevy
thing with the door up" and
"canaries in the grill," among
other material things. Let's
hope this is just a warm-up
for Juvenile and. as he raps
on "Ha." he'll "handle his biz"
on the next one.— MC

-'Ik

OCTOBER 24. 2009 I www.blUboard.blz I 33

lAPDFMIMrS

BY LAURA LEEBOVE

Public Exposure

Steel Panther *Rawrs' On The Chart

Most of the lyrics by the hard rock/glam metal
band Steel Panther are too vulgar for radio. And
Michael Starr, the parody act's frontman. says
MTV handed Steel Panther the longest edit
sheet in the network's history in response to
the group's first attempt at a music video.

But those roadblocks haven't kept the Los
Angeles quartet from its ongoing mission: to
bring heavy metal back lo the masses. Through
long-running West Coast residencies, grass-
roots marketing and — surprisingly — radio ex-
posure. Steel Panther has secured an opening
slol on ZZ Top's upcoming overseas tour and
is filming a pilot for Comedy Central. In the
meantime, thanks to the group's success over-
seas, the U.S. physical release of its debut
album. "Feel the Steel" (Universal Republic),
was moved up a month to Oct. 6.

Produced by jay Ruston (the Donnas), "Feel
the Steel" is No. 98 on the Billboard 200 this week,
selling 6,000 copies, according to Nielsen Sound-
Scan. Its earlier digital release netted debuts at
No. 123 on the Billboard 200 and No. 3 on the
Heatseekers Albums chart the week of Oct. 17.

"If you had told me that radio would have
helped the launch of this album, 1 wouldn't have
believed you." says Frank Arigo. senior direc-
tor of marketing at Universal Republic. Al-
though the first two singles, "Death to All but
Metal" and "Community Property," had to be
edited before airing. Steel Panther manager

Glen Parrish says that having the band perform
and do interviews on morning radio shows has
been one of the best forms of exposure. "This
isn't a traditional release because of the con-
tent of the record," Parrish says. "But every-
where they do a morning show, they sell out in
that market."

According to the band members' tongue-in-
cheek back story. Steel Panther was huge in
the '80s. disappeared before the release of its
debut and finally returned to the scene decades
later. The four tattooed musicians are usually
clad in Spandex, go only by their stage names
(Starr, Satchel, Lexxi Foxxx and Stix Zadtnia)
and won't discuss their outside lives. Created
in 2000, the potty-mouthed quartet — whose
songs almost exclusively talk about women,
one-night stands and heavy metal — has been
playing frequently sold-out residencies for
about a decade. These include stints in Las
Vegas at Green Valley Ranch and the Aliante,
as well as the Key Club in Los Angeles during
which the band has been joined onstage by the
likes of Kelly Clarkson and Pink.

"We're an organic, word-of-mouth kind of
band because we're not really getting the radio
airplay," says Starr, who appears with his
bandmates in a videoclip on Billboard.com.
" But that's the way this band has always been.
We're kind of like herpes: We spread slowly
but we're steady."

The band was known as Danger Kitty, Metal
Shop and Metal Skool before adopting its cur*
rent moniker. A few tracks from the group's
self-released first album, "Hole Patrol," were
rerecorded for "Feel the Steel," including "Strip-
per Girl" and "Fat Girl {Thar She Blows)."

In the weeks leading up to the album's re-
lease. CD samplers were distributed at various
locales across the country, including strip clubs,
tattoo parlors, bike shows and this year's Criie
Fest. Or as Arigo describes the advance leg-
work: "Anywhere you think metal lives."

Following the album's international release
in June, the band has become popular in the

United Kingdom and |apan. Comedy Centra
caught wind of the band after comedian Sara
Silverman made an appearance in the " Death t
All but Metal" video. A pilot for a weekly scri pWi
comedy show — ^about bringing lieavy niclal bai
naturally — is in the works for early 2010.

"Most people have never heard of thes
guys." Arigo says with a laugh. "The initi;
reaction is, 'Aw. they're totally ripping o
Metallica.' Well, yeah, that's what Steel Pai
ther does. But even though they write lyrii,
that are really funny, they're amazing mu^
cians who couldn't be more serious aboi
bringing metal back."

THREETIMESTHE CHARM

Britney Spears debuts at No. 1 on the Billboard Hot 100 with her new single, "3," marking only the 15th song to bow
atop the chart in the tally's 51-year history. "3" is also the first title to debut at No. 1 since Taylor Hicks' "American Idol"
victory song, "Do I Make You Proud," on the July 1, 2005, chart. ^ The previous four songs to open at No. 1 were all
"American Idoi"-related. The last non-"Idor' song to open at No. 1 was Lauryn Hill's "Doo Wop (That Thing)" on the
Nov. 14, 1998, chart. % Of the IS debuts at No. 1, 10 of them occurred between 1995 and 1998. Until the end of 1998, a
song could only chart on the Hot 100 if it was available as a commercial single. The bevy of debuts was prompted by sin-
gles being withheld from the market in order to maximize chart position, which is based on combining airplay and sales
data. At the end of 1998, the Hot 100 changed its formula, allowing airplay-only or noncommercially available songs to
chart. ^ "3" is Sfyears' third Hot 100 No. 1. Her debut single, "... Baby One More Time," spent two weeks at No. 1 in
1999. "Womanizer" claimed a sole week atop the Oct. 25, 2008, chart. — Keith Cauljidd

THE 15 NO. 1 DEBUTS IN THE BILLBOARD HOT 100'S HISTORY

DBUTIWn

9/2/95

9/30/95

11/25/95

12/2/95

6/14/97

9/13/97

JO/11/97

2/28/98

9/5/98

10.

11/14/98

6/28/03

12.

7/10/04

13.

7/2/05

14.

7/1/06

IS.

10/24/09

lunsi

una

"You Are Not Alon«"

"Fantasy"

"Exhale (Shoop Shoop)" (From "Waiting to Exhate')
"One Sweet Day"

_ Michael Jackson
_ Marlah Carey
Whitney Houston

Marlah Carey & Boyz II Men

"I'll Be Missing You"

"Honey"

"Candle In the Wind 1997/Soni«tlilng About the Way You Look Tonight"

"My Heart Will Go On"

"I Don't Want to Miss a Thing"

"Doo Wop (That Thing)"

"This Is the Night"

"I Believe"

"Inside Your Heaven"

"Do I Make You Proud"

Puff Daddy & Faith Evans Featuring 112

Marlah Carey^

Elton John

Celine Dion

Aerosmith

Lauryn Hill

Clay Aiken _
Fantasia

Epic
Columbia

Arista

Columbia

Arista

Columbia
ASM

550 Music
Columbia

Columbia
RMG

Carrie Underwood
Taylor Hicks

RMG
RMG

RMG

BRITNEY SPEARS

JLG

Making history:
BRITNEY SPEARS

34 I BILLBOAI7[> I OCTOBER 17. 2009

BY JASON LIPSHUTZ

To'HelPAnd Back

Tegan & Sara Hope
To Entice Larger U.S.
Fan Base With
Sainthood'

lanadian indie-rock duo Tegan &
•ara's snappy songwriting and inti-
nate lyrics have found a steadily grow-
ng audience in the United States since
he twin sisters started recording songs
decade ago. "The Con. " the duo's 2007
Ibum, debuted at No. 34 on the Bill-
H3ard 200 and led to an opening slot
n Death Cab for Cutie's 2008 U.S. tour.

"Sainthood." their sixtli full-length
due Oct. 27 on Vapor/Sire Records, is
Tegan & Sara's most immediate
album yet. The propulsive first sin-
gle. "Hell," was released to iTunes Oct.
6. and with its bouncy bassline and
anthemic chorus, the track may be the
key to growing the pairs fan base.

'It's less of a goal to get on radio
and more of a goal to not resist radio
as much as we have in the past." Sara
Quin says. "We've had a really com-
fortable arc in our career, but at this
point we recognize there is a fan base

we have yet to entice. With this albiun.
I know we have a shot at it."

After writing separately throughout
their careers, Tegan & Sara penned
lyrics together for the first time during
a writing trip to New Orleans in fall
2008. Hiey used the concept of .saint-
hood, inspired by a Leonard Cohen
song, as a thesis for piercing songs of
devotion and emotional longing.

The duo began recording in May
with Howard Redekopp and Death
Cab for Cutie's Chris Walla, who ad-
vised the girls to shake up their well-

worn recording process by playing

each song with a full band in the stu-
dio instead of relying on overdubbing.
"The nature of what Tegan and I did
had always been solitary," Quin says.
"I felt terrified playing the songs live
because, honestly. I didn't know if I
could do it. But the songs just sounded
more fleshed-out . . . and I think they'll
be stronger, especially live."

In conjunction with the album re-
lease, Tegan & Sara are issuing "On."
"In" and "At," a three-book set that
chronicles the sisters' past year
through writings and photographs.
The self-published books were the vi-
sion ofTegan. whose goal was to "make
something that fans could hold in their
hands — not something to re-create on
their computer screens." Quin says.

After a Nov. 2 performance on "The
Tonight Show With Conan O'Brien,"
Tegan & Sara will play select dates in
Europe throughout November and
launch a two-month U.S. headlining
tour in February. While the duo is cur-
rently spending six to seven hours per
day rehearsing for the shows, the ex-
perience of recording "Sainthood"
with a full band was great practice for
its biggest tour yet.

"We've become a really good live
band, and I say that in the most
humble way possible." Quin says
with a laugh. "We usually dread re-
hearsals, but this year they've been
a breeze.' ••••

HAMMOND
UNSTOPPABLE

^ hit single, an increasingly savvy Internet fan
>ase and key release-week appearances have
etped gospel veteran Fred Hammond score on
he charts. His latest project, "Love Unstoppable,"
lebuted at No. 1 on Billboard's Top Gospel At-
lums chart, nuking it his sixth chart-topper and
hird No. 1 debut. Released Sept. 29 on Verity
lecords, the set bowed at No. 26 on the Billboard
00. The album also spun off a top five gospel hit
/ith the lead single, "They That Wait," featuring
ohn P. Kee.

Hammond says the music's "simplicity" res-
•nates with listeners. "People want it more simple
nd less complicated right now," he says. "They
/ant to be able to sir>g it witti you."

The album's theme also came easily to him.
Even before we started writing, I said, 'It's going
3 be something about love.' I just love love. I love
/hat love does."

On the album's release date, Hammond was
he featured artist at the Music Experience with
:hicago retailer Dedry Jones. The live event con-
ists of a 45-minute interview and 15-mlnute per-
^rmance. "It's 'Inside the Actors Studio' for mu-
icians," says Verity Gospel Music Group senior
lirector of marketing Cheryl Marks. "He attracted
huge turnout, with people also buying the album
t the event." Additional release-week appear-

ances included an in-store performance at
Stof>ecrest Mall in Atlanta.

Adding more fuel to Hammond's gospel fire
were appearances as himself in J.D. Lawrence's
play "The Clean Up Woman." Hammond has per-
formed during stopKivers in New York, Houston
artd Dallas. "It's hilarious," he says. "Ill probably do
a couple more."

Rounding out Verity's marketing strategy was
an iTunes campaign supplemented by messages
from Hammond on Facebook. Twitter and other
social networks.

"1 started Twitter three weeks ago," the

Powerful love:
FRED
HAMMOND

singer says, "and have almost 4,000 foltowers
so far. People who support what I do In the
gospel audience have become more computer-
and Internet-savvy."

However, as Marks notes, there's no denying
tfiat church remains a strong vehk:le for new musk:
exposure. "We're facing the same challenges
everyone else is," she says. "We don't have as
many outlets when It comes to consumer publica-
tions so we rely more on the Web. But what we
do have are built-in marketing and touring op-
portunities through the church. That's a fan base
we definitely tap into." —Oeborah Evans Price

SOUNDING
BOARD

Comedian/actor/educator/author Bill
Cosby is ready to unveil his latest proj-
ect. "Bill Cosby Presents the Cos-
r»rati: State of Emergency." A socially
conscious hip-hop CD that focuses
on the critical issues affecting young
people, the independent project wilt
be laurKhed Oct. 19 during a virtual
town hall meeting in New York.

Presented in association with Us-
tream, the town hall (7 p.m. ET/4 p.m.
PT) will air on urban radio station Web
sites across the country, on Cosby's
Facebook page (facebook.com/bill*
cosby) and BilICosby.com, which will
simultaneously relaunch that evening.

Hosted by Cosby and the CosnaratI
Band, the event will ir>dude the band's
first public performance of several
songs from "Emergency." Those
songs will be available at digital re-
tailers Oct 20; the album's physical
and digital release is Nov. 24. A fre«
track will also be available on Cosby's
Web site, supported by the online
marketing agency Blue State Digital.

"Emergency" is the aural compan-
ion to "Come On People," the 2007
book co-authored by Cosby and
Dr. Alvin F. Poussaint. Produced by
Cosby's longtime musical colleague
William "Spaceman" Patterson (Ali-
cia Keys. LL Cool J), "Emergency" ert-
lists the skills of guest rappers/com-
munrty activists Jace the Great Brother
Hahz and Supa Nova Slom. Frustra-
tnn, incarceration and respect for fe-
males are among the tracks' themes.

Cosby, who conceived the songs'
story concepts but doesn't rap or sing,
says the artists' writings hit upon much
of the anger and frustration many
people feel. "I can>e up with icteas and
asked them to think deeper, but I
didn't have to push. It was like. Thank
you. Dr. Cosby. We want to do this.' "

Supa Nova Slom adds, "Dr. Cosby
offered his elder wisdom, then we
brought our young swag and inter-
preted it into hip-hop. Our genera-
tion and society at large are at a real
crossroads for survival; the times de-
mand that we reopen this chapter
of hip-hop."

Noting the backlash he's received
for controversial comments about
African-American life, Cosby stands
tjy the allxjm. "People wfw don't want
it to succeed will say I'm a curmudg-
eon who doesn't like poor or young
people," he says. "But these rappers
are young males running down the
truth at>out the urban side of life. It's
time for a change." —Gail Mitchell

v.billboard.biz

Cni

Billboard connect with the music industry's most important decision maker

MARKETPLACE

For ad placement in print and online call Jeff Serrette 800-223-7524/iserretteaibillboAricorn

WANTED TO BUY

HELP WANTED

WANTED TO BUY

immediate Payment

American Royal Arts, celebrating 24 years in
business, is looking to purchase music memorabilia .

RIAA'S
Set Lists
Autographs
Memorabilia

Concert Awards
Concert-Used instruments
Signed Contracts
Original Posters

Contact Jerry Gladstone 561-869-0600

AMERICAN ROYAL ARTS

SIGNEDROCK-COM * ENTERTAINMENT FINE ART « Since 19B6

jgladstone@americanroyalarts.com

New Luxury LA
Apartments „

OSMIl: TtLWI-R Jul 's .\I-IKW: I,

S.SOO S0T Hi. aiii Spa, CuutBRm
TfL-uNhR OxsrrH, l.\Ti\rrf Poou
GcAKii CAihP CmmuNm-
Starvng S2.500

UPLICATION/
REPLICATION

mm hsmvmm mmsimm

CRYSTALCLEAR

vrsnn .P*t.a7.zoWf.5twood.com
Caiju (888) 482-9084

MUSIC
MERCHANDISE

^999! $99!

-mmaiWDmmsK^mmimmmi

mmmiu-mwmmm

MASTERING

BUY DIRECT AND SAVEI

While other people are raising their prices, we
are slashmg ours CD's. LP's. Boolts. cassettes
as low as 50 cents. Your cho«e (rom the most
extensive Itslings available

For tree catalog call (609) BS&«)ao.
Fax (609) 690-0247 or wrttfl
Scorpfo Music, Inc.
P.O.Box A Trenton. N.J. 08691.0020
email: scorpiomus^aol.com

tangerlnaMASTERING.com

Grammy winning CD mastering

REISSUES & RESTORATION

201-865-1000

Assistant or Associate Professor in Music Industry

The Department of Music at Northeastern University invites applications for a tenure-track
Assistant Professor or Associate Professor in the field of Ivlusic Industry to begin fall 201 0. The
successful candidate will have a background in music business/entertainment, commitment to
entrepreneurial and interdisciplinary thinking, and possess a wide range of professional skills
and interests. Applicants will be able to demonstrate an established and ongoing research
profile and a strong track record of teaching at the university level. All candidates will teach
existing courses and develop new courses at the undergraduate level in areas such as (but
not limited to): new media and communications, music technology, e-business, management,
history of popular music, concert promotion, music publishing, international music business,
artist management (including touring), and national and international licensing. Qualifications
include a doctoral degree or equivalent terminal degree.

To ensure full consideration, applications should be received by November 30, 2009.
Applicants should submit a cover letter and curriculum vitae online. To apply, please visit the
College of Arts and Sciences website, http :/Avww. northeastern .ed u/cas/. and click on Faculty
Positions. In addition, applicants must have at least three confidential letters of reference sent
directly to: Hilary Poriss, Chair, Music Industry Faculty Search, 351 Ryder Hall, Boston, MA
021 15. No other materials should be sent directly to Professor Poriss.

Northeastern University is an Equal Opportunity, Affirmative Action Educational Institution and
Employer, Title IX University. Northeastern University particularly welcomes applications from
minorities, women and persons with disabilities. Northeastern University is an E-Verify Employer

SOtMETHING TERRIBLE HAPPENS WHEN YOU DON T ADVERTISE . . .

NOTHING!

BE CREATIVE • KNOW YOUR OPTIONS
ADVERTISE WISELY

Billbocrd jeff serrette smoRt

IAC(»UIITMAIUIiEII

PHONE: t4t-<M-4<97(ll»-223-7S«FM: M-g54-nl6< EMIL JSEMIETn iWIllBOMa.COH

DON'T
MISS AN
ISSUE

Billjl^rci

CALL US TODAY AND ASK ABOUT THE

BILLBOARD CLASSIFIEDS

ALEJANDR(^'
FERNANDEZ 1

Issue »42» October 17. 2009

INTRODUCTORY OFFER FOR NEW ADVERTISERS! ■

I To Order Back Issues
■ Online, Go To:

^^^^23-7524 or jserretteObillboard.conn | biHboard.com/backissues

BILLBOARD I OCTOBER 24, 2009

Cni

A WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

Buble Bests Kiss To Earn Second No. 1

ikstrMt's back, alright,
istrttt Boyfi' new "Thts Is
d*bu1> al No. 9 on the
oard 200. making th« act '
irst to have Its firit seven ,
ting albums all reach the
10 line* Sade did so
reen I9S5 and 2002. (Sad»|
iroup, fronted by singer
lAdu.)

Bnne Cash nets her
m-charting album on thVj
oard 200 at "The Llsl"-
ired by a list ol essential
itry songs her falher
my Cash gave her— bows al
12. Her previous high cam*
B1, when her third set.
en year Ache." hit No. 26.

This week's biggest debuts on the Bill-
board 200 are brought to you by Oprah
Winfrey and Wal-Mart.

The power of Winfrey's influence
can be seen al ihe top of the chart,
where MichasI Bubli's "Crazy Love"
enters at No. 1 with 132.000 copies
sold, according to Nielsen SoundScan.
after only three days of availability.

Meanwhile. Kiss claims its highest-

fe Young achieve* hli t\ni
bunlry Songs No. 1, as
tin' You Home (The Black
t Song)" dominates In Its
chart week. It's the longei
climb since Tracy
ence't "Find Out Who YoK
Mis Arc" needed 41 weeks
■kin June 2007.

charting album with the Wal-Mart-
exclusive "Sonic Boom" at No. 2 with
108.000 sold.

"Crazy" was pushed up from its orig-
inal Oct. 13 release date to an off-cycle
release on Friday. Oct. 9 — likely to cap-
italize on Bubte's chat and perform-
ance on that day's "Oprah" episode.
Because SoundScan's tracking week

ends at the close ofbusiness on Sun-
day evening. Buble's opening week is
all the more impressive, since it com-
prises three days of sales.

Buble's last set, the 2007 "Call Me
Irresponsible," debuted with
212.000 sold at No. 2 before moving
to No. 1 the following week. "Crazy"
is the artist's third top 10 album, as
his second studio set. "It's Time."
debuted and peaked at
No. 7 in 2005.

Had Bubl^ appeared
on "Oprah" without
having already released
"Crazy." the impact
would've been lessened.
Tliere's something about
seeing Winfrey say to the
camera, while holding a
CD, about how so-and-
so's new album was released "today."
There's an urgency and immediacy
there that connects with viewers.

Bubte follows Barbra Streisand's
"Love Is the Answer" in the Billboard
200 penthouse, giving the chart back-
to-back No. Is aided by Winfrey-
Streisand, however, appeared on
"Oprah" the Friday before her album
hit retail on Tuesday, Sept. 29.

Bubl6 becomes just the second artist
this year — after Chrlsette MIchele —
to reach No. 1 on the Billboard 200
without ever having had a top 40 sin-

OverTh^
Counter

gle on the Billboard Hot 100. His best
rank on the tally so far is the 2007 song
"Everything," which hit No. 46.

Buble's Hot 100 fortunes have been
hampered by his lack of radio airplay
outside of the adult contemporary for-
mat, where he's a cornerstone. The
new album's lead single. "Haven't Met
You Yet," bullets at No. 8 on the tally
this week, becoming his sixth top 10.

The tune has yet to reach
any other Billboard air-
play chart.

Yet, his "Crazy" debut
at No. 1 on the Billboard
200 proves that one
doesn't always need
multiformat radio air-
play to prompt strong
sales. Especially when
Winfrey's in your comer.
"Crazy" may continue to reign at No.
1 next week, although one of the most
anticipated soundtracks of the year
could bump Bublc from the top slot.
The "New Moon" soundtrack — moved
up to a Friday, Oct. 16 release from Oct.
20 — may rule the roost with just three
days of sales. Sound familiar?

YOU WANTED THE BEST: KiSS' ar-
rival at No. 2 on the Billboard 200
with "Sonic Boom" gives the band
its highest-charting album, but its
108,000-copy opener is also the

group's second-best sales week
since Nielsen SoundScan began
tracking data in 1991. The act's pre-
vious chart high came with the 1998
album "Psycho-Circus." which de-
buted and peaked at No. 3 with
1 10,000 sold. That album's opening
week is the group's best SoundScan
sales week.

Some industry prognosticators
had projected the new album's first-
week sales figure to be much higher
— as much as 180,000 copies. How-
ever, those early forecasts were
based on how well the set sold on its
first day of release. But as the week
progressed, the album's sales ta-
pered off sharper than expected,
thus making the initial projections
much too high.

"Sonic Boom" is Kiss' first studio
album since "Psycho-Circus" and is a
multidisc set. The first CD features the
"Sonic Boom" album, while the sec-
ond disc features live versions of some
of the band's biggest hits. The third
disc is a DVD with six live perform-
ances. The set carries a list price of
$14.98 at Wal-Mart but was sale-priced
for 512.

All told. "Sonic Boom" is Kiss' eighth
top lOalbum. Its first. "Alive!." reached
No. 9 in 1975. The band had three more
top lOs in the '70s and another three
in the '90s.

Market Watch A Weekly National Music Sales Report
Weekly Unit Sales Year-To-Date

lUUHS UBUK*

TWCi'.

na Wnli

1.^78.000 1..122.000

19.55GOOO

6.876.000 1.567.000

19.410.000

Change

-8.7K -9.3K

-0.4%

nic«Ml2l«n

6.419.000 1.161.000

18.237.000

Change

-2.2% 22.SX

6.0%

niclscn
SoundScan

Weekly Album Sales (Mimon umts)

— 200S

-ZOO*

: M

A 1

1 J A 5 0 N D J

OVERALL UNIT SALES
•lllllllli 311.791.000 269.710.000

DigiUIndo 832,764.000 922.918.000

StonSaigles 1.332.000 1.411.000

lom 1,145,887,000 1,194,039,000

UmtWlW 395.067,400 362.001.800

DIGITAL TRACKS SALES
■08 832.8 mllllonj

•13-5%
10.6%
5.9%
4.2%
-8.4%

Year-To-Date Album
Sales By Store Type

120 million units

"9 11 ^

SALES BY ALBUM FORMAT

CD 260.607.000 209.312.000

Oigilal 49.722.000 58.441.000

<iO|l 1,354.000 1.911.000

OlllS 107.000 46.000

-19.7%
175%
41.1%

-570%

Indies Non-

Mau Chain

traditional Merchant

Go to www.billboard.biz for complete chart data I 37

Cni

nicis*.

■ 1 ^

Sounds.

t.:m(a ' DI5IRIBUINC lUH (PdrCft

I MICHAEL 8U8LE

1^9

urazy Love

-J

KISS

Sonic Boom

■

TOBY KEITH

.1 ■ - iiiom

American RUI«

■

BARBRA STREISAND

Love Is TTia Answer

■

JAY-Z

The Blueprint 3

■

LUKE BRYAN

Doin My Thing

■

MARIAH CAREY

Memoirs Of An Imperfect Angel

■

1 1 ^

MILEY CYRUS

Ttie Time Ot Our Lives |EP)

■

BACKSTREET BOYS

This Is Us

■

_ .

BREAKING BENJAMIN

Dear Agony

■

PARAMORE

1 : ■ ■ ■..■.!.- . ■ ■ - il8 98>

Brand New Eyes

ALICE IN CHAINS

Black Gives Way To Blue

WHITNEY HOUSTON

1 Look To You

*■

BEBE & CECE WINANS

Still

RELIENT K

s--;: Jl.= SMltJlC Ml Bfl!

Forget And Not Stow Down

PEARL JAM

Backspacer

■

TAYLOR SWIFT

Fearless

1-1

HARRY CONNICK, JR.

YOur Songs

■

8 -

MIRANDA LAMBERT

Revolution

MADONNA

Celebration

■

KINGS OF LEON

Only By The Night

ROSANNE CASH

The List

■

THE BLACK EYED PEAS

■ ■ UKB)

The E.N.D.

•■

22 18

ZAC BROWN BAND

Tt>e Foundation

■■

IP.". T.HP*M«ri.»FIIIC IISWT AO (13,801

9 -

SELENA GOMEZ & THE SCENE

Kiss And Tell

■

BRANDI CARLILE

Olve Up The Ghost

■

□

LADY GAGA

MI 91) The Fame

DRAKE

■■(I'.'i-iAl W0TCIMIDI24SM«

BG,«ui SO Fai Gone (EP,

■

U 3

THREE DAYS GRACE

LHt Starts Now

■

1H ■

LYNYHD SKYNYRD

. ;. ■ ■ .1- 3S|

God & Guns

MAYDAY PARADE

Anywhere But Here

OWL CITY

Ocean Eyes

MUSE

The Resistance

ll J.^iVtU BEATLES

The BnllM In Starao

TOKIO HOTEL

Humarvaid

DETHKLOK , sv.it)j ,t3 9e» MeiaiocalypBe: Dflthalbum II (Soundlrack)

■

SOUNDTRACK

Hannah Monlarta: The Movie

"■

j-i

JASON ALDEAN

Wide Open

•■

LADY ANTEBELLUM

Lady Antebellum

■■

TREY SOMGZ

Ready

■

MAXWELL

BLACKsummers night

THE AVETT BROTHERS

1 arwl Love and You

■

VARIOUS ARTISTS

■! ■ '< .:<M11 usy.lMICK (I7.BS)

WOW Hits 2010

■

VARIOUS ARTISTS

:! - iOKY MJttC

NOW 31

39 24

COLBIE CAILLAT

Breakthrough

■

KID CUDI

'i D.'uwvKtsM. uonMm oninvuMnG in

^ Man On The Moon; The End 01 Day

□

PINK

Funhouse

■ 2.

BROOKS & DUNN

#1s ... And Then Some

■

□

FIVE FINGER DEATH PUNCH

War Is The Answer

■

BUILT TO SPILL

There Is No Enemy

■

as
ii

If™

ARTIST

iM'j.i- Li;il(i'4Ulil8tiABtL(l'

Tilfe

octi

1 J

DAUGHTRV

1 H M) «>

Leave This Town

FOREIGNER

. ' "-iiN0|UMCIl'DVD)4'

Can t Stow Down

In i leulonic t«Kl

NICKELBACK

i ■■■! 91)

Darlt Horse

on rt<allef-spe<trK
Mdutlve pjtluDes.

FRED HAMMOND

Love Unstoppable

a Bed But Muie
wnlon iFHludes a
twniQ dtM with

GEORGE SrRAlT

1 , m)

Twang

BLESSTHEFALL

1 ■ 1 1

Witness

Sennaxi wnloits ol
the s«ts songs,
(tblmllf. since th
quaitct liaili from

Germafiy.)

SKILLET

Awake

VARIOUS (VIT^STS S nqs 4 Worship 50: 50 Greatest Praise And Worship Songs

TIESTO

Kaleidoscope

AFI

Crash Love

EMINEM

J 03 Hi R©lap»e

□

KAREN O AND THE KIDS

Where The Wlk) Things Are {Soundtrack)

JOURNEY

Revelation

■i

Ann the tund
appclrad on "The

BEYONCE

■ ■ ■ ' ri- i.v- . 1 -.K --.nw MUSIC \i

1 Am.-.Sasha Fterce

■

"OmiinDiirr
Sli«i''0<i.i-«d
pefforawd "Don't

REBA

Keep On l^vmg You

MONSTERS OF FOLK

Monsters Ol Folk

Slofi BeAevn' " and
"raitlil«^--tl»
se* rt-entm with
10.000 uM (up
emjanditslKSI

■!'.8K?''.

DAVID CROWDER BAND

Church MusK

□

DARIUS RUCKER

Learn To Live

■

■m>f.

SHINEDOWN

■ ■■■ , 'liSB,

The Sound Of Madness

sate wecfe «f)ce
OlloOf 200S.

VARIOUS ARTISTS

-IK---- c,,^v VLTSiCiUW

NOW TTwI's What 1 C^ll Country Vol. 2

TAYLOR SWIFT

UAi.-t.-(i n,-ji;ir ii»9*t *■

Taylor Swtfl

The album, lini
releMd in Ocloto

□

CHRIS YOUNG

The Man 1 Want To Be

FAT JOE

■ I'DMl

Jealous One's Still Envy (J.O.S.E. 2)

20O8, was reiswed

|3«I matk with Iniu

SUGARLANO

|i'-?7r irWRN lUIBt

Love On The Inside

l»iMB live tracks. In

LIL' BOOSIE

SuperBad: The Return Ol Boosle Bad Azz

lum. Ihe set re-
eitten with a

KEITH URBAN

Defying Gravity

giin and iuinpt 59-
19 on Top (ouiMrv
Albumi.

SOUNDTRACK ,

■ .■.-i»«IICiUMJ'.*6(ieM|« Twiiigni

■

DAVID GRAY

Draw The Line

CHRIS TOMLIN ,^ Highest; Chrislmas Songs Ol Worship

PETE YORN & SCARLETT JOHANSSON g^^^^

RASCAL FLATTS

Greatest Hits Volume 1

..v.' If.

GHOSTFACE KILLAH

Ghosldini: Wizard Of Poetry In Emerald City

Uief the

version oltlie.?'^'!ir

BRAND NEW

■ L N' J3iJ1D*

came out '

PHOENIX

i:,- Lijbr.w;iii (ti Ml

Wolfgang Amadeus Phoenta

lowtnq d mv. •
Agltal cxcluy.!!).

RAEKWON

Only BuitI 4 Cutian LInx.- Pt. II

ttieselitinpsvithi
US gain, tt also

PITBULL

Retielulion

earns Keatte^et

MARK KNOPFLER

Get Lucky

Gnduate honors,
prontpllng its

□

RASCAL FLATTS

I,-.; ..■.-.J 'BMj

Unstoppable

■

rennval front the
fteatseekm iUbtims
chart.

CHEVELLE

Sci-Fl Crimes

BOYS LIKE GIRLS

Love Drunk

SOUNDTRACK

Fame

•2

VARIOUS ARTISTS

t',t. 1 ■. , - 1(1 9»»

Now That's What t Call Club Hits

□

DAVE MATTHEWS BAND

Btg Whisltey And The GrooGrux King

100

KELLY CLARKSON

All 1 Ever Wanted

The fwjrth charting

S¥t fCt Itli- f'irn(h

□

KENNY CHESNEY

Greatest Hits II

GREEN DAY

HM.. :■[ ■- ■ . ■ .M^nfH saos I'.iMi

2Ut Century Breakdown

FABOLOUS

Lose s Way (Soundtrack)

IM) Dante/

123

■.vflG,i0 9«^ Feel The Steel

Uedronk Umms,
grragltieaclts

STEEL PANTHER

rodrFgo y gabriela ■

miraiioonmnH
kRtrdivL

AIR

Love 2

THE BILLBOARD 200 ARTIST INDEX

.IS BRf UIMG BEUAWh 10

.At BnOOKS&njNN U

IM OCVOmVtQ 2i tSJ

IB UMBnVJM

CWUWHWI IW
«U.ICUl»C5QN W
CCUCWAT 171

i« UkWCfuncEnsw e7

BUyCLIVUNGtaN .122
WlfYDBUS i

13? MBmcKEvsiPMS -» wciuaouaif

CAGETVIIEl£PK«MT M

COUKCNLUt
UWIAHdREV

flOMKNf CASH .

CaJICnUlttR t17 OJUJGHTRV

xeittAraiQiiEv

mt OOWWTV 138
OAWE M

fWCH . . 49
JOmFOQERTTlHEBllK

niDGf HANSfRS m
CtXJfOHD ITS
RWUOIER . i2
MICHAIi FRMITtS

GMSTMCt 'XVM
ajMUlM •■lib

scfic a

TWOOSSP . 1H
DMDOiwr rg

fi^r[^^E:j 113
KAW^ WtSOi. VII
IIMGfNHEAP TM
H£»«ISC« 1S8
HXi»WDCD(.r«/tfl 174

JKVJ 1

smm '12

XXMEV U

NIOCUOI «
KIDZ9DPK10S t4]
KlNGSOf tilM 21
SUN mestON i«

LKWQW

imsi

UltN*
BlMf UWS

IIOHTS

tHEnuLortnov ..m
MTJOE. n

m .ia

SPUWEW 1S0
IMEWftT 118
ACE FHEttPr 148

cflUDDivr sa

MHOdUtD HOUSTON 17?
*Mr«v KllfiTOT 1J

lunjOBE m

JCHMSBIIOIWIS 14S

KISS 2
KXK l?8
(MRKHHOPREH 87

LM»0
OEMlOMTO

38 I Go to www.blllboard.biz for complete chart data

Data for weet< of OCTOBER 24, 2009 CHARTS LEGEND On Page <

Cni

I OCT I

il
120091

io ARTIST

2£ "a SS & ^UMBEn ' OlSTRIBUtiNQ LAB^ iPfllCEt

Title

ill

LAST

i-|S ARTIST

Title

„ „ 22 JASOK MRAZ

We Sing We Dance. We Sieal Things

-■

fir

121

115

70 Q UNCLE KRACKER

Happy Hour

101 ri lt USSM REQINA SPEKTOR

ItjJ I'O ID |.'J^mjJ tiRF tiolK'/WUmil i)OS (IS M] 9>

Far

122

120

Q MICHAEL JACKSON

The Derinilive Collection

80 SI n

Hannah Montana 3

-i

besinoer/sonq-

■n ;ac brown band

»ciiiMi TTie Foundation

American Saturday Night

two iongs trom ttu
H afeuni 01) the Del i

124

t3S

Ellipse

ee 36 B MEGADETH

Endgame

122

118

fl JOSHUA BELL

At Home With Friends

53 j2 Q THEORY OF A DEADMAN

Scars A Souvenirs

•1

iditiMorKBC's
-SalurdiT NiQhl
Jve." spiriting a

122

SOUNDTRACK

Wizards 01 Waver ly Place

94 65 Q JUSTIN MOORE

Juslin Moore

127

102

- Q ARTISTS g-,,^ uugic... An A^Ste; Tribute To Maze Feat Frankie Beverly

g, ^ SOUNDTRACK

Dtsrwy: Phlneas And Ferti

B ni\ iiKiHse m
■ Iw highest cturt

122

136

1W 21 WILSON

In A Perfect World ,

'!•^
>^

Hope Rising

H nnksincewlv

BILL ENGVALL

Aged And Contused

IPiHll^-fc THE MOUNTAIN GOATS

*"™iS-""' ' '

The Ute Of Ttw World To Come

1?1

» n JOHN FOGERTY.THE BLUE RIDGE RANGERS

Rides Again

M M PI

No Une On The Horizon

,gg^LETOYA

Lady Love

96 95 0 JEREMIH ^

Jeremlh

■

M .\ IMMORTAL

All Shall Fall

„ . g """REED

Hatebreed

■

i» < 1

123

130

117 fV '''"^'^ MIGHT BE GIANTS

Here Comas Science

PfjUll'? LLCERO

■■■1^1 1." - • . : JC OtJITS'JUtnG tlO.Ml

1372 Overton Park

^1 Th« ninW'Up from

Id ^'^^

Music For Men

H«re We Go Again

■| the stiUi season ol
H "Amerkan Idol'

122

137

tAcin GLORIANA

Glohana

,31 «J g "WISH _

Joy

H returm with \w
M sKond album dni.

122

149

VARIOUS ARTISTS

' X-/ .ii:;i*iiiMe itBM)

NOW 30

•

CELTIC thunder

Ac! Two

107

132

80 Q '"'^^ TIGRES DEL NORTE

La Granja

9« 7B n ■^"E FRAY

The Fray

0 H tolocnrnvBov Ihe
H (l«ttoni( flop ft

122

161

,gg pi RISE AGAINST

Appeal To Reason

J, . g SOUNDTRACK

jj gjj^ More Than A Game

1 also starts aiMc '

Do ^"'"^ TOMLIN

Hpl:r 1 n:-f

101 66 H SUGARLAND

LIVE On The inside

Hj on Top Dame/
H QettioncAttiiiim.

II SAIGON

ifl - SviDEi |TMi

Warning S'iott.

ITJ

106 77 n '-'"'''Q

171

153

127 ^ COLDPLAV ^ Vida or Death And All His Friends

111 96 B BILLY CURRINGTON

Ml'- W" ^'';-ii'-i( .1 r>CJ7^Mi ^MU^ j " j

Utile Bit Ol Everything

^ NOISETTES

Wild Young Hearts

THE FALL OF TROY

In Th« Unlikely Event

■

173

169

,„ ("^ INGRID MICHAELSON

''luniai uoiciiNii!i:irux(!a (13 98)

EverytXKly

109 68 n HOLLYWOOD UNDEAO

Swan Songs

164 J_

iPI ■ PHILLiPS, CRAIG & DEAN

Fearless

10! 121 H CMI'ISETTE MICHELE

Epiphany

H Thooghthfiligital
B Hlltion ol this
B '""■"I ^

COLT FORD

Ride Through The Country

^3ES THE RAVEONETTES

In And Out Ot Control

176

^'■^ HALESTORM

Halestorm

■

.24 too □"0= ™°"" ,

Cradlesong

B miliblesincf Jit^

177

U MARQUES HOUSTON

Mr Houslon

W^'ti"'™ .„„..„.,u„,

^t-f^, ' ' ■' ' per UiiRU 1 1 J Ml

1 Get Around

■

rtWyiniiMt

1^ ELLA FITZGERALD

Golden Voices

The Listening

H Oct. 6 All told. It!?
B s<tisup6i7S.lho

17*

|« PLAYAZ CIRCLE

Rlghl 360:tho Takeon

55 - ff^ VARIOUS AflTlSIS TIh^ MiHitiLiin 103.7 FM: U« F
■n

rom The Mountain hhaic Lounge VcAjttw 15

band dho played
B "Jiitimv Kimmei
B live!" Oct. 6.

120

138

ifti Tt THE USED

'"*fct ■ Li. MOS <i8«COW0i» AnwoiK

107 76 n ^^"^

Mot August Night NYC

182

ImRI MARY MARY

,,. . . -i.r.T-SOHYlJOSC (It 811

Th« Sound

i^iJaQ'^ENTURA ,„^„^^„„.,„

The Lasi

1S2

180

KELLIE PICKLER

Kellle Pickler

117 .mQ'-":"*'"'^ :,:...,„„„.™.= ,n,.,

Tha Carter ill

183

lii

Q MACK 10

Son While

Tri Polar

184

139

119 1^ CHICKENFOOT

Chlckenfool

^^IQ ^LAKE LEWIS

Heanbreak On Vinyl

■

MM MESHELL NOEOEOCELLO

Devil's Halo

.27 102 Qf^EY JOHNSON

ThBl Lonesome Song

0 ■ The Q-song set vr,
B ttwOct-Wdaii)
B deal at Anun}i)

Paper Trail

Bl H PATTY LOVELESS

Mountain Soul II

187

l3l

113 m 'MSANE CLOWN POSSE

Bang! Pow! Boom!

MIKE DOUGHTY

iUiflUS .- .

Sad Maf) Happy Man

|H HP] Store tor S1 9'^
R aho debuts on Too

Q^'i STEVE MARTIN j,^^. ^ g^j^g^ p^^, Five-String BanlO

110 74 n "EW BOYZ

■A rv:;iH2lWlHNln HMOS (13 9B1

Sktnrry Jeanz And A Mic

'B JuzANxiimalKoJ

180

143 111 g THE SLACK CROWES ^ F,osl...U«ll TH, Freeze

n, SEAN KINGSTON

bdS '■' i "I- fPC MlBl'SOVfMUSlC (11 9*1

■ sm

gpTHIflp DAY

Revelation

77 19 H

' ' I 'F'tSM RmiBllC 013117'UMAC lUMl i<

The Boy Who Knrw Too Much

B Tbesin()et/swg-
^2 writer's ftqhtttstij-

B '"'""^ ^"'^'^

1«t

i«

lOB E9I FRANK SINATRA

'"liJ . M . ■....■.■n:,ft05 iiaMi

Nothing But The BesI

Want

122

152

•Lj ni HAWK NELSON

" y ■-. .■3«i

Live Ule Loud!

125 99 n

Kidz Bop 16

■I with I.ODO sold.
H and It's bet lits! lor

12S

187

1B7 ffl EARNEST PUGH

UVE: Rain On Us

,,3 . g SOUNDTRACK

Whip II

B Downtown imrOi.

1B4

145

130 fl '-^'^'Sl

Turn Me Loose

133 114j3-'0''" ^"O™!,"*

Unea, VItms And Trying Times

H All het prior sets
B rcactndtlic

^'^^ FAMILV

Kiltgdom Business Pt.2

Clt,n""\

SUtgus

B BIHboardNO.

188

t48

Wm BIG & RICH

fjigl ■■ -' -1" iWiSMVIUil S<«;iK'WR1«|t3Ml

Greatest Hits

,23 2 CAGE THE ELEPHANT

CaQ« The Elephant

■

■flP? PASSION PIT

Manners

Mum "The Siinr

15D B3 *CE FREHLEY

Anomaly

Music Jaiiiia.'
H wtil(h went to

192

163

168

Category F5

119 - Q BUILDING 429 ^ ^ ^^^^^^

Building 429

B Ci>tileflipiH>TV Jan

122

190

lOfiPi TOBY KEtTH

35 Biggest Hits

186 171 Q MICHAEL FRANTI ft SPEARHEAD

All Rebel Rockers

-3

KARIJOBE

Kan Jobe

MSnOkKHMISDN m
CHWmEHCHELE m
MM HI

MC<afl»i> S3

wistiB in

PfAUiAM 16
IM

RADWKJN 85 SCKIWRES - 1*4
FUSCJV. FLITTS $1. SB HUMK SnHTRA IVI

QiatEY PMNIASMD
FERE lOB

pLtci 1 -

.1.; iPil WlilH
'Omi"', KlItL JS

WM TWIT S «H*I 1 CAU
COUNTRY yOL ? 70

SIIKVSOUIMLSC AN
AlL-STMTIWUTtTD
MAZE (EATURIKi
f RAMiX OEVERLV 1S;

S0N(2.4WOn5M>M SO
OREATESIPAMSEAK)
WOnSHPSOKIS hi

HDWifiTSailO C

VTOtRA 1«,

MGNSHRSOFFOU B6

jusmyooffi m
nckiair»io(HTs tio

JlkSONMRU 101

Muse 33

CW CIT> 3?
RUSSIOIilPlI IBf

W5M lie

■CBlSnCHLEn IK
PWC 47

piTHJu. ae
puiHuaRCU in

EAHICSTPUOH . ISO

IMEMWOMTIIS tjfc SOICT ..i^

am es RESMSPedOR io;

RfimiK is STEEL nWHEH 98
RtS'UiAKSI Tl>ll STIUfMUnVt -Itl
DARIUS RlCiR CEOBMStRWI M
SAntU STREISUC i
■^^KI^^^H SIKMRUW UAJD
5*MN irc lAMiWSAIFI 17,71

UME 01
HUMWtMKIWa 103
•(UMAII liONIWU

MOREIHMAQWE MB

Twiuafi rf

mi* (I 144
IMiWDS 01 W»Vt1LY

lot

mrr MIGHT BE GNW4TS

ixnoow ISO
RaaTHOUM . ir

THREE WVSflfWCE 39
It Its

TtSTO , S9

lHf»- ■iOWi.' 4n
:w?Ti ISA

uioE KIW>;Efl 151
rWLtSED 180

lAf FROM THE
WOUHIWtUUSClfiUNa
WUJMEIS 130

tmx iM

N0W3t U

NcmnuTsviMrioui

CLUBHTS . . n

»EIE»W«SSCAf*nT
JOHMtSKM DO
CMISVOUW n

WMWW iei

tUVnCASBlM) B3

<wai 4!

/OAVIWIMK :i1

yiDen* Its

ita for w*«k of OCTOBER-24, 2009 i For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data

^TOP POP CATALOG'

TOP DIGITAL

EXCLUSIVE CHART
FROM BILLBOARD i

r WEEKS

ARTIST Title
KlEHSuSl MICHAEL JACKSON Numtiet OjWS

1
■

277

MICHAEL JACKSON Ttitiller

♦

THE BEATLES ADbey Roail

♦

THE BEATLES The Beatles

THE BEATLES Rgl. Pepper s loriBly Hearts Ckib Banrt

MICHAEL JACKSON ll>e tssential MiCtiaekK- . :!

MICHAEL JACKSON The Uttanate CnlkM:;!ni
1. 'ifl cn nwi *

202

CREED Grealtilf-:.

MICHAEL JACKSON 7 CD AAuin Mega Bumlie

lai

JOURNEY Journey s Greate^l Hus

l.'.^Kli SOri> MlJ^iiC >! J ilH; •

THE BEATLES Rulibi

■ ■■■iL<iBBm

THE BEATLES Rt- .l..

■

THE BEATLES Pas! Maslfits

ID m

THE BEATLES ■/ ■ ■ M',-; tv "m.- 1^

THE BEATLES HI,.;:

□

THE BEATLES Help! (Sour i: ■

THE BEATLES L8( rt Be (Souiv.l- ii ■

MICHAEL JACKSON

■■■ ■■ 98)

■

BOS MKFILEY IhNO M WAILERS LqsitiraBtslQIBoliMilevAnjnw^VjicrT:,
in»BiiB> ♦

♦

THE BEATLES Please Please

i»

MICHAEL JACKSON U-iV -.' n

:-o

'.■ i'-J- .n BB!

231

r.1ICHAEL BUBLE 1 i

■

ORIGINAL BROADWAY CAST RECORDING Jetsey Boys

■

THE BEATLES Beatles Fw Sale

■

GUNS N' ROSES G-e3test Htls

CREEDENCE CLEARWATER REVIVAL CtifixK* TttB 20 Grtd£Sb1 Hits

KINGS OF LEON feciuse CI The Times

THE BEATLES Wllh Ihe Ik v

>s i;

JACKSOKS ■•M. ..-.7,T.;> awCenuyUasmllMWIewiL.v •■ ■

•

MICHAEL BUBLE Call Ue Irres.n- '
■.. Lj-iOS |IBM|

■

Zi 70

ADELE 1''

•

KISS JlwVtfi Besl 1 ' -

iiMi 'imB'i

:> JO?

MICHAEL JACKSON OUT", ■-■..ill

1 Zi2

ORIGINAL BROADWAY CAST RECORDING ^> 1

ABBA Gold - Gfcatiis- tdir,

2-1

THE BEATLES 1

PINK FLOYD Da-k S«le 01 Tt)e Moofi

♦

BOB SEGER ft THE SILVER BUUET BAND Grealesl Hns

MUSE Black Holes And RevciaUoiis

•

LED ZEPPELIN Mof n i .

I'- »n*Hnc(i»eBi-*

PARAMORE 1 r

Ml,- 1,, |T]9Al

MICHAEL BUBLE MiChai!< H ii
(18 «i

LINKIN PARK MinutasToUir il'

. ; ■ rtAi^litR BflOS ItBMI *

NICKELBACK Al The Righ H-" i

.1B9BI •

□

'1*

MGMT Otaculat SocCI-iLuLir

NORAH JONES Not Too Late

MICHAEL JACKSON Gtaatesi Hds HlSloiy - Va'jD^r 1

•

DAUGHTRY D^injMf,

■

ALAN JACKSON Hi

•

THE BEATLES Yellow Subiru- n.'

XPPlt 82467- CAPitOL |IB9B|

• rn'tvwomf Stwfl9 am from Niyiby Pjrad«
:i I# DWM Un mil II Ho. n on Hit
1 let. ~A lefioii tn Ronyntio," pcilKil a(
I'"' 0>lwPwUalo«.lOVC
i.msHlin It llll.«»llli 9,000
>BBteol-ltaitoOnK"iK

ha l iJi A.U . i . n II Jl No ! (11,000, Uj!i' l

40 I Go to www.bitlboard.bfz for complete chart data

A
w

nil

ARTIST

Pn MICHAEL BUSLE

WBM 'LI ^m.A ./.'.i'''Lii BROS.*

Till*

Crazy Love

REUEMT K Forget Arx) Slow Oofti

Mi><(ij VS SIEUajWE Jlfi

JAY-Z

The 3luepr'il 3

BRANDl CARLILE

Gwc Ufl Ttic GIWSl

PARAMORE

BianO New £/es

BREAKING BENJAMIN

Dear Agony

A
%#

OWL CITY

0 '1 .'uuno

Ocean Eires

ROSANNE CASH

The Lrsi

BACKSTREET BOYS

Tnis Is Us

•

TOBY KEITH

Amertcu) Ride

LUKE BRYAN

Doin' Hy Thing

•

MAYDAY PARADE

AnyvrttBre Bui Here

ALICE IN CHAINS

Black Gives Way To BVje

A
w

TIESTO

■' ■ ■ 1 ■ il.Tfl*

Kaiedoscoac

CREED

GreatesI Hns

LADY GAGA The Fame

■ ■■ ■,■ i.F liHfBHTinEt'lWnRSCJW 'I6S

i..

PEARL JAM

Backspacer

KINGS OF LEON

Only By Trie Mq-it

21 ■

MUSE

The Resistance

»<

THREE DAYS GRACE

Life Starts Now

2 '

MIRANDA LAMBERT

Revalulian

THE BLACK EYED PEAS

Tne E.N D

THE AVETT BROTHERS

1 ano Love and Yau

KID CUDI Uan On Tlw Moon. Ena Ot Day

r^F/.',' ih, 1 i,'jivrR^ei MprnwN iiMHii

■

MARIAH CAREY Memoirs Ot An lm[»ifccl Ar^g«l

TOP INTERNET

aS
£>

-S. &

ARTIST

I^THE BEATLES

Title

Hie Beatles In Stereo

si 8

BARBRA STREISAND

Love Is Ihe Answer

'*i

LUKE BRYAN

Doin My Thii>ij

TOBY KEITH

Aniencan Hidu

KISS

i.i."ic Skim.

BRANDl CARLILE

Give Up TI--5 Ghosl

ROSANNE CASH

T^e L:sl

HARRY CONNICK. JR.

■|V Ml.ii.lC

Your Songs

If.,

MARK KNOPFLER

Get Lucky

TOKIO HOTEL

Humanom

««

MICHAEL BUBLE

Ctazy Love

ALICE IN CHAINS

Black G(vus Way To B:j>:

UARiAH CAREY Ucmotfs 01 An Imperlect Ar ]e

LUCERO

1372 OvBiton Pak

PHISH

Joy

lit

MADONNA

CeMntior

BREAKING BENJAMIN

Dear Agony

DETHKLOK -,1 -■■

r;naltHim 11 (Sourxltrachi

WHITNEY HOUSTON

t Look To IviM

PARAMORE

B/and New L^'i;^

MUSE

HCUUW'35l:t3a.-«AHMEBBR0S •

The ResisirfiiL-

JAV-Z

The Blueprint 3

■1

THEY MIGHT BE GIANTS

Here Comes Science

163

' . V 1 -■!.' ^,1LT mti

MAYDAY PARADE

Anywflete But Here

THE BEATLES

Ahoey Hoao

□

®ILIKE PROFILES:
MOST ADDED .

TITLE

ni PAPARAZZI

,a 1 GOTTA FEELING

IHE BIM< f TED PEAS ,1-,- i .. (

, LETTERS FROM THE SKY
CIHILtmiGMI <l.--

, FIREFLIES

UWltlFY 1. .1,1,1,1 KltLBLH:,

EMPIRE STATE OF MIND
mt ♦ UKMIETI iMiard,

USE SOMEBODV
KIHCIOrLIH ,

IGNORANCE

PMUMORE ' ' E. 'IliMlC HNPl

. UPRISING

^ UJS[ , „,,' '..Ilia

POKER FACE

UHX BAH ISIMEUIllW. KMLIVL'CHtHnTIRtL llltEnSCOK)

1 '

iMTNniftm

SWEET DREAMS

YOU BELONG WITH ME

BOOM BOOM POW

THE fllKi EtEl) P1»S 'W iPftlHSCOKl

DOWN

MY SEAN EFATUK'NG ill IVAiNf ,aAf,h MEWEY/UHMRSAL nf^BUCl

MEET ME HALFWAY
nfi lua mo put ni-iiTf

ill!

The vMCk's mo«l puMfinwl ■eno* via Uta - ff
TITLE Oglui muuc MbtM with an «Mn»n« cautoQ

- ■'ti;,I iitft^lHT LABfi., o( »ooo« (mMW* to pl»v. buv. WKf (nar* orAr

niDOWN

|gg iiT *uii f UTUBBHl III warn IC*5M MOWFT ^illllVERS*L HEPIWUCl

4 Id

1 GOTTA FEELING

!Ht BUiLK LttD PUS ■ '1 ; L -".-^L--! 1

2 14

YOU BELONG WITH ME

3 a

RUN THIS TOWN

IM I. RIMMMtUMYt WIST {XQC NATlON,i

9 13

BREAK UP

MAinO fOnMM mo MW t WW BMIMTT U RUG .

3 13

USE SOMEBODV

6 9

SHE V;OLF

7 11

GOOD GIRLS GO BAD

•

- 5

WHATCHA SAY

j*sii«Dtmo . i , ■■ ' If, *j.M'(ti> ttftos 1

to U

KNOCK YOU DOWN

tlfr. XILlDii (EMUi'.Nb ■iiN'rt wtsi A KEm fWOSlEV'^OHE t IHItnsCOi^)

11 14

BOOM BOOM POW

tw i(«cK itro pfAi lA .L 1 *M imtfrscoeEi

16 2

HEARTLESS

UMYt WEU 1 * "ELL» t)tI JAMIOlH&l

- 3

PAPARAZZI

i*U'i,»uA • . .-: CMtdftYTBEEIMTEflSCOPEl

HOTEL ROOM SERVICE

13 4

EMPIRE STATE OF MIND

iSS TOP HARD ROCK ^
W ALBUMS W

illl

TITLE ^Aa^^Siii

SONIC BOOM

DEAR AGONY

VMl' HI, UNJKHIN

2 2

BLACK GIVES WAY TO BLUE

UlCEIRCMlklRS

BACKSPACER

PEARL ItM

LIFE STARTS NOW
iHflEt cuts euci

METALOCALYPSE: DETHALBUM II (SOUNDTRACK]

7 3

WAR IS THE ANSWER

riVt fINURDUTH niNCH ..'.-ul t",i'>.

DARK HORSE

WITNESS

4 2

CRASH LOVE

24 26

GREATEST HITS

CUES

10 68

THE SOUND OF MADNESS
HHMEOOIMII

%2 6

SCI-FI CRIMES

CHEUFUl ■

16 2

FEEL THE STEEL

STifL PAMME-i ■WiiULl.i REPueUCUMBai

11 4

ENDGAME
wsuEiHo,' .'.['-iiiK'jrni

Dau for week of OCTOBER 24, 20<

Cni

Iscii niclscn

SoundScan

HEATSEEKERS ALBUMS'

ARTIST

LUf 1 1 UMKN 1 RSTDIBUTwe Uta (MIICE)

Tlllc 1

BflXHE MOUNTAIN GOATS

Tbt Ult 01 Th« World To Com*

LUCERO

1 . ■ iJ!..' .k'-IL. ilO 9B|

1 372 Overlon Paik

■»

THE RAVEONETTES

In And Out Of Control

LIGHTS

M .'. ' .ii: SiHt i)<J)t2'ii:ARNlR SROS lllMl

The Listening

VEDERA

■•- M!,WUIJSlt IfMj

Stages

7 7

JOSHUA BELL

:^MV MASIfRWMKS 03 9Bl

At Home With Friends

IMMORTAL

Alt SKall Fall

miT

THE GOSSIP

Mualc For Men

Warning Shots 2

13 33

COLT FORD

Ride Through The Coui>ity
OMd Man's Bones

DEAD MAN 5 BONES

■■■->*■>! IIS 98i

1 Z

AUSTRIAN DEATH MACHINE

Double Btulai

11 J6

RANDY HOUSER

Anytfilng Goes

HjlHiiAJ THE XX

COL" FORD

Country Is As Country Does

CIVIL TWILIGHT

Ctvit Twilight

7 3

GIRLS

< ' DialHUL P*NtMRl>0UND£<l*9ll

Album

ANVIL

This Is Thrrleen

NOAH AND THE WHALE

. 1 . ■tili«vTP.t£,lNIt«5C0Pt OmM'IIU

The First Days Of Sprirvg

wm:

CALIFONE

All My Friends Are Funeral Singers

STRIKE ANYWHERE

Iron Front

41 23

MATT & KIM

Grand

MISSION OF BURMA

The Sound The Speed The Light

15 59

THE AIRBORNE TOXIC EVENT

.II-. 1 . i,\ K)ftvlil,*^t)01^9^;^■OJ»iG^179^ll

The Airtiome Tonic Event

HORSE THE BAND

Dospofnio Living

The phirticai version

ARTIST

1 ah;l i NUUKR 1 OttTMUTIIlG IMU (PlllCti

Tttia

THE CLIENTELE

Bonfires On The Heath

ol Uie album was
releasHiloaR

HOPE SANDOVAL & THE WARM INVENTIONS p^,, g^^.^,

rftaflenOd.E.Ici
lowins sti WKks ot
near tflgilaUnin-

BOB SCHNEIDER

Lovely Creatures

HOCKEY

Mtnd Chaos

yvftV, Wilti sliglr!:
more Etan 2,000,
trw sel bounds villi

TRAILER CHOIR

Off The Hlllbitly Hook fEP)

NDAMBI

Pinh Elephant

a 42S liKieaM.

LA ROUX

.. II- iLi-Hi^-.ii I'.M-^.Jl't 1)13389''W;* HOMl

Lb Roux

■\

SKYZOO

' ' TOWN 1 9B|

The Salvation

Iks StlidH alb.ir:

DESPISED ICON

Day 01 Mourning

bullets dl No. 10
irm newWal-Hit'i

LANDON PIGG

The Boy Who Never

eiclusiw lii-siMig
EP. enhanced wi!h<)
DVD. enters al I4»

GOGOL BORDELLO

Live From Axis Mundi

EVERGREEN TERRACE

Almost Home

l&witb!,000
(Oflies sold.

GREG LASWELL

Covers 4EP)

" -1

JESSE COOK

The Rumba Foundation

Ft iI

THE VERY BEST

Gil!--! OWL 1)1)7 .ti 98:

Warm Heart Ot Africa

KJ-52

Five Two Television

211

KSM

■\\\.-' -r.'. rn-fCSiWAU WS*IEV lie Bfll

ReadBetweenTheLines

Hie iin^ef 's lourlti

PETER WHITE

i 1 iPD na 94i

Good Day

iBwm. tier fifsi ti>
ftiart.aKo entmat

TERCER CIELO

, .■•^-,41. mush: miNflSUWUMlI 11? Wi

Genie Comun. Suenos Extraordinarios

No 6(}onIopR£E;

DEADMAU5

-Si iISM,

For Lack Of A Better Name

I^P'Hop Alb4ims II^
lead angle, "(an i

THE BIG PINK

A Brief History Of Love

□

HaidlvVM."RK(j
JZDnmMRUaM
debuts on fi&B/Hip'

LOU BARLOW

Goodnight Unknown

BILLY TALENT

III

HopSonss.

SIDEWALK PROPHETS

1 - . 1 • V^■f^Y^H BIDb |9 9«i

These Simple Truths

A PLACE TO BURY STRANGERS

EiDlodina Head

HEATSEEKERS SONGS I REGIONAL HEATSEEKERS "1 ALBUMS

TITLE

MiniT LivfRin PfiouoTioa uwtl

BIdoi 1

1 imt MDM (CAPiTOl KASHVILLCl 1

LA LA LA

IMFM .Pi:;?! F-jr., 'A- A 1 AV CHEB.IYIRfL 1Kl£RSC0Pt»

RUNAWAY

L*W «iO TMn iC-IXniAOODi

TIK TOK

NEW <*;as; uOhf .ncAniK'

RED LKIHT

auMM Vicy st<;K.'ii-.( .

LOVE YOUR LOVE THE MOST

L.,

IM IN MIAMI TRICK

SHOTS

L >*•*() HUUB.V1. ML XW iPWH l<OCi,mLI AU.CMl«l*Vlft£El«I»5C0*'£l

1&.1&

BOOTS ON

MMn MOuun 1 ji< >'t sojtni

WHIXe LIAR

MMMU UHNnr IC01UH4I*!

FALLING DOWN

mm.wu.1 4 TNt sctHt A'^oo)

YbtfRE GOING DOWN

!«

CITY ON OUR KNEES

lO^rMHC ■ .1 ■• I'.'

JARS

CHlltUi ^.11..

5 STAR CmCK

n MTTi i'JU) GMUVSi'JiMIC)

1401

TE IRA MEJOR SIN Ml

Xitll SCeASTmH '.'

EIGHT SECOND RIDE
jMi ftww .ML* x»l;h«illIi

SAVIOR

MtMiiNS) >iJ<ji: mTtnscon;

SATELLITE HEART

H'Jt* HMWW . ■ 1 i'LJAnCi

CLOSE TO YOU

I'it I CKt WIMMS ij-i Wl.iiL,]

•-'i

AIN T NO REST FOR THE WICKED

CANT LIVE WITHOUT YOU

CH»HLIl IvSOtl - .'

ON THE OCEAN

> JM . < '. ■ ,\ ■ ■•. ■':P-J«LK:i

SU VENENO

AmrtWH lOHtMILM lOtlMl

Listmfng

Lights

1372 Overton Park

Lucero

ThaLltaOfTh*
World To Coma
Mountain Goats

MID ATLANTIC

Rtde Through The Country

Colt Ford

SOUTH CENTRAL SOUTH ATLANTIC

NEW ON THE CHARTS

Vcdera, "Stages"

The band's third album gives the act its first appearances on
Billboard's charts as It arrives at No. 5 on Heatseekers Albums
and at No. 146 on the Billboard 200. The debut was aided by the
group's guest spot on the Oct. 6 episode of MTV's "The Hills."

MfaskHi Of Burma

Vm SDumf rrw SpMcr 7)m Ugtit

The Mountain Goats

' ' ■ ' , ■■■•ot rf".' kVwW To Come

The Raveonettes

l<\ A/ta Out or CoMiol

KMtftKIm

Orwitf

hntnoftal

AiiSriattFaa

Lwcero

73720vMonPmk

Saigon

Joshua Bell

Hl.";il> tVin frrena*

•

Eric Hutchinson

■iii.jndil *|» This

LIGHTS

r'>« Listening

WEST NORTH CENTRAL

Lueoro

TKe Mountain Goats

rne L.;e or me Hbrid lb Come

The RaveofwMM

m And Our C Conlror

UGKTS

•

ThaGooeip

Mutfc Foi Me"

Randy Houser

/^ttmg Goes

Trailer Choir

OffRw HUHMI^ Hcwii rEP)

JeahuaBaR

Maaon Jennings

Stood or Man

Ita for WMk of OCTOBER 24, 2009 I For chart repnnts call 646.654.4G33

Go to www.biltboard.blz for complete chart data

Cni

Billboard.

^THE BILLBOARD HOT 100

TITLE Arlisi

B^B 3 Britney Spaan

■09 M M«HllNJiMeiia«0( («&IMIITIR,SMIIJACN TUNER] • JIVE JIG

'
1

DOWN

PARTY IN THE

Jay Sean Featuring Lil Wayne

M ;iBiM,iy,*uf'' . PtnxiKsncMTfRi 99ci£HM3i,(. -a - ■■■ w. .

U S A. Miley Cyrus
: -(t,.SH, © i: ..

WHATCHA SAY Jason DoRulo

' It I- * i-ii^iSiJt. mtbROUlWUIl © BllU6*M€HiHliVi.i-.(..

•

RUN THIS TOWN Jay-Z, ftlhsnna & Kanye .-.e^i
"I- K *^S1 E WiSM R fENtV * iL»lASl MQ n

^
O

5
6

;

NO Thfl Black Eyed Peas

..i.'.r.f- I HIM Hi . ':,uvii i HMiuiON y liUi'i* »Rttsi£tiir<i 9 inriwicOPE
1 PAPARAZZI Utdy G»9a
1 ARjsMUiorctfititBaBawBnuiNBut w^vnmM/mMUjmntassmaasm

1 .
•1

YOU BELONG WITH ME Thylor Switi

. .-. Hl SUid O BIO MAC MINE irmmS*!. WEF'JBLIC

FIREFLIES Owl CiTy

O UHtVERS*. SEPiJPLir

USE SOMEBODY King» Ot Lwsn

■ ■! ■■ - .. l-.lUWLLJ rOHOWia.«.flXI.C«llL,N FOllOWIUl Q nC*fiUj

■

OBSESSED Mariah Carey

SWEET DREAMS Beyonce

•■J,:WltSJ CSCHEtHRWWUWMSStCOUM) • WjljtL rtWLli CiI'llWUi*

ffi>

»0

OF MIND Jay-Z * Alicia Keys
REPLAY lyaz

U '

FOREVER Drake Featuring Kanye West, Ut Wsyna ft EiDkMin

EO-IM (II.SMUISA SftAH»W ■M M L' CJfiJl^. V UJ'l-fcMS « ",1(^,L> MtMh,KiHl i.STWNMJiCMlfflSaVt

ONE LESS LONELY GIRL Justin Mtier

■ - I'.'.M'.'.;' ■- . 1- -1' -1 - .tIN i! Lt/ili U VUHAWMAJ.b ■■XAMllf ■; '1 (■ ^Hih. O ISl'NC' IDJMj

A
Mf

MEET ME HALFWAY The Black Eyed Peas

SAY HEY (1 LO

.1 . .1 1 r,0«7 (EBGIISOH.KHAIWIIS - &A^-.' 'E ^. .li."ii:M O .1.- =

/f\
w

VE YOU) Michael Frarrtl & Spearhead Feat. Chenne Anderson

■■.»-i5P£.>H .,M fH«N:i C >tiLlNlil 9 BOD BOO AAX.lKTt-.UNI'.fRSik BEFyflLlC

ALREADY GONE Kelly Ciarkscm

..:,!. -EDD(»| 9 1? ncs Pt,>j

COWBOY CASANOVA Carrie UntJeavood

'ir U [UimDO.BJMtESI ft 1?iARISIJ

ONE TIME Juslin Birb-<

HOTEL ROOM SERVICE P tbu I

BREAK UP

NEED YOU NO

Mario FeaUring Gucci Mane & Sean Carreil
i 1 ijif Htll i LMHAIiiWD 1 u-'<ii-r O 1 -iki:;

14
24

W Lady Antebellum

; . .V i:i HAVrtKin.c •.ELtE"«M scon.i«*Ri 9 :»i^foi k^'ihuili;

SEXY CHICK David Guella Fcatutmg Akon

,, i .. . ■■ . 1 ■ . ^ .. ;i.ir.f:iirs v[£ a it<j/^' ® '. -i'.-.., .-.i"-!'.

THROW IT IN THE BAG Fabolous FeaSuring Tbe Dream

.\, :- - : ,r. M-, V T Nis.tj <W> JU.i'- .vi;;l.ii/..

Zfi

LOVE DRUNK Boys Like Girls

!■ -(I..'.- . >■ KL'llMWB.O H*Iii Q CUUMIII.'.

•

•
■

22
12
t*

FALLIN FOR YOU Colbie Cailla)

TOES Zac Brown Band

IT S MY LIFE CONFESSIONS PART 11 Glee Cast

■ i U tiCm JD.'I.H i.iMBufA K i.MiBTIN J DUPH" 5 M LO" L' HAVWDXt'l 1*1 '(■■. GOUMBIS

17
22

13
17

SHE WOLF Shakira

■• •■ ; MILL li MEB»H*RII J DBlKURJHILLS.tNDICOTTl M 5i!riv ML.-. I '.'Ut. {Pir

GOOD GIRLS GO BAD Cobra SUrahlp FtaturIng Loighion Meestor

• - ■■! <llPsRllDOlf.K-DMJGU*flOl,JJaSMDl) # OtOrtHKC: -'uEUO l^- l h...

Ks3

BE ON YOU no Rkda Featuring Ne-Yo
, i^;f5!.MIIMMS£BIKSillIIMtW*Aliail) © ■

SUCCESSFUL Oraka FiMllirinB INy Songz & U\ wawr-e
' . .H3IBINEVEItSW0»^ 0 <n)UII8 MOIEVAUM UONEr

_®

39
19

AMERICAN RIDE ioUc >^v.ah

■ '■■'tim © ■ .

KNOCK YOU DOWN K*ri HHtort FMlurlng Kanye vV.-.! f. fu- V;.

■ ■■li-.ONHCOSSOMSSMnM.WARJUCfcKWISn 9U0£i-'

IS
3

BEST I EVER HAD Drake

GETTIN YOU HOME (THE BLACK DRESS SONQ) Chris Young

9 flCA l-. l.

•12

•16

EVACUATE THE DANCEFLOOR CascatJa

«Ot"H^V-

38
J5
37

36
42
2S

HALO WALKING ON SUNSHINE Glee Casl

I'--". - It ■ IF" : ■ E-'IGiRtt RfWI 9fLM:LiJMmi

•

«
32
42

NEVER SAY NEVER The Fray

II -It.'-: '1 •,( 'l".r. II.; Ihl,- J « Nli 1 ^LA'JE. 9 EPIC

ONLY YOU CA

"big GREEN IF

1 LOVE ME THIS WAY Keith Urban

. .S"'* J "L 1'; 9 CSrMTDL WiSHJlLLE

ACTOR Jason AJdean

BATTLEFIELD Jordin Sparks

■ T-.-..^ ■-. AJT-FH5 I SlAfCJWeuOW WtiKS ll a*NCAHI[UI),S «AmRS*WI«NSRTKJIlta 9 'a.ir.*.J,6

BOOM BOOM POW Th« Black Eyed Peas

.MLi . I'.l .AOA«SAPlN£DA,SftBGUSOK,iGOI*Kl O >Vili ■ *W iNTtSSCflt^!

41
i9

34
M)

NO SURPRISE Daughlry

■ iil'.-.'i C CAJGHmvCfHOEGfft.RIVtSIBEIW E OILLI ©-rWctflU::

WASTED

1 KNOW YOU V

GuocI Marte Featuring Plies Or OJ Da Juiceman

P». J A-lfiMIHGIOKI 9 W <:!V**^H!B SflO!--

VANT ME (CALLE OCHO) Pftbull

EFisJtlNE 5 BOSCCM '*-.*NOPGMELLA » C flU:\ 9 "Hli

DROP IT LOW Ester Dean Featuring Chris Brown

■ ■■■■ .■■ ; . 1 1 ■■■■'Jf ■. E nf i'. :. SHOA'Hi © MARI.(V WASOH .'OMf 4 SleStW.IMl IN'i^SCnPi

PLEASE DON'T LEAVE ME Pink

" B1

21 GUNS Green Day

. . II-. T- ;;-.iiN iiu © .

•

1 CAN TRANSFORM YA Chris Brown Featuring Ul Wayne & Swizz ep.:il;

S9 65

DO 1 Uuk,- fSr,..iii

. .11 -vi KLLLlVOilAVWOOOl O ■

HELL OF A LIFE 'l

VII LiVsn.MI ;(.--rl': © iku. i .ii .= ..

IMMA STAR (EVERYWHERE WE ARE) Jeremih

'J SCHLV; \> lELTON K jAUE^ V SCNL.'/; 9 KICK SCHUllMXf .lAM-lDlMii

Ihe dd'i deliul yn-
gk Hies inio ttie lop
10 with 118,000
dOMttioaib and a
40%wdieiin

llMtnpRsdofls).

T)l(litl(lllKllK
MplOotHotlNgiUI
Songs (11-10) »itli
HX.mOdmii'
luds. up S7S Ironi
lastwetk.

is !s

SS '

99
49k

49k

S3 62
5S M
^]

58 £3

57 52

64 TO

62 59

54 53

56 »

65 61

49k

74 97

GO 75

72 BO

70 68

67 66

i! B?

8B 6Q

75 n

28 85

J9k

81 69
79 82

98 -

73 -

85 95

91 -

80 77

71 G9

98 -

90 98
94 96

B
B

96 53

84 84

66 57

83 72

76 -

87 61

^Si

92 94

Kenny Chesney With Dave Matthews

RBimTJIUHOHiSJBOStt

Uncle Kracker

SMALL TOWN I

S SI[:VER.JMOOWE>

9 mm BOCK.'WILI.LWCWEIW'rTRii I

Ti>.*MLJH«flBVi

WANT TO KNOW WHAT LOVE IS

NUMBER ONE

^ KftMILTJW ll KEll'lHAMIL'aw B t*MILlQ1 ^

R, Kelly Fealunr\g Ken Hllson

BODY LANGUAGE

:[>.EjWt:CAHTIg>T.W

Je»s« McCartney Featuring T-Pain

STARSTRUKK

WILL NOT BOW

Breaking Benjamin

I M GOING IN

Drake Featuring lil Wayne & Young Jeezy
Love And Thet!

I
I

i
I

: I

"11

«i

I
I

}

HEY SOUL SISTER

H t tlWO A BJDBKHWPt

ih M PtWCt 0 MWmWTi

WANNA MAKE YOU CLOSE YOUR EYES

YOU'RE A JERK

LOVE YOUR LOVE THE MOST

CONSIDER ME GONE

MN n OtNHPfX HOBCAW M WCtBSi

Michael Buble

I .AHhLEfOOOWHmi

:-GCSSAW0.MWCCREAOTi

YOUNG FOREVER

Jay-Z » Mf Hudson

DON T STOP BELIEVIN

CHECK MY BRAIN
MONEY TO BLOW

CNjttncaBHRC

« mi

BETWEEN THE BULLETS

SPEARS STARTS AT SUMMIT

FuL'Ifd by 255.000 firsl-wttk downloads. Britiity Spears' "3" is tht- first song to
debut at No. 1 on the Billboard Hot 100 in more than thret' years (see story, page
34). The track is Spears' third Hot 100 No. 1 . following her 1999 debut single. ■. . .
Baby One More Tune.' and "Womanizer." which topped the list for a single week
one year ago in the Oct. 25. 2008. issue. Spears' download total for "3" is also the
largest first-week sum by a female artist since "Womanizer" debuted with
286.000 last October. At radio. "3" jumps 38-25 on the Mainstream Top 40 chart
and debuts at No. 4*) on Hot 100 Airplay with 24.7 million listener impressions. — Silvio Pktroiuongq

42 I Go to www.billboard.biz for compl9te chart data

Data for week of OCTOBER 24. 2009 t CHARTS LEGEND on Page *

rmi MM SlU

NlTIWtO BT COKPILU tt

elscn H'S'^Vfl

>S SoundSun

Billboard

IIE

si si

TITLE

UnilST iMPMtT . PflOMOnatI LAULf

Si
is

TITLE

«(mSI .■H.'--'niM ■ i-nouDIloH (ABtL(

TITLE

*HIISI ' '^I'rii.T f,ifjiii,:.r, LrVoL.i

nlDOWN

BSS JHiamm uMmcisiKMnMeGiLieuuQ

MEET ME HALFWAY

THE lUICK EfEO PEAi . 'Ut N^cril'i i

IlYLOn SWFT iB'S WACHWE)

RUN THIS TOWN

Itit: fl MdMKi i WNYE W[JT [■:!': N«ilOhl

NO SURPRISE

ONE TIME

JUSnHBIEKH 1 -.iSfin -l.MCi

YOU BELONG WITH ME

t*nnRS<i'i!! ■ I.-- I/. 'iivit-SiL RfPUSliCl

WELCOME TO THE FUTURE

»ruDP*lilil ■

Dl IMAUf &V

LUHEAHDIWtl ..*.t- .'. iuDi

1 GOTTA FEELING

tm SUCH El-fa Ptis hI'.-

COWBOY CASANOVA

CAIRIi llhDi'!iiVUi;a I'.i. ■

IRE BIAEI ET[D PfitS 1 1 lMiWTEHSC(»>El

USE SOMEBODY

• IKtS (IF llUh - ■ ■' .

PLEASE DONT LEAVE ME

SHE WOLF

SMA«ifl* ',r .-.'iriEPiCi

WH/JTCHA SAY

iASDNJEHLLd A'MtNER ■MK.t

WASTED

GUCCI MURE HKL PUtl (mty tO CEY'WARWfl MOS )

aino GURTA FEAT IKIM i(lUIA'ASTIUI.Wf RKS CAPItK)

PAPARAZZI

LOVE DRUNK

lois LIKE Gims |[::lu<^fHlJll

i®

BAD HABITS

MAirWll • i..iiU&i*|

SWEET DREAMS

NEVER SAY NEVER

THE FH»I ■ r

no AD IT 1 AUf

•

OBSESSED

MkRIA-l CItHir .1..'.

SAY HEY (1 LOVE YOU)

MMft mm t sftMMW fo: kc numtMetM be-ju

noun DE

CnjUfiMOHDAN i^NAI

1 a

PARTY IN THE U S A,

MiLiT :yniis ■

BATTLEFIELD

JOROIN SPAMS ''• .■■ JLGI

«o

Gi^iihinc 1 lire I icc Tn uc
avunus LiikB Lire lu Mb

BREAK UP

HIHIC FtAI GUCCI M«U & SEM GMRm . HMQl

GOD IN ME

tUnYMAfl) FfAI UEflHASHUflO iU> sLOCK. CO. J

■

FIDPPI IPC

ri ncr Lico

OWICIIT .^. .iilSALMPUBLICf

THROW IT IN THE BAG

(UOLM fiu m mm <L'::.:ri- t,n:«MiB jjimidjug;'

1 KNOW YOU WANT ME (CAL1£ OCHO)

Ptrtuu 'l:=(;..

21 GUNS
CfREHMY ^i^fli:r.Ei

KNOCK YOU DOWN

tern « »N Fui « M-m wiifvzx ttn^GCOFD

NEED YOU NOW

t*DY «Nf CBIlUIM .C i.- lli\ 'i-i^.n. A[f

I®

RED LIGHT

DAVID HAIL '>'-i i: '.L:

FOREVER

DRAKE ■ ■■■ .'-^^UIUhE.1IIIEnSCttft'

GOOD GIRLS GO BAD

1 WANNA MAKE YOU CLOSE YOUR EYES

OiEflKSSEhllfY ■ ■■H- IE-

EMPIRE STATE OF MIND

DOESN T MEAN ANYTHING

jiliciiii;e's i'.'^- i

CONSIDER ME GONE
nitt, 1 <

t-i

SUCCESSFUL

UNDER

PLEWyflE P ■ (i ■

1 INVENTED SEX

TMT tOHU FEAT OHAU ■jUfiQ ATLANTIC i

BEST 1 EVER HAD

DRUHE ■ ■. . 1' "est mtVTf.uNVI^IS*! f"

BIG GREEN TRACTOR

JAlOHtLDEAM :' J 'W ;:C'Ai

REGRET

UIOTAIEAT UIDUIttt i^UMCiLI

GETTIK YOU HOME (THE BLACK DRESS SOMG)

SMALL TOWN USA

JUEIIHI HOOKE <V'i:iF-'-i

REPLAY

lYAI l.-:-fiF¥ p= i .:;a ll1^- Mi i •■'Hr.: <

BE ON YOU

f 10 RIO* FUI «-«l li'l.i hUf d^LAMlCl

LOL :-)

TRi tOHGt FUt aca MM ■ nujt nr ISOG MCKATUNTCi

LOVE YOUR LOVE THE MOST

EWCHUnCH ir-APrn; Sa^hv 1

TOES

DO 1

LUIE intAN iCd|>iIOL WflHVILLCi

HONKY TONK STOMP

BRDOU 1 DUNN FtAI BILLY 611 lOKt <ni- .H M:.!-.' ..I

ALREADY GONE

XEllf CL»«ICS« . 1. C-J III,' ,1

411

I'M ALIVE

NENNT CHEtHET Mint (MVf lUntmt (tMi

1 WANT TO KNOW WHAT LOVE IS

21 n

ONLY YOU CAN LOVE ME THIS WAV

M ir-i lIHSAN

NUMBER ONE

II UlLl) rur UHI HILtOH <J«<lt;jLGl

PAPERS

HOTEL ROOM SERVICE

. . BVGl

1 CAN TRANSFORM YA
CKMSBnOWNHAI III WATW I tWUI BEATI j.tV!

IMMA STAR (EVERYWHERE WE ARE)

JERLUIH Mil ■ ' >> II'.' If 1 ]i.U.i:iJWb|

TALLIN rOR YOU

BNTHEYIPEAM Jl'ii lUii

CHECK MY BRAIN

MICE IK CHUmS . -11. ■, -.l,-.!Ol|

AMERICAN RIDE

tim KirTH na:,>iuii . '

EVACUATE THE DANCEFLOOR

CkSCADJi .r-.Lf -iih..!

BOOTS ON

R»BOI HOUSEfl 1 .IKVEflSAl SOUTHi

)hot digital songs

§i

Si
us

TITLE

UTIST <iMi'<'i'4l PKDMOtHltt lAJiHl

ESI'

UrrNV fPCMS (JnX'AG)

TITLE

ItNIISI oUPf^lh; )-^l.'UOIIUM(.Alli..l

§i

bs
Si

TITLE

ftRtitT <iU^'-llN' PROIMIIOiM LABEU

ALREADY GONE

IIEILI ClARKSON i '< 1 liMl.i

FIRE BURNING

SE.IN CNCStOd i: L iUlU Hi'iHIS tP^'-l

PARTY IN THE U S A,

SHE WOLF

•

DONT STOP BELIEVIN'

•

Mii-rr cnijs ■

SHJUiit 'i< '1' .. -ir. ' > 1' 1

UlEE CAM

WHATCHA SAY

JAMKDERJIO ■- .■.-■<■ \:.-- .VARHtHBROS)

HOTEL ROOM SERVICE

YOUNG FOREVER

MY-I -. tin ULiIlSON ■

FIREFLIES

OW, cm ■ ^EPUHlICi

LOVE DRUNK

BOYS LIKE DiPis 1. ■ ■■;i;-

•

POKER FACE

lACYCAM .'Ii-'' .-..v_M«winFerKrB«aFe

PAPARAZZI

GOOD GIRLS GO BAD

■

BODY LANGUAGE

>ESSE WCtA^tlNEl fEAT I PAW I*:1L1 1 ViU.". J

, DOWN

iir SUA F» 11. HWrw . .AbH MKVUAeSiL PBULO

, ALL THE RIGHT MOVES
OwiRfPUBllC

1 KNOW YOU WAm ME (CALLE OCHO)

PITBULl ; . ''I.'.

ONE LESS LONELY GIRL

JUiimWEBER ! J'.T' IFJ.lMSi

EVACUATE THE DANCE FLOOR

CASCAiu .-iu^uiN:,:

SUCCESSFUL

Bi«e=cTTi»ci.iw* '1 in--'j.^m<-MFfAxnm

HUN THIS TOWN

J«' RIKKHW 1 UNYE WUT mC KUTIONl

•

TOES

lit VOm mo rnrr,* WiVgi K\ MXtt^R 'VIUH i

I'M GOING IN

1 GOTTA FEELING

in MUCK EVEO PEAS iHItfiiCOPE]

111

SOMEBODY TO LOVE

Gllf C«I

- STARSTRUKK

" 30H'i i^-l— 1 'Ihil-H.'AII A4lIIC «flPi

•

REPLAY

DROP IT LOW

BREAK UP

MARIO FUr GUCCI lUHE » MAM GMRfn < 1 AMf,.

EMPIRE STATE OF MINO

JIT ; . wicm nE*s ■

BOOM BOOM POW

IMF 6(«i;k EYH! peas .Will 1 *Mi|NlEHSCOPE»

ICE CREAM PAINT JOB

DORK>UGHil>l]£)liU.>LS

, ITS MV UFE CONFESSIONS PART II

G.lt MSI ■■iji dlLJWfilJi

21 GUNS

GWtNMY ii'O'ni'^i

•

, HEY, SOUL SISTER
IRAtH ICUU.AIHUJ

FOREVER

[l-UM i'ivTVW».S£H?C«*'STnL*yiM.«tG13a]M:i

FALLING FOR YOU

CDIBIE CAHLAT 'L«IIVERSAl REPMLC)

YOU'RE A JERK

WW Itm .SHQITY. ASYHjM WURNEM BIKl': i

•

OBSESSED

BUfiuti c*M» ■ ■! ■■■■ir IDJ1K>

FOREVER

CHFUS BROWN .

LA LA LA

iMFu ^>:xwiiiJ*iciowTRawTP:.;:iRi

HALO WALKING ON SUNSHINE

CME cusi II mm

IMMA STAR (EVERYVMEIK WE ARE)

JEHEWM '.'I' ■ :itf .AW 10JWO^

UPRISING

MUSE I'll ' AaRNCK BROS 1

ONE TIME

JUST1K eXBEM ' 1 .'I'll' ID.IWC)

BIG GREEN TRACTOR
143W *tU[*W ■ ■ . ^ 1*1

•

NEVER SAY NEVER

•

MEET ME HALFWAY

tM( n«cK Eico P!« - MrnscoPE.

FACE DROP

SEAX «?H(;SIOM ■■■ '1Fir.rtI5. EPIC I

, RAIN

CWED iWl'.-i l.fJ

SEXY BITCH

(utl1DGU(n«FUT IIKDHiiJ.W*;nKUM(l>.^WIi'1L.

SINGLE LADIES (PUT A RING ON FT)

Bt'OHCE ■■' M .'. " ■ '"riUMfll*!

5(1

BATTLEFIELD

joRnRtPiUKSiBjr/-: iLi^i

SAY HEY (1 LOVE YOU)

BE ON YOU

IIU mt. lEAT HE'IIO i^CC BQt.'AILAKTICl

GETTIir YOU HOME {DC BUCK DRESS SONG)
CHM TOUW inCA IIA$m.LE>

SWEET DREAMS

«mcf '.'I' ' Ki n !;iiji.iwni*.

, FUNHOUSE

DO 1

LUKE MHW fCAmOL MSHVILIEI

YOU BELONG WITH ME

T»itOfl sin*i M i,'-.-iii,'

AMERICAN RIDE

lOII KEITH \ -MQH OOG NASHVIlttl

DONT STOP BELIEVIN'

JOUHWY ■ 1 V'- III

COWBOY CASANOVA

CMRIt UHDEHW0O0 i-ii^U Nn^tuliii ,

TIK TOK

ICEIHA i>^' ; MC'NFV'RIIX.'RMI^I

BETCHA GOW KNOW (THE PROLOGUE)

MARIAIICAAEY i . m..< IMb.

NEED YOU NOW

mat wnnEiiuM ■ .j^.iol NftSMviun

®^

1 CAN TRANSFORM YA

Exu enDWH rm ut mmi 4 iwic icnz lM

BEST 1 EVER HAD

USE SOMEBODY

*mi OF iEO»» - ' nyi..;

■

SMILE

imaE KBUCKEB r. . 1 ■■

NEW DIVIDE

IHKWPARII iMi'VllfJl yM\y- iVJRN:^ if'io:, ,

■

, HELL OF A LIFE

THROW IT IN THE BAG

hunuusFEAi ns iwejw • v. >i ^iiam

WASTED

uta WM Fir fLii » u u juaMi -v- <'AV1i^•.'.

ALBUM CHARTS

Saiei *>ta comp'ifd fiom * iromofeheilve pool of U.S. musK
mercKAnts by NiciMm SoundScan. Salct data for RABi^hlp-hop
r«ta*l chiint it compiled by Nielsen Sound Scan from a national
subMt ol core »tor«( that spacialin In ihoM 9»nf«s.
® Atounnt with the grvatmt lalei gains this week.

I Vk'herv includ«d. this award indicates lh« titis
I with the chart's largeit tnt increuc.

PRICING/CONFIGURATION/AVAI LABILITY
CtVCasMtta pricM arv tuggectvd Kst or aqurvalent pricei, which
y aftpt pricB intfecaUn album
L CEVDVD altar price incfecatei CD/OVD
>- CO/DVD comtjo
■Wftifctt * MIcKM Vinyl LP b Wiitabla. PrKiog and vinyl LP avail-
aMIty are net Inctuded on ctMrts. EX after catalog number indi-
cates title Is encluslve to one account or has Nmlted dlitrlbulion.

SONG CHARTS

RADIO AIRPLAY CHARTS

Hot 100 Ainitay, Rock Songs, Hot Country Songs. Hot Rap
Songs, Christian Songs, Hot LMin Songs and Latin Airplay charts
are compiled from a natlorvl sample o< data supplied by Nielsen
Broadcast Data Systems. Charts are ranked by number ol gross
impmsMns, computed by cross-referencing exact times of air-
ptay wttti Arbltron listener data. Mainstream Top 40. Adult
Conlwnporarv. Adult Top 40. AHenuitrve. Trtpio A. Active Rock.
Haritage Rock. Mainstream R&B/Hw-Hop. Rhythmic. Adult RAB.
Hot Christian AC Songs. Hot Gospel Songs, Hot t>anc« Airplay,
and Smooth Jazi Songs are ranked by total detecttorts.
0 Songs showring an irtcreaM in audience (or delactioru)
over the previous week, rewirdtoss of chart moveiYtertt

RECURRENT RULES

Songs are removed from ttte Billboard Hot KX) and Hot TOO
Airplay cttarts sUnultaneously after 20 weeks on the BIIBioard
Hot KX) and It ranking below No. 50. Songs are removed from
Hot RAB/Hip-Mop Sor)as after 20 weeks if ranking t>e(ow No
SO, Songs are removed from Mot Country Songs after 20 weeks
if ranking below No. 10 In detections or audience, provtded ttsat
ttsey are not stm gaining erraugh audience points to btrilet or tf
they rank bek>w Na 10 and post a third consecutive week of
audience decline, ragardlesa of total chart weeks Songs are
reniaved from Matoatnawi Top 40. Rock songs. Alterrutive,
Acttve Rock, Matnctreani RftB/Hlp-Hop, Rhythmic, Hot Latin
Songs Bt¥i Latin Airplay cttarts after 20 weeks if ranhlrtg below
No. 20. Descending soogi are removed from Adult
Contemporary and Adult Top 40 after 20 weeks I' rartking
betow No. 15, after 26 weeks if ranking below No. lO, or after 52
weeks If rankirtg below No. 5. Descer>dlng songs are removed
from the Triple A. Hemage Rock, AduR RSB, Christian Songs.
Hot Christian AC Songs, Christian CHR, Hot Gospel Songs, Hot
Dance Airplay and Smooth Jazi Songs charts after 20 weeks
and If ranking be4ow No. IS.

CONFIGURATIONS

9 CD single available. ® EHgltai Download available. O DVD
single available. O Vinyl Maid-Slngle availatile. O Vinyl slr>gt«
available, O CO Maxi-Slogle available. Configurations are not
included on all singtei charts.

HOT DANCE CLUB SONGS

Compfled fipm a nallorvil sample of reports from dkib Dis.

# Ttttes with the grealea club play ncrease over the previous week.

AWARD CERT. LEVELS

ALBUM CHARTS

• Recording Irtduitry Aisn Of America (RIAA) certification for
r>et stwpmeni of 500X>00 albums (GoWl. ■ RiAA certification for
rwt shipnwnt of 1 miWon urMts (Ptatmum). ^ RIAA certification
for net shipment of 10 million units (Diamorid). Nuineral within
Platinum or Olarxmnd symbol trvjicales album's multt -platinum
level. For boxed sets, ar»d dout)le albums with a running time ol
too minutes or more, the RIAA multiplies sEupments E>v the num-
ber of discs and/or tapes. CertifNUitkjn for net shaprrtents of
)00.000 units <Oro>. Certiftcailon of 20D.000 units (Platino).

II. Certmcalion of 400,000 units (MuHi- Platino).

SINGLES CHARTS

• RIAA cartMcattan tor SOOJXK) paM downtoads (GokO

■ niAA certHlcaUon tor 1 mUlkm paM dowrdoads (Platnum).
Nianeral wtthn plaanum symbol mdcates song's muttlplatinum levd
< (HAA certncadon lor net sWpmert of SOD.OOO singles CGokft.

MUSIC VIDEO SALES CHARTS

• RIAA flotd certification for net ihipnwnt of 25,OO0 units tor
video singles, '-i RIAA gold certirk:aI»on tor net iMpmetn or
SO.OOO units tor shonf orm or longform videos. ■ RIAA platinum
certification for rset Shipment of 50,000 units tor video singles,
n RIAA platinum certification for sales of lOO.OOO units (or
thortform or longform videos. Numeral within platinum symbol
indKates song's mtAlpUllnum level,

DVD SALES/VH5 SALES/VIDEO RENTALS

• RIAA goU cettincalion for net shipment of SO,0O0 unib or $1 mil-
hon in sates at suggested retail price, ■ RIAA platinum certification
for sales of K>0,000 leVts or S2 mflkm in sales at suggested retail
pries. I ' IRMA gold certification for a miranxen salo of 12S.000 units
or a doAar wAme of ia miilkm at retail for thaatrtoMy retiataJ PTO-
gramK or of at leaat 25.000 uim and SI nUMon al wgsaM nlii
tornernhatrtcaliMes. iRHApMinumcertMeMlontoraniMnMm
tale of 2S0;000 ur«s or a dote volunte of Sn nnNon at MM tor
thatricaty released prograrra. and of at least SQOOO units and t2

n for nory^teatricai titlex.

ata for week of OCTOBER 24, 2009 I For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 43

' Billboard.

SS KRTIST 'IUPRIn; PROUOIION LABCL)

MCI nowM 1

Ml 9M FUI It mm ICUH HOHFtUHhOISM. HPUIX) 1

PARTY IN THE U.S>A.

MILEt CYFiuS M . 1 ' flOOD)

Ubk bOMtnOUT

HINCiS OF ItOU ■■< KF^lK

vfM 1 nci uuiTU ue

TUU DCLUrfut Wl 1 ri MC

tHVlOltSWIM" i.M~:hine lltllVtHSAl KtfdilllCi

1 CjUTTA PttLINCi

IHE BIACK mo PtAS Mth^Mlftl

WMAIL.r1A SAT

JA&ON DEHULO r . . 1.'. II-IU<M'. kVARNfn (!R0:'. i

UudjU^U PAPARAZZI 1

SWEET DREAMS

BtTONCE iM . . /. Ki:) COLUMBI*(

(

LOVE DRUNK

BOYS lit! umiS LiiMilUi

MAR<AI< CAHIV i 1 m'.Ii IU.iUIh

RUN THIS TOWN

JAT I HIMANNA S KAMTE WEST |ftOC NAIION»

BATTLEFIELD

JOflOlH SPAHHS ! ■ J JLGi

ALREADV GONE

K[ll» CiAfllliOM 1'. RWr.l

i'*

UUUU UiKLb UU HAU

NEVER SAY NEVER

THE (HAY 1 'i:

MEET ME HALFWAY

IHE BLACK [»(D PEAS i^l" 1 ■■ ■ ■Hi

,15

KNUCK YUU UUWN

Un HlKN f [AI UWnl MIT « M-ni iMOSirr/nM imaiKCVil

ONE TIME

JUSTIN BIEBtn 1". LAND IllAICil

SAY HcY (1 LOVc YOU)

WI^IMl FHMi(n«t»VM<M) ' 1 AiUWIl-UWVtRSAL MiriOl 1'

;©

FIREFLIES

OWL CITT iltfilViKSAl HfCuHLICl

f«
i©

18
24

BE ON YOU

fLOniOAfUT NE-VO ll-OI HDVAILANTICl

FALLIN' FOR YOU

ZQlUn CAlllAI ■■, t liMLlLl

HOTEL ROOM SERVICE

BEST 1 EVER HAD

DRAKE . ■.MIJl ■ II 1,1'. '.! . iif. .1 !■ r.-..|rlV,ru

emlNtf SPfABS H'Ut .Llil

' ae

STARSTRUKK

SOH'JffAT Urt PfRRt (PHOTO f iNISH. AIUNIIC Hfifl

i©

EVACUATE THE DANCEFLOOR

CASCADA -TiiiKINSi

i©

REPLAY

ITAZ Tif.'i r, M{jlJFV BflUGA HEtGmS,'S£PHIS£)

1©

FACE DROP

SEAN KINGSTON iBUI.lGA HEIGHTS EPICl

;©

FUNHOUSe

PINK 1 >i!il.t JLIjl

1©

SEXY CHICK

DAVICI (iUlIIA fUT AKOH (t.UM ASIflAlMHKS..CAPllOl .

L«

NOT MEANT TO BE

IHEORT OF A DEADMAN . f,Di ilUADRUNNEK' AnP)

DROP IT LOW

1IT11HMIIUI owMTM i^'.^TUA.MTM «'^rB{iWiC;frii[<>{i:ni

THROW IT IN THE BAG

FABOinOS FEAI THE DRtAM iDf Ff KT STORMtlfF JAM.BXJMGl

BODY LANGUAGE

itiht MICAHINET fEAE l-PlUN •HULtVWOUO)

!©

DOLLHOUSE
PRISCILIA RENEA .i ^.f'riiLl

IF YOU ONLY KNEW

SHINEDOWN i"l AN'M .

I-

1 WANNA

IMt AU-AMEfllCAN RUECTS . nuHOUSL DCCaNTERSCOPEl

M-omn

MIDNIGHT ROMEO

PUSH PUT lA'INO UP)

HAPPY

UOHA LCWB iSYCO.',I.RMC:i

.»

KeUv (larhson notfhes her »v«nth top 10 on the Unit lip 40 (hart, as

"AJready Gow" rises U-10. ?he advance pifshes (larkson p^st Avril
Uvigne lot most top IDs among women thK d«cade.

[railing CUrkson's and Lavitine's top 10 lolats are NkMIe Bnncti.
Sbervl Crow and Pink with five each. Goo Goo Dolb ^ all acts with
10 lop IDs on tlie (hart in that span.

"Already Gone" concutrentty debuts on AduR ContemporarY No.
24, marking Clarkson's Wgh-
esl career entrance on the
(hart; "Hy Grown lip
Christmas List" opened at
No. Z6 in 2003.

On Halnstra«rop40.
(larkson's RU M>efanate
leona lewis relurits at No.
40 with *'Happv." the lead
single from the tatter's set-
ond altHjm, "Echo." due
Nov. 17. lewis spent nine
weeks atop the tally last year
with her debut smash,
"Bleeding love."

■

Ji §i

TITLE

ARIISI iil,' -,MjI fROMOIlOK lAMLI

RIthe climb

BCS MiLEf CrnuS lAAlT DIStiiY.'KaLLWraOO)

2
4

13
22

YOU BELONG WITH ME

MVlOHSWIfT M l H N[ UNirtRSAL REPUBllCl
HER DIAMONDS

tm THOMAS ^M.^M,i ilL;.',Ili:

COME ON GET HIGHER

MAII NAIHANSDN i i A> ;l i :

. a

YOU FOUND ME

TH£ rilAr • ■ [ :

FALLIN FOR YOU

CDLBIt CAILLAI iuMV[riSAi RtP^ilUCi

PLEASE DON'T LEAVE ME

HAVEN'T MET YOU YET

illCHMl BUlllt 1 : ! i H-,it|&El

•

LOVE STORY

lATIDR SWIFT il >. lUtt UNIVIRSAl REPUSUCi

BETTER IN TIME
lEOKA lEWIS ' < >.l'„\

NO SURPRISE

DAltGHTRT liRCAHEAGl

1. 2. 3. 4

PLAIN WHITE T S 1 H.;: L Li WtlOOl

H'l.'i'JtU < ""'XI 10 ■'"OW WMT U)VE IS

[OnnillH MARIAH CAJirr (ISlANailDJHfi)

KISS A GIRL

KEITH URBAN iCAPITOL NASHVILLC'CAPIIDl)

CHANCES

FIVE FORFICHIINS > AWARE COLUMBIAl

CLOSER TO LOVE

MAT NEARNf T A 1 ' lIiMHiA

USE SOMEBODY

KINGS OF lEON i- . - '.'

BEAUTIFUL WORLD (WE RE ALL HERE)

jmnmcKiAw A umm:>kissi[t -■

SECOND CHANCE

SHINEOOWN iM ^Allhi:..

SHE IS LOVE

PARACHUTE iM(PClIR> IFUUGl

BATTLEFIELD

JOflOWSPAJUCS 114 .IIVE JLGI

1 LOOK TO YOU

WHITNEY HOUSTON lAHi-IA I I.IL.;

1 DON'T WANT TO HEAR ANYMORE

EAOltS i>

ALREADY GONE

KEELT CLAHKSOH ' 'l ('.'.'■ RTriG)

i©

THEN

BRAD PAISLEY lAHISTA HA-iHVTLLtTlMGT

DULT TOP j

Mi,

■

111

3 17

TITLE

ARTIST .|'.T = IIIT PROMOnOM LAiU)

Kl USE SOMEBODY

BSS KINGS or LEON iRCVItM)

YOU BELONG WITH ME

TAYLOR SWIFT ,1 '(.. -INE UNIVERSAL REPUBLlCl

NO SURPRISE

DAUGHTRV i - j I I J M,i^

1 GOTTA FEELING

THE BLACK EYEO PEAS iMFRSCOPEi

5
6

FALLIN' FOR YOU

SAY HEY (1 LOVE YOU)

HKIUAl nwim A atAnCAO 1" .\ '> '.Ml -^IKSAl HineLiC

NEVER SAY NEVER

THE FRAY HI

PLEASE DON'T LEAVE ME

PINK 1 -iiAl 1 iLGi

21 GUNS

CIT4ENDAY ii i 'H : L

ALREADY GONE

KELLY ClARKSON i ' i i LA KMC)

SMILE

UIYCIE KRACKIR i FOP OOG ATLAHTIC i

HER DIAMONDS

HOB THOAAAS lEI/BLtAT ATlANTICi

WAKING UP IN VEGAS

KATY PERRY i /.I'lTIH

17
15

.1
6

ll'lHi'JIU SOMEDAY

[irltrTTiH MH THSMAS lEMeiEM. AILAMIIC)

WE WEREN'T BORN TO FOLLOW

BONJOVI iMtiif.lilii lILlMul

HEY. SOUL SISTER

TRAIN iLLlL'.LTlSIAl

CHANCES

FIVE FOR FIGHTING lAWARE COLUMBIA)

15
7
3

BATTLEFIELD

JORDIN SPARKS 119 JiiE JlGi

PARTY IN THE U.S.A.

MILEY CYRUS .H

NEVER GONNA BE ALONE

HICKEIBACA .i^ilAURUTLTTEH RRPl

MAYBE

KWHIO MKMUDW LAIIK .^ATAIKiNAL SHIFM.1MVIRSA1 MUtnwIII

23
24

17
10

NEW DIVIDE

IIHKIH PARK lAACHIMt SMOP WATTNEH BfTOS 1

1 WANNA

THE ALL AMERICAN RtJCCTS LGOGtKTUSl'TXiCimTEKSGUPti

BE THERE

HOlAriE DAY 'E" [:>

GOOD GIRLS GO BAD

ami nwsv fht iRdmi mm .-f utaikl 'xjvf km«itlamtciwi

TITLE

ARTtST iWf''^iHJ ' PftOMOTON LABEL)

Vn CHECK MY BRAIN 1

Hfflyl AUCE Wt CHJUn (VIRGIN i'CAPlTOl> j

WHEELS

FDO FKbHTERI < ROHAELl.'HC^'ilMGl

JARS

CHtVElLE II I'll 1

1 WILL NOT BOW
BflfAIQHfl iEHJAMM ^HOLLYWOOD)

THE FIXER

PEARL JAM 1 '.' jllKEVWRtNCH)

UPRISING

MUSE L 'UM 1 WARNER BROS |

BREAK

IKREE DAYS GRACt .IIV! .llGi

IF YDU RE WOHDEWIG IF 1 WUT YOU 101 1 WMT f 00 10

YOU RE GOING DOWN

SICK PUPPIES . (iF.'ri ViflCil'J C API 101. 1

OVERCOME

CREED .'.M'l III'.

NEW DIVIDE

L^NKIN PARK '-'-^i HISF SHOP'WAAHEft BROS )

USE SOMEBODY

PANIC SWITCH
SILVEHSUN PICKUPS iHAKOf ABIRCU

SAVIOR

ni9E AUMK6I . . '1 1. J ■ 1 H ii .' f 1

SOUND OF MADNESS

NOTION

KINBS OP L£0« i: " HMGl

MEDICATE

BURN IT TO THE GROUND

IF YOU ONLY KNEW

SHINEDOWN ■■ ■ .

AIN'T NO REST FOR THE WICKED

CAGE IHE ELEPHANT iDbf .IVt JLOt

WHISKEY HANGOVER

GODSMACK .' '/tRSAi. flEPli6LIC|

CHAMPAGNE

IGNORANCE

PAflAMOHE'. -.1 -r. 1 .'.'.'I ', ...Il ...'Il [ iiRP)

®-
SS

ll'i.'lVtU '^""^^ "^"^ QUEENS 1
21 GUNS

GREEN DAY . l ^ '1 .1 rt f

26
©

25
26

4
8

MEET ME ON THE EQUINOX

DEATH CAB FOH CUTIE ICHOP SHOP' ATLAItTIC,!

CRAWL BACK IN

DEAD BY SUNFIfSE iWARNER BROS )

HARD TO SEE

Fm HMERDenriMCH (pnasPECi pa.m\

1901

ptncnix i.i'».'..iu c,i iSitMjnif 1

NO YOU GIRLS

FHAHZ FEflOIHAMD ' i.V'. i 1 flC i

BACK AGAINST THE WALL
CA6E THE ELEPHANT (USP.'JIVL'JLG)

1 GET OFF

HAUSTOmi iUUC)

EAST JESUS NOWHERE

ODEENOiT iRET'Hi^ri

AGAIN

FLYLEAF lAJM DCIlI'li UrtRSCOPEi

SHE'S A GENIUS

JET iREiL (lOflCOHSMOrt' HVt SEVEN, CAFlIOll

FUGITIVE

DAVtO GRAY Mr *l [. I H S 1 [ 1 . IJDWN IDWii

I LL GO CRAZY IF 1 DON'T SO CRAZY TONIGHT

U2 l.iL.iliEi I'.TL^IEiCOPEl

INVINCIBLE

ADELITAS WAY '.'IHGIN|iCAPIIOLl

MONSTER

SKILLET ARfiiir UG ATlANTICi

ONE DAY

lUnSVMU '.ir).,l< ijRiEPICt

WHY 1 AM

DAVE MATTHEWS BAND iBAMA RAGS' RCA 'RMti|

FIREFLIES

OWE CITV 1 ^'I'i t R S iii flEPUBLiC)

BLOOD ON MY HANDS

THE USEO It'll -MI'fi

BREAKING

ANBERLIN iii'< .:KSAL REPUBLIC)

BY THE WAY

THEORY Of A DEADMAN ■ - l '.-i-h KRP)

FOREVER IN YOUR HANDS

ALL THATREtUINS < '.< -i . S tlE|

MAYBE

mCflnMCMULSON ' ... ' . IMi^RSAI UninANi

TALK TO ME

BIKICWRRY iKi'.iN btVilli

SLOW POISON

THE BRAUtRY ilsLAfiDIOJMU)

MODERN DAY DELILAH

KM i^ii:-!'.

!0 iKtmk lo Nan, timM by «toi
Jaied Icto, lockeh onto Altiniitln at
No. 204ndlKkS<l9salNo.24.Th«
band releases Its thlid album, "This Is
War," Dec. 8. Ttie ad's five Allernatlvc
(hart entries Include the 2007 No. 1
"fiom Testeidat"

31 ss

Q 3 S

Q 5 3

4 2 9

6 4 17

Q 6 16

Q 10 9

Q 13 6

10 II 12

11 9 14

12 12 31
m 8 20

14 14 39

^ 18 4

^ 19 10

17 17 30

18 16 21
1» ; IS 21

TITLE

ARTIST ilMPAINT / PROHOTION t
UPRISING

IMILIUM 3. WARNER BROS I

iiF rou HE woHOEmG r i imNT rou toi i wurr you

WEEiER JGC INIERSCOPEl

WHEELS

EGG FIGHTERS .1

CHECK MY BRAIN

ALICE IH CHAINS . .HLilTL CAPITOLl

SAVIOR

RISE AGAJNST lOfiC- INTERSCQPE)

JARS

CHEVELLE itPlCl

MEDICATE

AFI 1.1 iNllRoCOPEI

I WILL NOT BOW

BREAKIHC BENiAAAIN iHOlLYWOOOl
BREAK

THRIE DAYS ORACE ll'jE. JLGl

THE FIXER

PEARL JAM" ';, I .'ARENCHI

IGNORANCE

PARAMORE

nAMlNATLANTICnRPI

PANIC SWITCH

SlLYtHSUN PICKUPS iLlANUEHfllflD|

NOTION

KINGS OF LEON l|i & RUGl

MEET ME ON THE EQUINOX

DEATH CAB FOR CUTH I'l'ill. ^HQp. ATLANTICI

BACK AGAINST THE WALL

CAGE THE ELEPHANT |i 1' 'il LGl

AIN T NO REST FOR THE WICKED

CAGE IHE ELEPHANT n I ■': LGl

YOU'RE GOING DOWN

SICK PUPPIES - '.1- .i-l.r. ..... lOLI

NEW DIVIDE

LINKlll PARK ii|-'.i ...'It SHDP iVAHULR BML'.L.

i^. 24 13

aa 25 8

1 28 7

KINGS AND QUEENS

iO StCONOS TO MAM tllAMOHTAL.yiRGlN CAi

1901

PHOCHIK ,1IFYAIJTE GLASSNUTEl

IF YOU ONLY KNEW

SHINEOOWN AILAMICl

BREAKING

ANBERLIN .UNIVERSAL REPUBLICl

CRAWL BACK IN

DEAD BY SUNBIH IWARNER BROS )

AGAIN

FLYLEAF lAAM OCTONtTNTEHSCOPtl

TITLE

ARTIST tIMPRINI PROWOIIOM tABa»

1 1 13

Kl FUGITIVE

BSS DAVID OMV iMERCEH STREET.DOWNTOWN)

MAYBE

PavMOWlSON iliillii, .'i,JiilJlV.M ...I.1II.LL1III.YRIIAL L*tK

WHY 1 AM

DAVE MATTHEWS BAHO i '.'.'.' "OGS RCA RMGI

HEY, SOUL SISTER

TRAIN 1 .Ii|.'^ .'.

■

FALLIN' FOR YOU

COIBIE CAUL AT 1. 111. t^E-. ^t^'UdLiL 1

1 LL GO CRAZY IF 1 DON'T 60 CRAZY TONIC

m .I'll "Ml INIFHSCOPF,

THE FIXER

PEARL JAM li.'ri'l.lT'ARENCHI

ITOiVm SAYS
^UiQiH JOHN wnn (Columbia)

USE SOMEBODY

KINGS OF LEON ihL A I^MGl

DREAMS

BHANDI CARUU iCCLUUBlA

BACKWARDS DOWN THE NUMBER LINE

PHISH 1 .

21 GUNS
GREEN DAY iHlPRI'^E

SOMETHING BEAUTIFUL

NEEOTDBREATHE K.li AIITICl

JUST SAY YES

SNOW PATROL .1 .1 .liilill AiAl lHIERSCOPIl

.©

STARING DOWN

COLLECTIVE SCUL :i LUirj S FSLtun R(iA[lRLtNNER II

If TOO BE WOMDEraNG IF 1 IIIAIIT rOU TOI 1 WAK7 YM
WEEdH I.I '. l-:...'l!

WHEELS

TOO FIGHTERS • .'iHL'HCA.'HMGl

LITTLE BRIBES

DEATH CAB lOR CUTIE lilARr.ilK AH AIITICl

?©

MEET ME ON THE EQUINOX

OIATH CAB lOR CUTIE ..;ir iM.AHTir

NEVER SAY NEVER

THE TRAY . 1 1

SAY PLEASE

MONSTERS OF FOLK IIANGRI LAl

40 DOGS

BOB SCHNEIDER m .t^RAAIA KlRTLAFlDl

1 AND LOVE AND YOU

IHE AVETT BROTHERS i AMERICAN, COLUMiUAl

PRECIOUS LOVE

JAMES MORRISON ..iJ.Y.'YOR IMTERSCOPE;.

a»

BE THERE

HOWIE DAY iTPICl

44 I Go to virww.billboard.biz for complete chart data

Data for week of OCTOBER 24, 2009 l CHARTS LEGEND on Page <

HOT COUNTRY SONGS '

WEEK

LAST

TITLE

Artist

IMPRIHI t. HIIUBER . PflOMOTIOH LABEL

TITLE Artist

> III : r 1 SONGVIRiTtRt WPRINT I NtmBER .' I^RaMOTION LABEL

■../.'.ill [fit

!■

GETTIN rOU HOME (THE BLACK DRESS SONG) Chlla Young ,

■Ba.L^I-'UU^.C 'OUNOC BATTEN KBLUY] • flU

^ !

THE TRUTH

JaBon Aldp..in

AMERICAN RIDE

Toby Keith

L .

THAT S HOW COUNTRY BOYS BOLL

.■JRHINGION D DAVIDSON B JONESt

Billy Curniigloii

©■,1. -II

ONLY YOU CAM LOVE ME THIS WAY

Keith Urban

WHY DON T WE JUST OANCE

Josh Tumor

»•

■ .-:! . Ml t .■.i.^i J HtlOi

® rAPIt;.'L fMSHVI..LE

Thr thiH ronwutivp

1 i ' |.:SLErON.D BROWN)

O liCAHASHtfllLE

m\'MJ

□ TOES

■ ■ 1 .M{^>V,t.^tlOKniU«ETSJtOnNUtllUlM) •

Zac Brawn Band
HOME omnnvATiANnc/BiaQCR picture

p five smgle fron

TODAY

:r. - . WMESI

Gary Allan

O MCfl .-I'll. ..II.

WELCOME TO THE FUTURE

Brad Paisley

-«

''iiKh)iin(UDon
gets lti« Greatest

OUTSIDE MY WINDOW

.1 ■ 1 .1. ■ . . 1 MUnSOH.GOUHfll

Sarah Buxloii

COWBOY CASANOVA

Carrie Underwood

Gainer (up 4J mil-
lion ImpressiotK).
[tie aBium it No. 6

A LITTLE MORE COUNTRY THAN THAT

. -I.. . . . .h . . . A VARaU'.

Easton Corbin

NEED YOU NCW

■ .-. - I': ■■.f t Ariif. finiM iDMAVWOOO.C KtLlEVH SCOn j KEifii

Lady Antebellum

BEER ON THE TABLE

Josh Thompson

O .

I'M ALIVE Kenny Chesney With Dave Matthews

[ ' .n::W K CHESNE^ iK CHESNEYD DUtON M EAMBunitlOi © Hr, "

on lop Country
Albums (2S.0O0
copies) while the
excliBive (ustomized
version sold liy

DIDN T YOU KNOW HOW MUCH 1 LOVED YOU

Kellle Pk kk't
©

DO 1

.1 BRYAN 1 K£Ut>CIMAYWOOO»

Luke Bryiin

TWANG

: .VN LAUDEflOALE.KMARVEl.J.ftllCMEYI

George Strait

RUNAWAY

An R r rmHAII (S B IIIES C SMITH H HlACKlEfXil 1

Love And Theft

® ':"■.)! >v

RADIO WAVES

.... , ■ . Ill ■ iiJii-.HS U ELit

Eli Young Band

FIFTEEN

Taylor Switi

Crackef Barrel nd
(ountry Stores ts ttie
Pacesetter at Ko. 28

SARA SMILE Jimmy Wayne Featuring Daryl Hall & John Oates

.1. H.;i 1 :ij-c.,i VALOttt

BONFIRE

M :i IM IU. It rlBOEKlN.K OENNEV.CMORGAN M RQGEDSI

Craig Morgan

COUNTRY FOLKS (LIVIN' LOUO)

The Lost Trailers

RED LIGHT

(_ II _ [ .' : -L i: Liin^lf iri\ 1/ I'Einct DMAJAOSKV)

David Nail

(!,SO0 (opies, tip

KEEP ON LOVIN YOU

Stool Magnolia

1 WANNA MAKE YOU CLOSE YOUR EYES

!-.■.■■> 1. 1 1 ... ■ |..irL£V)

Dierks Bentley

LONG AFTER 1 M GONE Big Kenny

:■ :Lj.;\ n SUPA. © LOVt EVtRYBODY.'GLOIDVIN QIGGER PICIURE

CONSIDER mi: GONE

-m

Reba

EVERYWHERE 1 GO

Phil Vassar

O UNIVERSAL .^DUIII

HONKY TONK STOMP Brooks t Dunn Featuring Billy Gibbons

1. |. rl HINSWI © tmSl* H*bH.1

LOVE LIKE CRAZY

Lee Brice

ALL 1 ASK FOI^ ANYMORE

Trace Adkins

MOO LA MOO

.iHA,HIASItRS,JltMlllU|

Steve Azar

AIR

SOUTHERN VOICE

(1 L/iL vilHllD0UGLAS,BDIP(tRO|

Tim McGraw

me rookie tno s
debul single

19 AND CRAZY

... 1 ...rj . ^L — h t...';^ON <MIRWW.J KCAR.K 05UUNS0N K SH€PARO|

Bomshel

CURB

AIR

POWEI

1 JUST CALL YOU MINE
■ hj^ " ■., 1 LACVDMATROSKYI

Martina McBrlds
© RCA

tKcoims its first top
to and the first for
ttKuiHtartlniprlnl

LOVE LIVES ON

.: t.i^ijri r HiJii. i bItVENSMWtSI)

Mallary Hope

fS'

AIR

POWEI

HISTORY IN THE MAKING

■ ■ ■•n.fROGEBS CMILtSt

Darius Rucker

• CAmoi HAsmnaE

STUCK

' • WVERS B UONIANA)

Ash Bowers

WHITE LIAR

KliliEil V.H.lliKi iM 1 AMKEfilNHEMflVl

Miranda Lambert

(aro^Kwd.ntt label

Is a sister tntprirt ol
Dtsnev's Naslrville-

HOW FAR DO YOU WANNA GO?

... Hl -l I'.t SfRI FTir .1 STEEIE EI MVntf Al

Gloriana

0 EMBLEMWAflUfR HR.^.I ^VHfi

WHY

CU. lA r.lUMBUHfiUAIIieSl

Rascal Flatis

SOONER OR LATER

...Ml.- I..I 1 ."..■.i:rii H . C.'IS-' .. 1," SHANASi

Michelle Branch

LONG LINE O - LOSERS

,1 ■ . . . l.l.l:iLti

Montgomo'v Gcntrv

lused lvri( Street.
The qroup is louring

SKINNY DIPPIN

Whitney Duncan

• WARNLIl il. ,Vir.

EIGHT SECOND RIDE

■ :i ■ ■ : .)UHH,4\Ct)

J.ikp Owen
© 1-..^

wttli Jason Aldean
through mid-

THE CALL

M...IIII .M .c-.i.ij... U :,HH. ....!( I CAMPfiELl)

Matt Kennon
© BAMAjAU ! ii<.::'Lii. 1'

HURRY HOME

Jason Michael Carroll

IT DID

Blaine Ltirson

,■,1. . lAnsi

. l UElin It/ GREEN.J COLllNSi

O IH.l .III .1

^TOP COUNTRY ALBUMS

'■ ■ : ■ I'OT

HEW

i:i

Ooin' My Thing

ARTIST Title
IWRINT i HWetR . OlSTRIBUTIIIG LABEL (PRICE I

HTOBY KEITH American Ride

■ ... iiiGi ASHVuLiOinmBi American Ride

LUKE BRYAN

■-.Ii ■ 1 ..I !)a

TAYLOR SWIFT ^

MIR^NOATil/IBERf Revolulion
ROSANNE CASH tk. i i.i

ZAC BROWN BAND

SOUNDTRACK

.■ |. .1 y .AiUO: i;q tfl

Hannah Uonlana: T)ie Movie

JASON ALDEAN

LADY ANTEBELLUM
BROOKS & D JNN

Lady Antebellum

#1s... And TTien Some

GEORGE STFAIT
REBA

DARIUS RUCKER

-... r .. iJi'r.itviLLE i)S5Q4(ie?«i

1Wang

Keep On Loving You
Learn To Live

TAYLOR SWIFT

Taylor Swift D

CHRIS YOUNG
SUGARLAND
KEITH URBAIJ

If.

H.l»ij.ii

RASCAL FLATTS

The Man I WanI To Be
Love On The Inside
Dolying Gravily
Greatest Hits Vokmel

RASCAL FLAfTS

KENNY CHESNEY

Greatost Hits II

BRAD PAISLEY

AH.UIiiMMLf yAN.i:i.

American Saturtlay Mi^

JUSTIN MOORE

Juslin Mooro

SUGARLAND

LIVE On The Inside

BILLY CURRINGTON

Little Bit Of Everything

ARTIST

|...i ..|M & IIUMBER OlSTRIOiniNS LABEL iPRICEi

Title

JAMEY JOHNSON ^ha, Lonesome Song

•

PATTY LOVELESS Mountain Soul II

UiUJm ZAC BROWN BAND

21
29

BILL ENGVALL A,,od And Conlused

G|-°.['I*NA _^ . . .1 ,, Gl<"l="=

f°p^h:'i°?°ii Ride Through The Country

'^-'':.''.f.,':'S!ff;^?.,. KelliePlcM.,

?'°'.™f"„o. ».RN ,1.9.1 Greatest Hits

'■.°?I.''.^'IuLE ..„K.u« » Biggest Hits

■

1
4

^".M v"""?"ini.-i. Carolina

f^OBERT EARL KEEN The Rose Hotel

GEORGE JONES ^^^^ ACol«>iOM,B«H«W,

1?.*"°''"°"^". ii..,!i Anything Goes

'^"^'■^ Tailgate P.v,y

WILLIE NELSON _^ American Classic

. . . CortylsABCounlEyDoes

DIERKS BENTLEY Feel Thai Fire

KRIS KRISTOFFERSON Closer To The Bone

LOVE AND THEFT ope,^

KENNY CHESNEY ^^^^ Lucky Old Sun

TIM MCGRAW q,^,,^^, „„^. g^,„„„

TRACE ADKINS v. T.n

.10

If?,*',!'^'' . '■'I* Hillbilly Hooi< (EP)

MARTINA MCBRIDE ,

hine

JAKE OWEN 1,

TOP BLUEGRASS ALBUMS'

ii !i

1 2

2 34

3 5

1 .1

6 16

7 6

10 50

11 9

ARTIST

..IH.LR DiSmiBIJIIIlG lABEi

PATTY LOVELESS

lOAD 3«9?6
STEVE MARTIN

THE ISAACS

Title
Mountain Soul II

Ue Oiw New Songs Fot Hie Fwe-StraH] Qaip

RICKY SKAGGS

Solo

Snnos My Osrl Liivf.d

OLD CROW MEDICINE SHOW

Tcnn.-.-,.-.. . -"iii-'-i

STEEP CANYON RANGERS

Itep III ri... :l|r

SARAH JAROSZ

Song U[i III tl.'i hi-.j(l

YONDER MOUNTAIN STRING BAND

STEVE IVEY

r, 53BS9 MADACY

The Show ' '.
Ultimate Blu&grass ^IJ*'

THE WAILIN JENNYS live At tTn Maucii Ou* Opara House

BETWEEN THE BULLETS

KEITH'S EIGHTH NO. 1

Toby Kfilli snarl's his eighth No. I on
Top Country Alburns with "AmtJican
Ride." his 17th consecutive lop 10 on
that list. With more than 90.000
copies sold. 'Ride" is also the Okla-
homan's 10th top 10 on the Billboard
200. where it starts at No. 3. Iiach of Keith's eight No. Is de-
buted at the summit on Top Coiuitr>' Albums, includinp seven
studio sets and one hits piitkage. Klsrwlirre on the totnitr>
chart, Luke Br>'an lands his second top five start and biggest
sales week {58.000 sold) with his second albmn. "Doin" My
Tiling" (No. 2). His debut album. 'Til Stay Me," opened at No.
2 in Septemlx-r 2(K)7. — Wade Jessen

ita for week of OCTOBER 24, 2009 I For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 45

BillbMrd

AIRPLAT SALES DA

MONITOBEO av COMPItEI

niclscn IV.S'.'^!

8DS SountJSt

i;4

2009

TOP R&B/HIP-HOP
ALBUMS

AHTfST

2» 9a IIIIE i/i'Rltll . OlSIRIBUTiNQ LABEL

IJAY-Z
_1ME aUtiraiNI 3 ROC MUOH S20eS&AG

1 BEBE & CECE WINANS

I ST1U fliC 31105'HALACO

■LEiLAM)013ggfrIlJMG

WHITNEY HOUSTON

I LOOK 10 TOU fiKMA IWja.RMG

LiM«">a'tn<*uMW*>irjpiw!-.wwJ«.

TREY SONGZ

H(AD» ii'.:> iiWK iMLAWTIC 5ia79-li'AG

MAXWELL

BLACItSUMMLISMHBntAJyBAeBKZSOW MUSIC <

LIL' BOOSIE

FAT JOE

GHOSTFACE KILLAH

RAEKWON

OWtY BUILT « CUBAW LIHK- PT. II ICE H^O 6B7W

THE BLACK EYED PEAS

THE I MB lUtERSCQPt OlgaBr'.'lCA

KID CUDI

10
23

■■

NEW

Mas

26
1

MACK 10

SOf I WHITE ■iOLi-5ANGIII' []iJ'<[]')

K'JON

CHRISETTE MICHELE

VARIOUS ARTISTS
Hrrui«sL wiiiiiw'P«ii:iMjiiL>i»K_'Wi

EMINEM
LETOYA

LADY LOVE r^PlTOI 97?59

SOUNDTRACK

JEREMIH

JEREHIH Micm SCHULI^^DE^ MM l>1MI»!i' IQJMG

BEYONCE

LEDISI

TURN m tOOSE VIRVE FOHECASI 0i;677iVfi »

PITBULL

RtBELUTlOH MR aos mo GHOUHD& J 51991,HMC

PLAYAZ CIRCLE

FLIKKl 3W T« TAKEOff DTP TICF JAM OlgeT^'lEUKS

KERI HILSON

CHARLIE WILSON

UNCII CHAHIIL ■

MARQUES HOUSTON

^HOUSTON M; i', HK^ OOl.TU G
NEW BOYZ

MARY MARY

THE SOUMD m BLDCRCaLJUWA ;aOB7-,$CHV MLEC *

TRICK DADDY

JIM JONES PRESENTS WEBSTAR

THE HDOnOP .1 ■■■I ■ .

« - ANTHONY HAMILTON

MiacsQ so CP 233aj.-.tG

.■l«W[)ial*I.'WAL[iWI513l>tl

LIL WAYNE
TWISTA

CftltbtlHT tb V . !■ ■ •

VARIOUS ARTISTS

NOW 31 !!,' '■.MVt"^AL;U'.mil

THE-DREAM

PLEASURE P

KEYSHIA COLE

A Olf FEREWT Ml I'.'ANI liffrEW 0l?39&,itGA

LAURA IZI60R

LET THE TRUTH BE TOLD AIlAHtIC 512240 *0

SEAN PAUL

IMPERIAL BLAJE ilP AILAHIIC 5?O047,'AB iji

JAMIE FOXX

INTUITION RMG

JOE

1 OQOOS.'KtPAR

JOE SUDDEN

ESCAPE HOUTE JAW GAM OlGITAtAMALGAMSmtl

YOUNG JEEZY i

THE RECE53MW CTL LUI JAM 01 liM'.'TPJMG
GINUWINE

U Ha. 9 on Too UB/Hii>-tlop AfeurK, Fat Jo«
steen "JmIous Orw's Still Enw (J.O.S.E. 1)' to Ms
lourth conseailiw top 10 and sith camt Iww m
ItH upper tiff. HNiTwUe. BeBe S Me Mnans
(60-Z) earn ttMT hii^ (tiarl nurk'-ttlKr n a
grow Of solo~we ttte diM's "Mlmni
Litetyles" spent two weeb at No. liR mi.

. I

■{

IVINSTREAM
bB/HIP-HOP

l-l

TITLE

milST ilUPfllNT. PBOMOIION LABEL!
KfljuNDER 1

■03 PLEASURE P 1 ..ANIIC) 1

RUN THIS TOWN

JAY-Z RIHANN* i MSMYE WISI (ROC NAUONl

WASTED

(LKCi NM nils (M 01 0* JUCauW MUV 'SO CEV.Wmil MS 1

SUCCESSFUL

BREAK UP

MARIO FEAT GUCCI MANE « SEAN GAHHCn (J^'ftHG)

PRETTY WINGS

MAXWELL

FOREVER

DUKE . >' .:< MASOri^OhE 4<STREAMLIN[ IKIER!»COPEt

NUMBER ONE

R KELLY FEAT NEfll mSON (JIVE.'JIG>

•

LOL :-)

Tin soHB n«t oja:) IM I louLH ■» TBiW (a»c eontiTuiMrci

REGRET

lETOYAFEAT lUOACWS LAPIIDll

5 STAR CHICK

YOOOtll L.l-.'..M'S , HMG)

IS "

DOESN'T MEAN ANYTHING

ALICIA KEYS ■.■■\ h -iVi,,

THROW IT IN THE BAG

FUOLDUS FEAT THE -DREAM iLif itHl SM.«H'IW J«^UM3i

GOO IN ME

WRY MARY fUT KIERflA -KMT SHEAflO \VI 91 IXK.Cai.ISAl

•i

1 INVENTED SEX

TREY SONGZ FEAT DRAKE MISG ODOK.'ATLANnCl

EMPIRE STATE OF MIND

JAY-2 . ALICIA KEYS nrr. \flr'ONi

I M GOOD

CLIPSE FEAT PmRRELL WIUUMS iRE 0P:COLUM8IA|

1 CAN TRANSFORM YA

CHRIS BROWN FEAT. UL WAYNE A SWUZ BEAH 'JIVE JLG)

OBSESSED

MARIAH CAREY l-iLJ;N[l.lt)jUGl

TRUST

KEYSHA tlOLE DUCT WITH MOMCA r.'AUfitFFmmiHISCOPE)

ICE CREAM PAINT JOB

OORROUGHilJGErilUSLIi

SWEAT IT OUT

THE OflEAM ^nnn<n KlUAnrF JAM.TOjUGl

|Q|27

DROP IT LOW

ESTIX [KM FUI n*e. tKMM ' ■ rr.1 ■ VKOSlOt KV^MMkM'UVXm:

ll'J'iVill PAPERS 1

MONEY TO BLOW

RIHONM Fljlt LIL a^INl t MUK[ <'.U" MM' INttHVM. MUTCWNl

BABY BY ME

50 CENT FEAT NE-YO jSKAOY Af TERMAIKINIERSCOfEj

BAD HABITS

MAIWELL '1 ' 1

■1

IMMA STAR (EVERYWHERE WE ARE)

JEREMIH I'.v • I" -'it lAU.IDJMGl

BETTER BELIEVE IT

UL nuuiii ruuHB jlut ■ mm .r^L*miMttWMn tn» >

BECKY

PLIES ■■. 1.; f( ■:■( t' ii-;;jfif Ali.iin:r'

EVERYTHING. EVERYDAY EVERYWHERE

FABOIWISFEAI KERI WLSDN : ■: : ■■ 1 i''.:-'.' tl ILUMfil

THE ONE

MARY J BIWEFEAI DHAAE MATWAflCHGEFfENlMTERSCDPE)

VIDEO PHONE

BEYONCE iM ■■ -. I-.L? 'JOLUMBlAl

THINKIN ABOUT YOU

MARIO J t^M,,.

FRESH

B IRES .M'. iiUbriJUL..IlVE.BAIIERY)

BODY

MAROUtS HOUSION iMuSiCWORKS T

BUY YOU A ROUND (UP AND DOWN)

VERSE SIMMONOS nAFi>,t.ni;.U iStERSCUPE i ^

I LOOK GOOD

CHALIt BOY ■ .H-:

I WANT TO KNOW WHAT LOVE IS

MAHIAH CAREY , ..■Jh ':<..■

TROUBLE

GINUWIME FEAT BUN B iNUIIFI ASYIUM'WARNER BtlOS I

1
1

§1

1 1

TITLE

ARTIST iiMPRiNT/ PROMOTION LAAtLI
RUN THIS TOWN

DOWN

JAY SEAN FEAT XM. WAYNE >L^.'X MCfltY lJTJr>'tF<&Ai. HtFVBUCI

WHATCHA SAY

JASON DEHUlO i L'tL'jGA HEiGHT&'VrARNER BROS )

BE ON YOU

FLO niOA FEAT HE YO .POE BOV ATlANTlCi

THROW IT IN THE BAG

RIBOLOUS FEAT THE OHEAM ire^TRI ■^TrfiHTin jWATlMCi)

BREAK UP

MARIO FCAI auCCI MANE • SEAN GARREH iJ RMG)

OBSESSED

MARIAH CAREY ilt.li.Mi i[i IVj.

FOREVER

DRAKE iHiRvEv '.U^L'. JONb i blRtAMLrSE IKtEftSCOPfl

BEST 1 EVER HAD

ORAPLf ■.i:;.-.-i;iil-¥i;ASHM0MY,'i*«(RSAlM0TOWN(

SUCCESSFUL

1 GOTTA FEELING

THE BLACK E»ED PEAS i . ! ":/.DPE|

HOTEL ROOM SERVICE

PITBUll Ml. : ■■ ■ ■: '1 I'lJII-:: ; "UCif

SWEET DREAMS

BETDHCE I'.li' .■- ■.■.IIIWUJA

IMMA STAR (EVERYWHERE WE ARE)

JEREMIH .,I/1CK K'.tiULL- Lttt iM iLuWCf

LOL :-)

T>Fr U>a f Ut eUXI MM 1 SCUJt »r lailM TJJML. fOK*ILjWinCl

KNOCK YOU DOWN

lin MILlONf EAt KAHYI WEST A Nt TD MTGLDT 2Cr( tWTEHSCCm

DROP IT LOW

ura OM im.mm ■wiuMYwaNax tftuMitwiuaawi

DOESNT MEAN ANYTHING

ALICIA KEYS '.T-K 1 n'.ir,.

PAPARAZZI

LADY GAGA, 'l i.'.l.'.iM f--'.. ,. .ilLi.i Ml', i i ■

EMPIRE STATE OF MIND

JAY-Z . ALICIA KEYS . Rs-.C MlTinNi

ccw r'uir'i^
a c A T n 1 k.1 IV

OAVIO GOEHA FEAT AKON (GUM ASIRAlWERKS CAPITOLI

SHAKE MY

THflEE f MAFIA FEAT MLENHA iKYPHUtUE UlNOS'CaUMBIA)

MEET ME HALFWAY

THE BLACK EYED PUS IINTERSCOPt)

WASTED

OCUtUMHUI nHtlM(U(WAMB«iliMWV<WaV.W«W)nai

TIE ME DOWN

HEW BOYI FEAT RAY J li;»IOTTY ASVLUM WARNER BROS |

rtkii: TIME
Uric 1 innc

JUSim BilBER ■-. :-:\[\ r

mm
1

WA^Ai^i 1 CAN TRANSFORM YA 1
r?lir^!^l omwnnFui u«Tiii«m)w«i;M.'X6t

BABY BY ME

MCENTFfAI NE-YO :iH(.::V AITCRUATH INTfflSCfjPtl

WQITTrKJ DM MFR

BIRDMAN FEAT JAY SCAM (CASH UOSTY.IJMVf flSAL MOTOWN)

OUTTA CONTROL

BABY BASH FEAT PHBIRX {AniSTAHUGI

SEAN KINGSTON iKilDGA H[IGllTS.'EPIC)

1 WANT TO KNOW WHAT LOVE IS

MARIAN CAREY l.m in.UGi

nil

LMFAO ifaRTV ^[ift; ','.'11 1 1 AM CHEHRVTREE'ltlTEflSCOPf )

PARTY IN THE U.S.A.

MILEY CYRUS .Mr; . I ■ ■ATir ■■

YOU BELONG WITH ME
TAYlOftSWin .H !. MACufrir.UWI/ERSAl RiPUBLICI

NUMBER ONE

R KELLY FEAT KERI HILSON {JIVE JLGj

BECKY

FlIES - . .■ ! -.. ':LIP-N-SlH>E.AIlANTICl

•

REPLAY

lYAZ il M'. ■' i!;r> f'f.i.i;A HEIGHIS.'R£PWSE)

■

EVERYTHING. EVERYOAX EVERYWHERE

FASOIOISFEAT KEHI HILSON UtStRT STORMWiAMIDJMG)

GIVE IT ALL U GOT

LIE JON FEAT KEE p(jl/r.|JNIVERSAl REPl.-DllCt

BETWEEN THE BULLETS

PLEASURE IS ALL HIS AT NO. 1

Pleasure P scores his first No. 1 on Mainstream R&B/Hip-Hop ei-
ther as a solo artist or with his former group Pretty Ricky as "Un-
der" rises 3-1. His previous solo attempts, "Did You Wrong" and
" Boyfriend #2," peaked at No. 1 5 (in November 2008) and No. 2 (in
May), respectively. As a member of Pretty Ricky he charted sue
times, including two No. 2 singles.

Elsewhere, Brian McKnight logs his 16th top 10 on Adult R&B
with the 13-10 rise of "What I've Been Waiting For." He remains in
third place for the most top 10s but inches closer to the second-place holder, Luther Vandross,
who has 18. Gerald Levert leads the top 10 tally with 21 since the chart's launch in 1993.

Also on Adult R&B, Usher logs his 20th and highest debut as "Papers" enters at No. 30. His
prior best, "Here I Stand." bowed at No. 31 in September 2O08 and later became his first No. 1
on the chart. — Raphael George

m
■

TITLE

ARTIST (IMPRINT' PROMOTION LABELI

W{M W dAU MAtSI 1 3

PSflllAXWEU |C'jLLIML!lA. j

^AU'T 1 lUC U/ITUni IT vrtii
tvAAn 1 Live wiinuui TUU

CHAmiE WILSON .■■ '.'.hi JVt.'LGl

PRETTY WINCib

MAIWELL 1 1

1 LUUR 1 U YtJU

WHITHFY HDIISTDN .f.nir.IA RMGl

UN 1 nt L/LftiAn

K JON i! i .'11 I'Mf UNIVERSAL HEPUBUC)

■

THE POINT OF IT ALL

AhTHONY HAMILTON .MfSTER S MUSIC'JWL'JlGl

BLAME IT ON ME

CHRISETTE MICHElE t'^fF JAM;II>JMGI

GOD IN ME

MART MARY FEAT KICRAA iOU- SFCARD BLOCMXUMB

LAST CHANCE

GINUWINE I'.ir fl .'".f'.uM WARNER BftDS.|

WHAT I'VE BEEN WAITING FOR

BRIAN MCKNIGHT .fl'.-i[l AORK EM

■

IN LOVE WITH ANOTHER MAN

JAiMINE SULLIVAN I : K'.lbl

CLOSE TO YOU

BiHI \ CECE WINAMS il<M AIIO;

DOESN'T MEAN ANYTHING

ALICIA KEYS .r/lih.J RMtii

KEVON EDMOHOS iMAKEl

bUBcAUTIrUL

MUSIO SauiCHILO iAUAr|TiCi

MILLION DOLLAR BILL

WHITNEY HOUSTON

GIVE IT TO ME RIGHT

MELANIt FIONA .in. h\ '.i'l .t, VIOTOWfli

1 WANT TO KNOW WHAT LOVE IS

MARIAM CAREY .1 .1 .'.'.[i Ii. ".hi

GOIN THRU CHANGES

LtDISI iv.H'.f h.-ii ■ ,-M'/t|

THIS TIME

KJtMF^T LHBIUWJIIAUUSTMIUWBtJ'UtJHI^IBV

DON T STAY

LAURA IZIBOR lAILAMlCl

TRUST

KEYSHIA COLE DUCT WmtHOWCAilMUGETFEMIMIEHSCa

MY CHILD

AIL 4 CINE iPEAK.'CMG)

YESTERDAY

lONI BRAXTON <A'iAriTfC)

BETTER WITH TIME

PfllNCE ll-'l.l

TITLE

ARTIST 1 IMPRINT/ PROMOTION LABELl

KIrUN THIS TOWN

B^3 JAY Z RIHANNA A KAMYE WEBT (ROC NATtDN];

HI 3

THROW IT IN THE BAG

FAftlKIXJS FEAT THE-DHCAM iLillitRI blQFttt KF JAMHXM

SUCCESSFUL

TiriXMBAllMnMErnUljllM>UUitlM'niMI1M.ia

FOREVER

□ RAKE H^KutTMASWHW-l/SlliCAMUNLWIERSCOP

•

WASTED

(MiiuhuuMXAi m» (in w m MLUtm MmiK mitamnn

BEST 1 EVER HAD

DRAKE . *, . ■.'i iiif . iiASH MOHEY'UNIVERSAl «0TO

BE ON YOU

FLO ftlOA FEAT NE YO ^'f.lf BOY AILAKHCl

HOTEL ROOM SERVICE

PlIBUll M>l . 1 .. 11 i.. . Ijli> J RUGl

ICE CREAM PAINT JOB

OORROUGII ',.=i '.llr^ Llj

BABY BY ME

^(lUiNTfEAi NtYi) -.HAErY.AFTERMAIH/INIEflSCOfC

EVERY GIRL

':ilih: W.jtE' . . ■.■ MY.CUMMOWT.UWVl 115*1 MOIillW

5 STAR CHICK

YO GOni .1 :ilu i,ll>llHOS'J.RMGl

1 M GOOD

CLIPSE FEAT PHARflElL WHUAMS <Rf UP,'COl.liMSIAl

I M GOING IN

[MuiUT iiMnci>aMSir ><aifciufi'jJiHucic\iiMiHiai

WETTER (CALLING YOU DADDY)

TWISTA FEAT EFIIKA SHEVON i[=E I M'.;','! v C^NG CmM

EVERYTHING, EVERYDAY EVERYWHEI

FAmOUSFFAI KtKlHILSON I- -.- -JMii;' i.v,'

BECKY

PLIES if : ',.'.T .. r f( SlintAlLANTICl

TIE ME DOWN

NEW BOYZ FEAT RAY J il^HQTTV. ASVLUU.'WARNER BRC

1 LOOK GOOD

CHALIEBOY iHI-.v ii^U JIVt.flAITEHYl

MONEY TO BLOW

niKMAH KAI til WAYWt DRMBI ICASH WMO HhnUKAl Wll

TRICK'N

MOlUeE .hROM THE GftOUNO UP'JIVt. JLfll

■

BETTER BELIEVE IT

Ul NOMKAT TOUW JtUT ■ WUH i 'nLi.)^il JU AW?<^ BRt

LA LA LA

IMEAO il^ARIV HOtKmLIAkiVCHEWiytREEWTERSCDPI

SHOTS

IMAUIUI L* JON rWrvdixx.WLL lUmtxlPfiVIUliWttH;;!]

46 I Go to www.billboard.biz for complete chart data

Data for wuk of OCTOBER 24, 2009 I CHARTS LEGEND on Page

OCT
24
20091

giHOT R&B/HIP-HOP SONGS

LAST
WEEK

TITLE Artist

■ ■■.n (SONCWRi iHi mmi ■ pRouoIlll^ imx

1 ?4

Kl PRETTY WINGS Maxwell
BtfiS^ DAVIO.UUS.i; iM DAV1D,MUS») 4M CUL^'Klb:-

BREAK UP Mario Fsaturing Gucci Mane & Sean Garrpti

.. oAH-lLl I L IHAWIOHO |S GARHEIT S CflAWroqO.fl DAVISi 0 1 fr ' .

RUN THIS TOWN Jay Z. Rrhanna & Kanye Wcsi

■ .1 riij 1 D IS C C/ RItR K ViESli «3LSl)N R FENTyA ALBI.XS, 900 ' ' '■■^1

•

■

WASTED Gucci Mane Featuring PKes Or OJ Da Juiceman

.■"!■ ■ I.POUGLASR lAVIS.A WASHINGION) ® MliAY 50 ICFV iVariNF" SflSlj

...^

UNDER Pleasure P

".-.■r .I;nk a U!.i(OM. BEHtAL H lltW.J f HANMIN.f JDf(£E> SIEPMf HSON M COOf^R) O ATLANTIC

■

SUCCESSFUL Drake Featuring Trey Songz & Li! Wayne

■. 1 ■ ■ ■ AM ■^ SMtSie.TNEVERSON.OCAftTEfll O >Giirii, H'.. r -,■ .| . ..-.r.'t-;: ,-, '.'o:|]',vn

■

GOD IN ME Mary Mary Featuring Kierra 'KiKi" Sheard
r. f. i i':L -■■■\\\ RELL.E AIKINS-CAMPBEIL. T ATKINS. CaUPBE, I i © r/v |-LijCK LiK.UblA

■

FOREVER Drake Featuring Kanye West Lil Wayne & Eminern

!r-A;fWll«KttKTOCAHTER,MMAI>€BSt ©MaRrt"VMASOri;aSE r^THtAMurillNTfFmifl

■

NUMBER ONE R. Kelly Featuring Kerl Hllson

■ ' r 11 p HAMILTON (R KEUYR HAMIlTOh n HAUIITON.K L HllSON> Q» jrvF.J;G

■

BAD HABITS Maxwell

■ .:■ M. iH [lA.lD.MUSZEl ® COIUMBIA

■

EMPIRE STATE OF MIND Jay-Z + Alicia Keys

■

REGRET LeToya Featuring Ludacris

■HAHKLIH lIAWt K SItPHENSOtl,J.VAL£tlTIN£,l LUCKITT R NtWI.SH .J f RANKl W C BRIDGCS) & CAPITOL

1 INVENTED SEX Trey Songz Featuring Drake

-■■i :.!MCi il M(.»,ir(S|;Vi ^ciLES.INErtHSOK.A GHAHAM) O SOKG DOOR.' ATI ANTIC

■

LOL :-} Trey Songz Featuring Gucci Mane & Souija Boy TeH'em

-i ■ I:...' ■■; 1 .,;;;.Lts D ViAv « DAviSi ® sovg bodKiAIlantic

■

DOESN'T MEAN ANYTHING Alicia Keys

K BiM.lT'-EFiS A KlYS \ ►.[VS K HHaTUfflS JB | ® M6K.'J,'ftMG

■

TRUST Keyfthia Cote Duet With Monica

n :M-.:ir;n " fair ,k V COIE FTAriORO I AirOflD) & IMiNI'6mEN.INtFRSC0PE

■

fil)

LUiUiijJIIHI PAPERS Usher

1 CAN TRANSI CRM YA Chris Brown Featuring Lil Wayne & Swizz Beatz

■■■•i; 1, HHij/fij80i[JK0EAH,JBtFtEAL.0C*fil£R> Qivi .HJ

■

•

TIHROW IT IN THE BAG Fabolous Featuring The-Oream

.'. -H- IflASH g DJACRSOK.C ASIEWARITNASHl OO DtSLir ^-M- _.'M in.lMG

■

LAST CHANCE Ginuwine

' IS U cox A ; HROPSHiRE W muSj 0 NOmt/ASYUMWAIIMER BKOS.

EGO Ssyoocs

H LILLVB '(HOWUS tE WiLLiAMS.M LILLY JR .B KNOWLES^ MUSIC WORlO/COLUUBtA

■9

CAN T LIVE WITHOUT YOU Charlie Wilson

- RDOGS |H .1 MASON JR D E THOMAS J FAUrULEnoV II S I RUS!iCLl | O P MU9&'JIVC/J16

5 STAR CHICK Yo Qotti

H ■ ■ .1/ r' M'.' ,. ^ TAtf. ja , © POlO GROWtDS.J.'RMG

ON THE OCEAN ICJon

T 1' -'U )N<ONi GO UPiUP/OEH TVMEi'UNIVfRSAl REPUBLIC

THE POINT OF IT ALL Anthony Hamilton

1 . ' i: V,-liI^HI {A MAUIiIONIJAVIlA.eRAVILA,JO WRIGHT* O bliSTEH'S MUStC'jrvC'JlG

1 LOOK TO YOU Whitney Houston

1 - .f..'.'.-i: t M'<l\K{:iJ.HMASON. JR IR.KELLV) GART.TA.RMG

I'M GOOD Clipse Featuring Pharrelt Williams

IMLIIAMS G THORNTON TTHORNIONi O fi£ UP.COLUUBIA

BLAME IT ON ME Chrisette Mlchala

<: r; .1.1 C HARMON CKEllY) O DEF JAM/IOJM

BEST 1 EVER HAD Drake
1 i< >i i".r,44LjasnHiAtlT0NHCaaMM0CWIERi 9voifKI«)HrV.CASHM0NEV.\JNMRSM.H01Dim

OBSESSED Martah Carey

M r'.iVAHI iM CARfV t NASH C A STEWABI} MO ISIAMD'IOJUG

MILLION DOL^R BILL Whitney Houston

. ■■■ ' ■L.f, ri M'.; i : ^ *V (ELDER R.TYSONj ® ARisTA;hmG

ICE CREAM PAINT JOB Oorrough

1 . jH K A CKPJtTOHl Gl UGini

DROP IT LOW Ester Dean Featuring Chris Browi

.■U '(ES.E DEANX BROWN) ® MftRvTV WASON /ONE 4 ilTHEfiMl'WF IME^'" T

oUOcMU 1 IrUl- IVlUStQ oOUICMilu
r; II. M , |i . lUISON, JR (T JOHNSON I ttUISON .IS ) © . -,

MONEY TO BLOW BIrdman Featuring Ul Wayne & Orakf.-

!.".<'. but -b V)iL.IAMS.AGRAHAM.0CAR1ER,C GHOLSOKI & CA^M MQNEV''UNI>.'!' '

BABY BY ME 50 Cent Faatur^nn Nf Vc

. .--[ION It I ACRSON, JH J JONES S SMIIMj SHAOViflFIERM'-If ■.

EVERYTHING EVERYDAY, EVERYWHERE Fabolous Featuring Keri Hll.son

■ 1 ■; H LESLIE S L HILSONi © DESERT S TLIHML'E' .I.VM L .VV

CLOSE TO YOU BeBe & CeCo Winans

■ '..■■'J © B&C.'MAlAuu

SWEAT IT OUT Th«-Dream

NASM C A STf MARTI © RADIO KILU^DET JAM/10JUG

1 GET IT IN Omarion

1 1 ■. '13 '^D^ t;[Tr-3i starw>rio;musicworks/tug.'Capitol

1 WANT TO KNOW WHAT LOVE IS Marlah Carey

■■ 1 Kt , ,t,LiiiE;;i O iSiAwniDjUG

WHAT 1 VE BEEN WAITING FOR Brian McKntght

-. 1.' •■. iH- :l r- . JIUHTi © tiARO WOntt'E'

■

Hal

1 THIS IS IT Michael Jackson Featuring The Jacksom » 1

MJACKSOH.J MCCUIN UWUREN |U JACKSON. PANKA) UJ.I^tPIC.'COtUMfilA *" |

THE ONE Mary J. Blige Featuring Drake

" -^KPIlS iM J EllT." n jfRMSSE OEAN.A GftflHAMi ©MATKIAHm .-.||'. -i-^-ir--

■

KNOCK YOU DOWN Keri HHson Featuring Kany- .Vl _ i ;i N. Vo

' '.1- ' ri Hi_LL. M HILSUN.K COSSOM.S SUnH.M ARAICA.K WEST) © l.ir:

■

■1(!

■U'

EPIPHANY (I'M LEAVING) Chnsf^Itn Micl<nlc
■ ■■■■iH.C HAHMONI © Of JAf/ f;),!..

■

EVERY GIRL Young Money

■■■ wtWJl*j.5jPHiYWCLmj*MiEPSIKtiAHT«nEi © >a«jMMv«ti'yj»ftvnj/;"'Ji |,^.■||,■^^^

■

BLAME IT Jamie Foxx Featuring T-Pain

MKRV»itJiyAil«WIBP0Mnifi«l*OOJjaj(Tr i'.TWAflH'i-'J.'OTTiVuVV': ©O-lHIi

IN LOVE WITH ANOTHER MAN Jazmine Sullivan

. 1^ . J SUUIVAN^ saL) © J >i(.n

1 LOOK GOOD Chalie Boy
J--'.'| © DIRIV 3H(l.Jr.'t.liA;i;R''

IMMA STAR (EVERYWHERE WE ARE) Jeremih

'! . .■ I.l-'- '.ISCHI^irTr © UIC. -iCHUiTZi'DEF JA«'10JMG

BETTER BEL EVE IT Ul Boosie Featuring Young Jeezy & Webbie

i; ■ . H iVGRAOflEV ,IR J VVjrntlNS.W WlLllAMSl 0 TRtlLASVLUW'WARNER BROS

THINKIN ABOUT YOU Mario
11.. IMJ LOVE.AHAfifl.J JACKSON A DAVIDSON SOAVIOSOH.K RAMSEY, © J'RMG

I'M GOING IN Drake Featuring Ul Wayne & Young Jeezy

'. 1 ' lAHAM.OCAnTERJ WJEIWINSI © VOUNG MONEY CASN UOtEVUWi/ERSAL MOTOWN

VIDEO PHONE Bayonc*

■:,v,v. ii' . .."1(11 ItSKNOWlfStBKNOrtUSSCRAWronOSGARRtTIAIitVINCEl © MUSIC WDKOiCOLUMBIA

2 ^

IlB IS Han's lOtn

(onsmtiw.aiiil

|i«liaisliiul,«Kli

fidKiinKi-up

iMMnd Nsnvdi's

'i>ntty Wings." Ws

lead ovB Die

uimnt-inivlngJaf-

ZandlTlcnlsatNo.!

isastmlOO.OOO

IniliicssinE.

TlK song posts lite
KU'slicst audience
inotseCupHli
ndlM linpfcs-
stons), surpassing
tlHiO.lmlllkin
eanied liy Janie
Foil's "Rane It"
hiFeimniv.

Inlo cortsisteiii nr-
tiav.WMIIsaiie
olZ.lnilioii
Impressions last
week and I.S mil-
lion this weeir, ttte
liadi lias IIS liest
back-to-ladi audi-
ence gains.

Airpiav from V new

stations aids

Om^rirtn's second
■Am-
|. . In all.

:irL-iiaclihas6.6

among all diart

^ eg go If TITLE

mmma

Artist <

IMPRlHt . MOMOIlONlABfl

Plies

IT KILLS ME

J fENiK a r/AKIis lA MARTIN K LIT tlEjOHN. jR L CARR.E SHULMAH|

Melanio Fiona

» sue

SWEET DREAMS

_ _ ri LOVE jS KW(Wn.ES.J 6 SCHEFFtR W WmKINS.RICO L JVE

II^^D STEADY MOBBIN'

Beyonce
©UUilC /;lJRL[iiJill.ll'.tt A

LH Wayne Featuring Gucci Mane

GGClJflns SH (G G CURTIS SH ,K EDMONDS JNfTTLES8£Y(

Kevon Edmonds S-i^i

MY CHILD

' M vnOHTSlDKENKEDY.JjONESJPENNOCKJKUOELL IMMCCAntHV.KMARIlN)

AIM-One

1^ HUGHES K 0 CATION, D DAVIS.R WAITERS)

> MOONSIONE'JtVE H

BUY YOU A ROUND (UP AND DOWN)

Verse SimrTionds

) DARM;h:LL1 IMt- 'I L

TRY IT OUT

Big Bank Stack Foaluring K.iMdi

COIN- THRU CHANGES

1. yr jUG R HIDEOUT yOUNG.fi HtDEOllI^

SLOW DANCE

KSi0iviJiiimHV(KLHi5c«jri«Eiij«iij8tMiJWft«(«SLDCWijnsn^

l%fi 73 f7 ' CRAZY

| ,W r» -B HGS BBOWZ lO WARAJ O CARIERi

Keri Hilson niti

©MOSUTTCNE 4HTT^:''DJFE E5j|

Nickl Minaj Featuring Ul Wayne fl

youNf. uoNfy :i .1

TT 74

I9|'bi

BODY

LIE lAll (M HOtrSTOW N C fISHEH C STOKES)

I YESTERDAY

I f HANK E H MASON. JR (J FRAHKS J.ARUSIRONG M WHITE I eATTLE.TSHAXIOM)

Marques Houston

® MUSlCWDRK^ TUG

WHAT YOU DO

Chrisette Mtchele Featuring Nc Vo

HEADBOARD

Hurricane Chris Featuring r.'

.AWlIBU.iUj:iTTJM0UiCSUimnGSXCO^ALAttSmGFtMi e

NOVEMBER 18TH

Drake

VOUttG MOMEV/CASM UOHET/UNIVEfl&AL MOTOWN

GOTTA GET IT

MU.l tOWAfiOSj

K'Jon Featuring Lee England Jr. & Augustine Aiv

< iACKSON.TWWIE.fl VWCEKT.E LUMPKIN ,B.mC EM AN)

Ginuwine Featuring Bun B

" Hfl. MFS A OCLAHKE 8M COKi

TIPSY IN DIS CLUB

I ■ ■.' ■ ■ I- .'.T" :; H SM IHC MATHIS t DEANOA J SMITH.

Pretty Ricky

TIE ME DOWN

New Bioyz Featuring Ray J

CAN T GET OVER YOU

H H:':Lr" ■- tt .'■.l-L' il BtVERLVj

GANGSTA LUV Snoop Dogg Featuring The-Dream

C iiEViAH- [ NAhH I : flASH.C A SIEWAftTC C BHOAOUS JR I DOGGVSTYlE.PHroRtrr CAPITOL

1
i
. ■

MR. HIT OAT HOE

■I i ■ il.' t: M IHARRISl

Treat Lee & Prince Rick Featuring Wideframe

SAY AAH

■ >i1'itjy ;- uma TTAYIOR |R M FtHtSEE. JR .TMEVERSOH.ISCALtS.N WAIKA.D CQICLU
I OH NO

I C DFBARGE J THOMAS IC OEBARGE.J THOtlAS A BEST|

Trey Songz

Chico DeBarge

SO SHARP Mack 10 Featuring Jim Jones & Lll Wayne

-III', ,'[. ■!! ■■ :; i 'I ; ■■, .■j:iiiRfRTS 11 n CARTER PAtOtANElFRRRICMflRO.AOTIUinyDi ©

LOVE COME DOWN Dirty Money

DON T STAY Laura Izibor

■! ~ iLi:iBORi © :

JUST A KISS Mishon

r ■ if.*FMiAaOStCLAnKPlAWR£NCE.BMARS> ©0VNASIV.70I* A'SIRtAMJHEINItWi.LCCt

BIG BOI STUNTIN Young Black

■ ^ ■ ; ■. FHiON) R[C>- MI.SD

■

GO Triple C's Featuring Rick Ross & Birdman

■ H - .■M.ILl«AJ.EtK6tLMAVtSlLEWS,0WVA/WBCBE!n5IlBW».LlA\ri.JAIUJAMSl © IWAVMCM.OE) .iAMr l\,

RAMPING SHOP Vybz Karlel & Spice

'i 1 1 1 : \ M 1 © HDUAHLIU

WALK WIT A DIP

THEY JUST DON'T KNOW

Louisiana Ca$h ' ' - 1

Gyft
© toov

DIGITAL GIRL

Jamie Foxx Featuring Drake, Kanye West + Tha-Dream NHI

iFiriNASH.K WEST IF'AJN.D BALfOUR) © J RMG ~i

I O LErS DO IT

I 'AV PEAK' 1.1 F/ALPHlJ=iS|

.y t HAWKINS A OIXONI

R. Kelly

ciulsiileol lb
SouUMm toots.
Thre« of ItM song's
top five stUions are
in Cindmati,
ChiosomlDeMl

LIL FREAK {UGH UGH UGH)

:i - ; H'BEAUHEGAflO.J HOUStON.W GRADNEV, JH I

Three 6 Mafia Featuring Webbie I

HVPHOtl/t MINGi UiL;iM!l-A B

YOU RE NOT MY GIRL

FLEX

Ryan Leslie ^
© NEXTSELECIION/CASABLANCA.'U'li'^'Eftf.Ai M ;>:.*.■. "

CANT HARDLY WAIT

. > ::>.ut'ii, m IN-OAVBI J fl BUILER JR R LBRtAUXS M ELMWOAOUI.Lf SYIWRS Nil

OJ Mr. Rogers Featuring The Party Boyz
NDambi

YOU BABY

TUARIS nUARlfj

BETWEliN THE BULLETS

JACKSON'S 'THIS IS IT' DEBUTS

\V1tii nidio's swift icaiition to Michael )acksoti"s postluiiiiously rclcasod "This Is
It." the song earns iLs first Billlxjard ink ys it debuts at No. 45 on Hot R&B/Hip-
Hop Songs. From its release to radio Oct. 1 2 and tlie chart's closing tlic follow-
ing day. R&B radio coniribntod S.*) million in aiidii^nce. In all. it has 12.2 million
from 1,5(K) stations monitored by Nielsen BDS. However, even with strong in-
terest in the song, Hpic says there aren't any plans for a digital single and it will
be available only on tlie sanie-titlod album due Ot1. 27. Without tlie digital com-
ponent, jackson's potential for a high rank on the Billboard Hot 100 is limited. — Raphael George

ta for week of OCTOBER 24, 2009 I For chart reprinU call 646.654.4633

Go to www.billboard.biz for compiete ctia^ data i 47

k a

rie]

llQ

IMr

nir

l«

CI I

SMOI
lUt

> 46

TITLE

ARTIST "milil PflOMOlltWtABfl

CITY ON OUR KNEES

tOBTMK lliHiFMri'J j Ml CMS

REVELATION SONG

PMILLil'S c>i*ic; 4 i;iAh V

MORE BEAUTIFUL YOU
JONNT DUZ INO

LEAD ME TO THE CROSS

CHfllS AHO CONHAO VSH

UNTIL THE WHOLE WORLD HEARS

CASTthU CRnWhS r I .-. H STRUT RfUMrjN'PHi

BORN AGAIN

rHiRO DAY ftAT LACIY MO»HT tSStHIIALPlO

THE MOTIONS

MATTMfWWEST -'.m.

II CHQ

THE WORDS I WOULD SAY

SmiWALR PRO^ltETS , ,'. i iH'l-CURH

FWILL RISE

CHRIS TOMLIM ■ ' . , bVAHftOW-tUI CMC

HOLD MY HEART

TaTH A^tHUE I.ORTH I'tUNIOK PLG

LAV 'EM DOWN

HiioTo&RiATut . .iicyroRD-cuRa

ITS YOUR LIFE
flUNCESCA UAITISIEUIIIR

lEST WORD-CUHB

THE LOST GET FOUND

BRITTdlCaiE [i/^LMIOMj

WAIT AND SE^E

BRAHDDtlMEATH ■ V'JLit MfcUNtUfi PHi

ll'l.'iVtU WHAT FAITH CAN DO

I^IjljH AUIltSS BECaOOTH t Mil

ALIVE AGAIN

HAn MAHiH I J [

HE IS

MAM ICHUU2 WORD'CURB

SING. SING. SING

CHRIS lOMllN • III ■

SPEAKING LOUDER THAN BEFORE

;tREMV CAE^P - I' MS RAIE

HOW HE LOVES

OAVIO CROWDtRBAHD «STEP5 SPARROW/tW CMG

YOU RE NOT SHAKEN

pun SlACtr Hilli. DH PIG

TO GOO ALONE

AAROW SHUIT BRASH

FOLLOW YOU

IHIAMD WITH BRASDBM HEATH ESSEHIIALinG

I'D NEED A SAVIOR

AMOMG IHE THIRSTY REV

LET THE WATERS RISE

MIKESCHAin CURD

GLORIOUS

HEWSBOYS Illi'Cli'

SALVATION IS HERE
UHCULN BREWSTER IHTEGHItY
HE IS WITH YOU

MAI^DISA ' -I CMG

WHAT DO I KNOW OF HOLV

AODISOH HOAR 1'.

BEAUTIFUL ENDING

BARIOWGIRE M i.'^HI 7;llRn CI.RR

HEAVEN IS THE FACE

STEVEN CURTIS CHARMAR ■.P'.at..fJV.

SAFE

miL WICKHAM FEAT BART MIlEAflO ISO

TAKE ME AS I AM

FAI STATIC ■ 111'^ .'. NAn

FROM THE INSIDE OUT

SIVfHTHOAT SlUMREH ETC TOOTH A HAIL

FORGIVEN

SAHCIUSKALSPARRtiA LUI CMG

JESUS CALLING

WMHES IHO

GOD OF THIS CITY

CHRIS TOBIIIW I- UTS SPARftOWEMICMG

GLORY TO GOD FOREVER

THERE IS A WAY

HEWWORLPStHE r.TI.P

THE MEANING OF LIFE

HABRl NELSON < I i'- HI 4 NAIL

GOO-SHAPED HOLE (2010)

PlUHBLIIHil

HOSANNA

SEIAM CURB

FOR THE FIRST TIME AGAIN

JASaWCRATCINTRICITY

ON AND ON

CMASEN I'jn

SING

JOSH Wll SON SPARRnW Ef.<l CMG

JOY UNSPEAKABLE

TQEIO AGNEWJM

hTaler

KARliOBf INTEGRITY

MY SWEET ESCAPE
RUN RIO RUM TOOTH A NAIL

BLESS HIS NAME

JIRIIBY RIDOIE VARIETAL. VINEYARD

loliyllK adiims Ns uoml llo. I nl M In
neaitY tine v«n on Oiistln Songs IS "Oly
on Our Knee" Fises 2-1 in its linttl dull 1H«|L
He most recently led with "Nade to Low,"
NtKt) loQged Itie linl ot nine weeks at No. I on
Die iO. 2006. dv»L "Knees" also svends
a second week il No . 1 on OiidBi OB.

lAtop christian

W ALBUMS"

ARTIST

T Tit IMPI.II.I A NUMBER OlSIRIBUTtNG lABEl

qIrelient k

BBJrFIITWACYR«1IJ«11V« /..1-I' ',■■.!.',*,■*;

VARIOUS artists

wmwHTSXii; ,

2 7

skillet

AWAAE • ■ r \ !li;.ATL/.},TIC ajMPW-iaiMETEGDTy

VARIOUS ARTISTS

[OYj J t^iw' V MrnT»«siBiB«#wiiRSiT':rvK .«

t 3

DAVID CROWDER BAND

CHURCH MUSIC > '1 1 v SPARROW BSlS EUI CEAG

CHRIS TOMLIN

(Un M nc <ICR MM nU R RBM* jCTiP. 'fWYYi ? m .X

FEE

HOPE RISING IJO 4667 'PRDVIQEKT INTEGRITY

BUILDING 429

BUILDING in iNn 4507 PRGVIOENT-INIEGRIIY

CHRIS TOMLIN

HELLO LDVE ■ i ■ i '.siROW 23S9 EE;i LMQ

PHILLIPS. CRAIG i DEAN

FEARLESS '. 1 i m .1 Ij-r I.ILr.H'l .

MARY MARY

iwsfiao'.-i . I'.i," ; 1 '.■ •

THIRD DAY

HEVIIATIOH ' IlilUlL TESS^'PROvIEXNTINTEUUFY

■1 3

HAWK NELSON

LIVE LIFE LOUD' HfP TflDTH A NAIL 730e tUI CMG

ll'l.'iVtU I^J^"' ''OBE

^Eim unjotfiMsiTYCBamcMBOMBnn

NEEDTOBREATHE

THE OUTSIDERS

THOUSAND FOOT KRUTCH
WaCOHET0n« MASiJHEIlALlI . i . . I .

TODD AGNEW

HEED ' 1 , . ^1 -EVIDENT INTEGRITY

If)

MICHAEL W. SMITH 1^1

A NEW HALliLiLiAH 1 1 M i| lOIMPnOWJeNTHNFEGHITY ;r*

BARLOWGIRL

LOVE A WAR ' L i . ; I aGTWORO CURB

IS)

ERNIE HAASE& SIGNATURE SOUND OM

E«nL€PT>AI&MS;TD«ISTI«lll»l1«IIASC9laPmaiOIG 9s

SELAH

YOU DEllVFH ME ■ ■ i " .'.' l-i? " .-^

FRANCESCA BATTISTELLI

WY PAPER HEART

TENTH AVENUE NORTH

OVtll thlHlM<|ifli4-i| , KMTfiFYFMSMnSmY

VARIOUS ARTISTS

v)>-..'i' i 1^.'. ^-;',^-.:Mw-]ixi.M»—nwiftUli

BRITT NICOLE ■
THT iRST r.Fi inilun : iibdw 7Mh*ui run

PILLAR

CONFESSIONS ES.SENTIA1. IU»Vm(MIXin«TEGRnV

MERCYME

ID INN ti..i' PROVTDENT tWIEGRlTV

GAITHER VOCAL BAND ^!

RtllNITED f.iiTllfR F4 :SIC GROjP GTT4

MAT KEARNEY

CITY OF BLACK A WHITE '.'.."E aUAttAffClPlttEUCHG

MATTHEW WEST ,;<

SOWETHIHG TO SAY . HrJW 4SM.EMI CUO J

BRANDON HEATH

WHAT W WE ■.•MOl^T.FYtttlENlWElEmY

ISRAEL HOUGHTON

THE POWER OF ONE ' ■ - ' ' TH-Sl IWMCEMTTFETEGHFFV

MARK SCHULTZ |S

COIAE alive .'.<i -V .Sa7394 jSC

HILLSONG

[«TM . HC« . Xrt IW ■ •. ,YlTtE«lY4EE£«IMeFIhTIWT''r. ;

LEELAND

ICA'E IS ON THE FAOVE tUEVFAL lOaKWVttNTENFIGWIY

■

MANDISA

FREEDOM . ...iPlTW i;7Tg.CMI CUG

SOUNDTRACK

FIfllPflOOF 11 PROVIDE NI.INTIORIEV

FAMILY FORCE 5 ■
MNA1 KPU Ii l.-*tis-l«!. IliFiWT WlCTH llttl W7F1IEM

DIAMOND RIO

FHE REASON ii97305

NEWSBOYS 1^

IN FHE HANDS OF COD U.POP 145J.EUI CUG ■

HILLSONG ■
.v-i: ; i« jiy MWRiiwjHjitinsreiNaoricsn ■

JEREMY CAMP

SPEAAihCLIXItlER THAN BEHWE EEC FiFBOFUCMG »

KJ-52

FIVE TWO TELEVISION l' . SIG

THE DEVIL WEARS PRADA

MTHIIMrFAEOLtWiDBPAMXSBBDR i'«JDCifl6 +

GAITHER VOCAL BAND Bt
REUHIUN VIAIMF OHF . < IP ?TBSEM CMG 9K

AUGUST BURNS RED
CONSTELLATIONS .SLir: ^TAU Mi^' EMI CMG

TERCER CIELO Ifili

(«T! CIM IIXaEnWDIIRa .LEIU.CWSV 1AGC .iW621.-JA. flt

RED

l«0CBniMST1CTESStNFMTEttlPRO«E»F«T[GFtTY + . ^

MATT MAHER

ALIVE AGAIN 1 ' t lITi.n i YJOfiFHEMOENT INTEGHFTV

w-um

VARIOUS ARTISTS

SL3F1 fEcjoT 1 -E A7i; J A «l»«IO 'EirFWABfAHarT

Dk sling duo lands as IhH No. 1 and M sine
1991 on Top (ospd tkim will stmg

more Hun 14,000 (onics. The set is a new cncr
higli loi tlie par on die Klioard 2110 (No. M).
Tlie abin also starts at No. 2 on liSB/Kti-Hoc
iUfaums and Tof) hidefiendent AJtxims; it's die
act's Hist appeaiance on the tattef dsarL

48 Go to www.billboarcj.biz for complete chart data

HOT CHRISTIAN
AC SONGS

1* So

TITtE

HflTlST IM''FIINr ■ rflOMOIIOM LABEL

1 )i

W!SM REVELATION SONG 1

Wftfl PHILLIPS. ClUlG a DEAN iNi |
CITY ON OUR KNEES

raayuAC i ■ 1 1. . i i ■■ i ( ■

5 12

THE WORDS 1 WOULD SAY
SIDEWALK PRDPHtlS 1 ! . ■. LHB

3 21

LEAD ME TO THE CROSS

CHRIS km corinAn . \

2 29

MORE BEAUTIFUL YOU
lami DIAZ

■

9 7

UNTIL THE WHOLE WORLD HEARS

7 19

CUSTTHC CnOWHS 1 ■ .1 .■ 1 M 1 l:' l;i '. 1 i i,

LAY 'EM DOWN

MtDIOBfltAIHE .li Wm:: Lim

6 20

BORN AGAIN

IHIftO OAT FUI lUEY HOSUT ESSENttAL PLG

8 21

HOLD MY HEART

KNIH AVENUE HOnrM HIUMOII PLC

ID -J7

MATIHEHWESl ■l-'.■.i^i^r]rt 11,11 Cl.'.lj

11 18

SPEAKING LOUDER THAN BEFORE

JtfltMVCAMP 1-.!':. TfiilTii f. tJAii

13 11

IT'S YOUR LIFE

FfUNCESCAWniSTEUirERV{NT WOHH CURB

15 12

HE IS

MftHK SCHUirZ ■firM> r; Rli

16 9

SING. SING. SING

CHftlSlOMliH I'' -.T-iflOWtUICMG

12 20

THE LOST GET FOUND

BRin NICOLE .'>\'.-:-\\'.\ L'.'l CMG

14 15

YOU'RE NOT SHAKEN

THIL SlACry ■. iilJ' 'N I'LL.

17 9

GLORIOUS

HEWSBOrS '

16 10

ALIVE AGAIN

27 3

n-J*iV!ll ^^^'^ ^MJH CAN DO 1
QilElIiH lUILESS LLC. TOOTH « NAIl 1

19 7

FOLLOW YOU

lEELANO WITH BRMiOOM HIATH ESSENTIAL PLG

22 11

HOW HE LOVES

DAVIO CflOWOEH BAND siiSTfP:. 'iCfiftRfl/l EMI CMG

20 13

WHAT 00 1 KNOW OF HOLY

AOOISQN ROAD ir;

21 10

GLORY TO GOD FOREVER

FEE INO

24 3

HE IS WITH YOU

MANDISA :-,CAH-(LiW tMI CMG

26 5

HEAVEN IS THE FACE

SrtUEN CURTIS CHAPMAN SPARROW FIJI CMG

ATOP GOSPEl.
W ALBUMS

■§i

OFICHT

ARTIST 1

TITLE IMi'll.llT A \uMUEH CISI^lBHTIM, LAfitl |

Kl tiyiJIMI BEBE 1 CECE WltUNS

iBlBEQisiiu-M

FRED HAMMOND

EOVE l)l.SIOS'PHULE . ' i . . i

MARY MARY

THE SOUND ■ ■ 1 ' ' ■ ' •

Ernest pugm

FIVE FIAIN DF. lis 1 1 1 ■.. ■ l.'i n .1 i 1 ..M .

THE CAJO FAMILY

KIHGOOli miNfss rT.z CUO 10 .

BP 311
%^ W^^m

e s

J MOSS

JUST jFMu mMKaepocefmciAMTy 4nittju

ISRAEL HOUQHTON

iw powtnoroMiNrFnTr'oxiKWAzSMtiGrrrMuac

VARIOUS ARTISTS

HEZEKIAH WALKER & LFC

SOULFO DUT . ■ ' 1 i.

10 4

VICKIE WINANS

MOWICOTDVFR : ' l: ' ■ .in

VANESSA BELL ARMSTRONG

FHF FKPFRKKCt 1 '.'i i,. ■ ■ 1 1 ..1

BRIAN COURTNEY WILSON

JUSl LOVE . ■ ; ■ . '.nr.iC WOFILO

DONNIE MCCLURKIN

WE ALL ARE ONE ILIUE III EIEIROIT) 'iFFFITV 3610a'JtG

H "

YOUTHfUL PRAISE FEATURHG JJ. HARSTON

KESIIHli W HIS PROMISE ' . 1 1: 1 i/tiS: '.'l .1 iV'l

SMOKIE NORFUL

LlWf "1 1 M.lEi: UHi? EUl GOSPEL

ii"

119

MARVIN SAPP

FHIRSFT .tllir. vn?J33 JIG

17 15

VARIOUS ARTISTS

GCTI* ■UVt DDS^l 1 ' .c'tn)CiWnVUIM''jU

1» 17

JAMES FORTUNE & FIYA

IHt lHANSM)flM*1lt>H ■ 1 • :.'i.-i !ri':V,iH-rnM!:f

H <9

DONALD LAWRENCE » CO.

M LAW or COHFEiSlCN Mi" 1

'W' 16

YOLANDA ADAMS

CH-LjT IH[ VfPl !fSl jf .

LEE WILLIAMS AND THE SPIRmJAL OCS
fALLONMEU. i> .I'H. j

R-SWIFT

ANTHEH OtOSS UOVEUtNT IWOJ^i'SONy MUSIC

LECRAE

HEEEl Hti'.IJI 'iMnT iMimiy

DONNIE MCCLURKIN

PUTUST iHt yEmeESiof '.i-.i'Uii;"' s;i-ij3UK> m.m:

VARIOUS ARTISTS

IM GIHPtl (IttNTIUI CURBVEniTY ITtttBBCW

Kg
3>

TITLE

ARIISF iFArniFiF , FHOMOFIDFF LAItfL

2»

d CITY ON OUR KNEES |
nffiaiOITHAGFOREfRONTtMICUG 1

HERO

SAUIFT ..nil. M I'.

ITl.'iVQI BEAUTIFUL ENDING 1
L^miH BAnL0W(iiRtFERVtK1WORD.CUR8 1

HOLD MY HEART

lENTM AVEFtUE NORTH 1 . liL I. Pa.

THE MEANING OF LIFE

LAV EM DOWN

FJEEDTOBREAFFIE All AFJIIC 'AORD-CUAB

ITS YOUR LIFE

FRAF4CfSCA SAFFISFEIU FEHVfFFFiWEFRD CURB

HEARTBEAT

REFLECT DRIVE ...llHI) CURII

»l

•

FROM THE INSIDE OUT

StVEHFH DAT SLUFABER . IU<lIH & JiAIL

TAKE ME AS 1 AM

FM STATIC 1 I-

FORWARD MOTION

THOUSAIFO FOOF KRUFCR ' ill'll A liAIL

MY SWEET ESCAPE

RON AID RUN ' 1 1! .. l,.-.ll

i»

MORE BEAUTIFUL YOU

JOFFMT DIAJ ■.

WHAT FAITH CAN DO

AUTIISS I'll : ■■■■I

SPEAKING LOUDER THAN BEFORE

JIRIMT CAMP : ■. NJ.ll

FORGIVEN

SANCTUS REAL ■ l.i,.'. .Ml Lr.'L.

ON AND ON

CHASER nil

UNTIL THE WHOLE WORLD HEARS

CASTIRG CHOWFIS i E-Ch - TRfET Rf urilOU PlG

HOW HE LOVES

DAVID CROWDER BAND '.11 STEPS SPARROlV FFAI CATC

1«

FORGET AND NOT SLOW DOWN

RELIEHTR mil

LEAD ME TO THE CROSS

CHFUSARDCDMRAO .Sll

THE WAY WE ROLL

NEWSBOTS ll.i ilP

OUR TIME

liflOUP T CREW 'tHVl\T LVOHD CURB

IT JUST TAKES ONE

ADDISON ROAD HI

WAIT ON YOU

ATTABOY M ... 11.

TITLE

AHTISI AlPniNT .. PHOMOIION LABEL

RMCLOSETO YOU

BS9 KBC < CECf WMANS BAC'WAIACO
GOD IN ME
WARY MART FWI UmA TBT smjtfP W ttJXXCOUMrt
I WOULDN T KNOW YOU

jm^yt\;n '-Hi— WiAjaittiffl

PRAISE HIM IN ADVANCE

MARVIN SfIIH' I I

JUSTIFIED

SHONE NOMm IHEUYLES.tUI GOEPU

SOULED OUT

URItFCVERItyjlG

RESTORED

J MOSS ■■■!■"'■'_"_■ ;j I t -.IH:r ILli

ALL I NEED
SFllAII COUKINEl' WILSON H'l I RISINli MUSIC WOB

GOD FAVORED ME

HEZUUAII WUUH A IK FtAI MAffflH MfP tOJ HDOBtt

IT AINT OVER (UNTIL GOD SAYS rrS OW!

uAunmE BflowN-cuRK m gospel malaco

BACK II EDEN

OflHALO LAWFEHCE A CO- OH IE I WAIERiVEBllY JLG

I LOOK TO YOU

WHItMr HOIISIfill -■.HrSlA.HUG

RAIN ON US

EARNEST PUGM i.'r.' ■

.ACKSMOKEWOnLDWIDC

EVERYBODY DANCE

JAMES ROBtRSOK r

BROKEN VESSEL

Jtff MAJDHS FLAI LASHdL GBlFFIN '.M' K. llMI

ALREADY HERE
[»jI]J^[B BfwwcouHnrfiMLiaispHiRaeitacil

HOW I GOT OVER

VtCKIL WIIMHS fCAT IIM BOWMAN, JR. DfrllNY ;DY

AWESOME GOD
IHE BftOWH SISrERS \W..X)\

FAITHFUL TO BELIEVE

BvnON CAGE >, .-'I' < < M 'II .'III-'

LET THE WORD DO THE WORK

DONAIO IAWHEMCE A CD. ItAI aiiOKWZ . ..I

THIS JOY

ECnVWtCBEMeFWnni

LORD DO IT FOR ME

AlVir4nSRLIHC''.l--il II'

HELP ME BELIEVE

NIRK FRAt.miH I ii -i^OCEWtRlC .KG

Data for week of OCTOBER 24. 2009 i

CHARTS LEGEND on Page

m m

ANCE CLUB SONGS"

TITLE

ARTIST -1 !:n PHOWDItO

-1 LABEL

ARTIST *MPR1KT > PROMOTION LABEL

KISEXY BITCH

BQS atWGU^nFUlUM'>IMilGlkMSTMUHDK,L'V^:a

SUPERSTAR

OAVID lUY FEATUniMC MOISCE MODESTO ABKCO

RELEASE ME

»G«fS > -I . 1 '. - ■

IIAR.NFM

BRAND NEW DAY

GEORGIE PORGIE MU5'C fLMJ

MILLION DOLLAR BILL

WH(I|(£y HOUSTON U ;ii<MG

WHY YOU WANNA HURT ME SO BAD?

NICKI RICHARDS ■'ri:MHIC''ARn.S COM

FINE PRINT

TURN IT OUT

HSOIA ALI li i'fl.l

AITAR FEATUHINC JEANIE THAClf UAMAHOUSE

□ ID YOU SEE ME COMING?

PETSttDPflOTS rM Tn'-L AER S C/-PlTni

BODY LANGUAGE

JESSE MCUtflTHEV FEAniRMO T-nUH HOLLYWOOD

PAPARAZZI

l»DT GAfiA . •

,■1 iimHTTHEtlMTLRSCOFt

WE ARE GOLDEN

HIKA CASABlANCA.'UMfVtRSAL WOIOWN

WOULD'VE BEEN

SOLANGE ■ ' -'■ > 1

HE ONE

t '. IJIiHSCCl't

SHE AINT GOT

lETOY* CAPIlOl

EVERVBODY SHAKE IT

RAinn RDSARKI FEATTIfTIMG SN \WN CHRSTWCnftUinATI

SEXY PEOPLE

LOlEMtLi'-'rLiL

THIS TIME BABY

tDDTE X PftlSENTS HIKI HARI

mm.

FIGHT FOR YOU

MOfKAH P*OE;i;invt-t',

KEEP IT COIN' LOJDER

UUW lAJIi! FEATTJTWG MM Srr 1 Wn BUS two EKCtKICOWIMI

SMOKE

JUS JACK WITH (W.GWIWfWl«WMimMIL MRS MCIU

SHE WOLF

SHAKIRI sirriy Music I Atui IPICSOKV Music

WAKE UP

SlIIMT i'ti-i:^...!JUS-WftHNEI» BROS

OBSESSED

UAHIAH CAflfY ' I A^f: I' M

HANG ON

S O S. (LET THE MUSIC PLAY)

JOfiOIH SPAHAS -4 It'l l II ^

WE ALL WANNA BE PRINCE

flUX DA HOUSECflT SLIIZ/ERU

THE REAL THING

VAItESSA VIILLIAMS '..UNCO'

1 CM..

MISS YOU
RON PERIOV i-nm

FAME 2009

PERFECT 1

HAIUHI HAJCHIWt LAKtbHL

SEPCCHE MODE MUTE/VIRGW/CAPtTa |

LOVE SONGS

AHJUIIE l-ttH IJMG

INSECURITIES

JUINR VASQUEZ FUTIMM MMQ J »LVER LABELTOMMV GOt

RIGHT HERE

CARMtH REtCE RTA; Ml

BAD HABITS

HUWELL Cty.MBIA

DO WHAT U LIKE

BAD BOY Bill .1 r.K

OUTTA HERE

ESMEE OCNTERS liNNMAN INTERSCOPt

LOSING MY MIND

All HIIIG

BULLETPROOF

LA ROUK I LU-lia" CMtllRTlRtE'lNIEHSCOPE

DO^rT UPSET THE RHYTHM (GO BABY GO)

»l>IS£ITES'.i(R:;ilH>||O.IMI

FREEWAY OF LOVE

P£P«RM»SI«TUAf'['

SAO SONG

BUKE LEWIS Ti AII/v ILITV

WISH U LOVE

CHAD JACK a TIM LHTEEn US. FAWN n-m S

UOil F-CK YOU

QQB l-ILTT *LL£H CAPi

GRINGA QUIERO BAILA

800E6A CHAItllE TEATUFIIHG COSE (FUUNITOI CARRILLO

1 DIDNT KNOW MY OWN STRENGTH

WIHINET HOUSTON . I I- 1,1^

GIVE ME TONIGHT

TH FEAIWUNG FREHCHIE DAVIS DAUP/Aij

STRAIGHT THROUGH MY HEART

BACRSTflEET f OrS .'.L -iu

TONIGHT

CAZWEIL PiACf

■

CELEBRATION

"iADONMWAtlNtP SflOS

SWEET DREAMS

BEVOMCI UIJI^IC IVORU) COI UMHIA

CS so ARTIST S

S - * So TITLE m ^INT .t NIITJflLR . DBSTBIIHfflMC l>SEl £

> Bl LADY GAGA ■

■SI.

Hj 4 14

OWL CITY

OCEAN EYES r.l'.LRSAL Rtl'UBLIC 013K

TIESTO

NAUIOOSCOPE VI

^ LOOM 30B?.ULI«A

VARIOUS ARTISTS

AIR I

IBW 2 AIRCMEOLOCY 6fi3» i ASIRALWEfULS |

LMFAO

(WTIY HO OT-mJAlAOflflrtTlEnTIPSCOT DIjaKHA,.

BLAKE LEWIS

HEARTBItEAX ON VIHn. TOFJ JV BOY liAl

■

30HI3

WANT III" F NISH Stiiet

■

IMOGEN HEAP

ELLIPSE "11 •■■ lOWlS RMG

DAVID GUETTA

ONE L0« .1 .1 .IU7- ASHALWEBRS

BEYONCE

u.^ki .'_:u.'viBKmAistiuajaiwniBHB»

■

LA ROUX

LARCUi ■Li:fTX3vi;it*TTOtiIE!TSCOfl013389*«A

LUIS MIGUEL ■

NO ClAPfS A LA HOCK CIJUIRIMatES AUIICR LAT1W STIJlB^I

FAMILY FORCE 5 gS

fMIV ma SB CMWMM PKiAMT -VY^ GmTTDCTN t Htt Sg*

MASSIVE ATTACK

SPLITTING TME ATOBH VIRGII. OIGIIAL EX CAPITOL

■

ZERO 7

r<*» iiwiiii .-I .irtiic *n

, DEADUAUS ■

(IM1 LAC> OF ABEmHMMPEUAUSTRAP ZITAi'ULHU^I

•

DJ SKRIBBLE ■

TQTALCLllfl WIS 3 ■■ ■■-'i-i ■ 1 T'TY 9081*THI*C HI

BASEMENT JAXX
SCANS'

■

ABOVE t BEYOND

ANJUNABEATS VOEUIBE 7 !■! JUTiABEAIS 2l9&aJURA*

CASCADA

EVACUATE TNE OANCEFLOOF KOBBITIS T5DB4

SOUNDTRACK

SLUHOO: MILLIONAIRE 1'.' KSCnPf Cl?507 IGA

IQ^BOYSNOIZE m

8 BREATHE CAROLINA

HEllOPAMIIIATIMILAHL SS30T2r

JEFFREE STAR

BCAim nUtR POPSICIE >IKI4.HG

■

H<
Al

DANCE
RPLAY"

Si is

■ 1 .

TITLE

AHiisi iMPRilJI PflOMOTtON LABEL

Kll REMEMBER 1

DCAOMAUS * USUOEMMJSTWVWOPRGSSUJIK |

1.T

EVACUATE THE DANCEFLOOR

CASCAM -:i;-(-. ,'

3 7

SEXY CHICK

DAU1Q GUETTA FCATUNNG AKON GUM ASTflAlAtRKSCAPITOL

6 S

PAPARAZZI

LA0TGA6A if,' 'i. • ■iM..Vt.CHERRyTnEE'HTERSCOPt

9 5

1 WILL BE HERE

TIESTO A SNEAKY SOUND SYSTEM ULTRA

7 14

THE SOUND OF MISSING YOU

AMEEfWH ROHtl'iNS

1« 4

RELEASE ME

AMtS t. m l-A^m ftOClY SIAR'llfM

4 4

RIGHT HERE

CAMKH NEECE »bAL MF

5 23

LET THE FEELINGS GO

AHNAORKE KT;ti:f:'.>

12 9

SWEET DREAMS

BEYOMCE '.^ll'..|i. WMiiO CULjUaiA

B 11

OBSESSED

MAMAM CAflET "'LA^O iDJWi

13 IS

1 GOTTA FEELING

THE BUCK ETEO MAS iNTiR'^CCPS

11 10

SHAME ON ME

Al£( Sffrz FEAniMC UWMOCC AUDUMSI PAK^NEXT PLAIItU

10 26

INFINITY 2008
GURU JOtM nWJCCT ULTRA

14 U

CELEBRATION

MADONNA ■-'.'.■.WM- t, bktls

IS 7

1 BELIEVE

IS 7

DOWN

i«r SEAN FUnjRM UL W«W tJI£H MWVUMfCiAL

17 3

KISS ME BACK

KtMSOiil l.'ll^i

BROKEN STRINGS

CARtFREE LIFT VL U =

19 10

BULLETPROOF

LA ROUX ^':;-y3nR ch-.rr-'tH'E imerecope

■nr

REPLAY

nU ri1,(T ii- MOrifY EiEiL'G;i HE liirs REPRISE

FIGHT FOR YOU

HORftAN P*6£%t(IAcH^

SMOKE

JUl JACK WnH FI& GARAin FEiOURMCI tMIMA FMUSI r/UtU

21 3

SAD SONG

■LAKE LEWIS ^ :':.<.'• i

a i

NOW YOU SEE IT (SHAKE THAT ASS)

WMOREBEl (tSIUHIfH; PITBULL * ;UMP SMJKEHS ■ LlWA

ta for week of OCTOBER 24, 2009 For chart reprints call 646.654.4633

ATOP TRADITIONAL
V JAZZ ALBUMS"

WW ARTIST

Ss S8 TITLE IMPRINT s ILMBEft DISTBIBtniNG LABEL
HIPM R| MICHAEL BUBLE

. , HARRY CONNICK. JR.

YOUR SOKliS '

WffM ELLA FITZGERALD

ImIIi^I ooloeii voices '

2 jj DIANA KRALL

T MICHAEL BUBLE

KrteLiii.lIT^ X"':'/. "'"tlTTjHWlOilfCC '"t

4 2^ MELODY GARDOT

MY ONF AND ONtT THRJIL ERVt 01 2563 'I'VG

■PH KEITH JARRETT

lailfl pons ia«DiM nsnMBfTi''<n"vir'.rf,tnf.x.':L;iLS(^':mi'

CDAU^ ClklATDA

e nn rMANlV oINAIMA
VINCE GUARALDI

f. FRANK SINATRA

■

" ^° ;£:.,-.•:';■■.:.,■..._■.!• .■.-■vaii.TrwjifflWWB

itei

■HM FRANK SINATRA

, y THE MANHATTAN TRANSFER
TW CHICK COREA SONGSOW f flu^ i.;;,,.m 1[ -

ELDAR

■■■■I VIRTUE V(A.ST1R/<rVt)>LJAJ7^&S0KVLU;%Tn'./' ' '

■MH ANOUAR BRAHEM

FRANK SINATRA

TOP TRADITIONAL
CLASSICAL ALBUMS

A
W

§i

ARTIST

TITLE If.H-Rl^i t IIIJMDLll |||SIRIB!JTINU t AflEl
Kl BOA F1£CX»MI HUSSAMEOGU HOBI

M KIC 3 FE.rWVi CatfBTI 4 But FV TBB F -
SAN RA'ICISCO sum. IKIVB. TUON THOMAS

tov- ,1 .1 , HHP

" 1
1

RENEE FLEMING

l/tHlSMO ' . ■ '- ^I'ilVlHSAL CLAa>SiICS tirtOUP

THE PRIESTS

THE PRtE^iTS 'M .J3969'S0TiV UIJSIC

JOSHUA BELL

PLACIDO DOMINGO

ANTONIO PAPPANO

VEftni UESSA DA REQUIEM " i . ir

GUSTAVO DUDAMEL

DUOAWi »Sr.OV[PlES

JANINE JANSEN

QUATUOn rBfNE!

JOYCE DIDONATO

fOSSINl COLBRRIi Ti« MUSE J'- 1 ;r.»: n.l:,rSEl.ii

ZUILL BAILEY SIMONE DINNERSTHIN

E7HNEN CCmfTEKmUFDflniMOAHODBUIIlM; ):.';!!

JOSHUA BELL

IKILfllMEFtUlitMaB H^vjx \ vy-.'^..i>\y:,-:'ri,^vt::

THE CiSTSTOAN MOWCS Of STIFT HEILlGBJKf€UZ

:hw wsc KB the EUl

YOLANDA KONOONASSIS

NEVER FAR AWAY H'LAflC

□

TOP CONTEMPORARY
JAZZ ALBUMS ~

ARTIST

TITLE 'MI'HIT.T .■. Nn-'. ' i " *

Kl GEORGE BENSON

JQOm SONCSANOSIOPiE^M.. II- . 1.- <. - '•

CHRIS BOTTr

CMRTSNOITI IN BOSTON CaUWIA38;»S0EftMJS»F •

PETER WHITE

GOOD DAY PEAK jlOnG CONCORH

■

4
6

NAJEE

MIND OVER M*mR HEADS UP 3ISG

BONEY JAMES

SEND ONE YDUR LOVE CONCORD SflSIB Eiii

KENNY G

SUPETT4TS . t;. iMir-MANP£lH3GRVAISS

THE SAX PACK

THE PACA IS BALA ■. i i. M 7^

BERNIE WILLIAMS

MOVING FORVIARD ■ I F' 1 F T 7 ROCK RIOGE

VANESSA WILLIAMS

THE PEA'. THIHG 'IF liFIFi FilalE,

fli

AL JARREAU

x.^itFTT ii-:.;:.i;i.-»fflaiw^iYE'«weiBt6siiii(HC

■ <<

BIOS

im 21 31

16 39

TOWER OF POWER

GREAT AMDNCHh SOULKNK TOAER CF PCMBt 30005

IMPR0MP2

IT IS WHAT IT IS . liFF'.TUFKPHEUS

THE nppveroNs RATumn miss REBUN

MDOEHN ART i i :ii ii^n

KENNY G

runCTi M BENT KIT HE Mr G A«KliGN:> r Ail F

PAUL TAYLOR

BIMBIM' PEAK 3l?S7'CONCI3nO

Atop classical
v crossover albums

ARTIST

TRIE ir/rnirir & vhmser / DtstniumQ LAKL
BfB JOSHUA BELL

c wmiwswaMsutromiwnnK

2 48

IL DIVO

THF mjMSi ':.VU1 COLUMBIA aaMtSONYMuBC ■♦■

3 19

DAVID GARRETT

(lAviuiiAmtn ' i-'.M VM-iWMaswaASSCSGBouP

•1 AS

ANDREA BOCELU

iNCANio ■■ I, '.- ■ ■ ■■■ nrcr/i +

6 8

MORMON TABERNACLE CHOIR

HBft CITtlST^US RL:S ' ' ■ '

7 31

SARAH BRIGHTMAN

SYWHONY IIYE Id VlfNIiA MA.M1f11 IWCMbUl lvl^ *

S 24

PAUL POTTS

PASiiOMt ■ II' 1 iir.'Hii 4r«JH Mm«' MUMC

CHARLIE BAGGETT

1 OWY OPfAM Of YOU ( in. !?liH

•

6 29

MORMON TABERNACLE CHOIR

cot. Mil Kum (I smtLtssmuiwi itit^tt^i aw mvi:

IS 29

SHARON ISBIN

9 20

ESCALA

ESCALA .'■f-OXOLUMBIA 474?3<-SONV MUSIC

12 75

JOSH GROBAN

AWAM irvE r.-ivimc-.! tr.'rf.=.'fi.\mi' i-^tny, .

13 42

MORMON TABERNACLE CHOffl

A JOYFUL NOISE

>«WlflSISWM)(>:i .'

10 16

NEAL E, BOYD

MY AMERICAN MUM. i-i i - :i-

SMOOTH JAZZ
SONGS'

Ki
O

2S TITLE

|b§ artist IUPRITIT PROAAOTION LABEL

, , Bl BRIGHT

IBS PETER WHITE PtAA CMC

,, TROPICAL RAIN

JESSY J . f

„ TALK OF THE TOWN
DAPflEH HAHN ,

,, LIVING IN HIGH DEFINITION

GEOPGE BENSON ■ I II H F'

~ GO FOR IT

BERNIE WILLIAMS ' FF FRM flFiFI« SIFIGF

.,. WHO WILL COMFORT ME

MdOOY (JARDOI ,1 iiv.

BURNIN

PAUL lAYLOn !■! .'-^ 1 l/i.

TIJUANA DANCE

HICKBHAUH M'.:- A'.LN Ii iPTISTTtY

,1, STEADY AS SHE GOES

WALTER BEASLEY -itU3 Ul"

MOVE ON UP

mCHAM ELLiCI • 'iFTaY

,g SWEET SUMMER NIGHTS

NAJEE

IF'

TOUCH

SONLY JAMES .i iHFIFCMG

,„ THE CIRCLE

PAUL HAROCASTLE ' HIPPIN N RMYlHBI

,5 BECAUSE OF YOU

ERIE DARIUS i . ■. . i: F-.' FQL

,g JUST FRIENDS

VANLSSA WILLIAMS. ILIG

TOP

WORLD ALBUMS'

ARTIST

TITLf IMPRINT ft NliMBCR F DISTRIBUTING LABEL

KIrodrigo y gabriela

HBH n:tl F<L'BYWUFIH.S 004D' ATO •

6
2

CELTIC THUNDER

ACT TWO F.| II. ii.lill IFH 01'f.Cif. llFf.LA

CELTIC THUNDER

TAKE ME NOME i i 1 F THUNDER OT30B7 DECCA

JESSE COOK

THE RUMBA FQUNOAIHJN COACH HOUSE 700? E T

THE VERY BEST

WRABBHBWTOf AflBCAGaFETttW f*"m. [Y.sm TrF'

r:.

VARIOUS ARTISTS

RAnCmmilCl SKSMMinfWU'EJFF "V.l.7i:--:i *

BEBEL GILBERTO

All IN M« .. ■ M YC

CELTIC WOMAN

Tic GAEAmT JBMfY ESIEVTHL EOUICm F V

RODRIGO Y GABRIELA

LIVE M JAMN a; j ."EFH •

BLK JKS

AFTER ROBOTS SECRETLY CANADIAN "ST*

THE IRISH TENORS

CHRISTMAS "'.F in \ 'H F ,F"> 1

THE BABf EINSTEH MUSIC BOK OflCHESTRA

BABYimSIEIN WORLD HUSK YJAI ' iNIVJI'ilUI

KOLOHE KAI

THIS IS THE LIFE rl -lUHA 1011

AMY HANAIALI'I

FRIENDS & FAMILY ■ - ^itSA

H-E«T1IT

BELA FLECK

IHROLV UOWTt YOUR HEART ROUNDER 6T0B34

Go to www.blllboard.biz for complete chart data i 49

BillbMril,

AIRPUT SALES OAT.

MONITORED BV COMPILED

nicKcii niclscti

BDS SoundSc

THIS

TITLE

tHllST I'.'i^'fllNT r PROUOTIOM LABEL)

KIloba

BffigSHANinit 'M": ';<');v 1

^£p^ ESCLAVO DE SUS BESOS

TE IRA MEJOR SIN Ml

MANOS AL AIRE

NtLLl' f unrnDO ■. 1 ■■AH.UNlVfHSAL MUSiC LAllVUj

SU VENENO

AMEKIUR* ■'■-.<■ . 1.' '.iUUi

. e

LO INTENTAMOS

(SPINOZA PA/ 1' M I. ; 1

LOOKING FOR PARADISE

Al-UANDnO SANi rUIURING AUCU KEYS iWAflMH LAHflAi

Ml CAMA HUELE A Tl

TITO 'EL BAMBINO' FEATUfllhG HOK I LEHHOK (SIENTE)

RECUERDAME

LA aUINTA ESTACIDX iO^JY UUSIC LAIIN)

TE VES FATAL

EL THDND QE MEXICO iKtnUVISAI

YA ES MUY TARDE

LA ARRDILADOU BANOA EL LMDH tOISA f OIMONSA)

SUFRE

LDS OAm YES DE LA SIEWU <ni1iAl

EL AMOR

TIIO -EL UAMBIHO- iltlENIE)

AD10S

JESSE \ 101 iWARMER LA1INA|

FELIZ

KAMY GAflCIA iM^'.V U;J5IC LATWl

NO ME OEJES DE AMAR

LAAPUfSIA 1 .-K( .-.1

1 GOTTA FEELING

THE BIACH ETEO PEAS <ISIERSCOPE|

GRACIAS A Tl

WISIN A YANOIl M.M li; It)

■

COMPRENDEME

GERMAN MONURO > 1 1 HlOVISA'MUStVISAk

Nl ROSAS Nl JUGUETES

I'AULINA HUBIO uJMVi RSAl- M;;5jC LATINO'.

CELOS

FAHNT LU i.'NIVEK^.rVL MulilL LAWHU)

LA GRANJA

lOS IICtlES DEL MORIE iKiPtOV'SAi

HAY OJITOS

IHTOCABU VI ii'i. ULtSiClATIiri

EL BORRACHO

GHIIPO WONT! 2 Iff CILIHANGO [H r' .

: 28

DEJAME ENTRAR

UAKAND . 1

AL DIABLO CON TU AMISTAD

EL CHAPO DE SIMALDA .

COMO VOLVER A SER FELIZ

LUIS ENRIQUE ■ ■ " -'

Ml COMPLEMENTO

lOS HUFIACANES OIL NOniE |DISA»

t»

TU DEFECTO

^•0

Y AHORA CUE?

LOS RIELEROS DEL HOHIE |H>NiJV1S&l

ERES TODO TODO

JULION klVknU V $U NOfilENO HANOA lAM. ,

DERECHO DE ANTIGUEOAD

lA OHIIilNAL SANDA El IIMON h < ", <',l-.'.

3«

LLLJEVE POR DENTRO

lUiSfOHSi ■■; M [ii.'

ME GUSTA ME GUSTA

im (urncs a qukjin SHuat iLNen-MsiAMuBQU. lASC iA)Mr<

MARIPOSA MIA

■

SENTIMIENTOS DE CARTON

DUEEO .III'.

TOCANDO FONDO

RICARDO AFUONA .'..'."IJLK lATINfti

CELEBRATION

MADOffX* i.\.'.i \i- iii^lj'j 1

ALMA EN PENA

LOS IHQUIETOS DEI NORTE «EAtiLt MUSilCl

ENCONTRE

COKJUNTO ATAROECFR illlSA ASL)

YO ME CONFIE

ANDRES MAHQUEl 'El MACQIT IDISA)

LA CALABAZA

LA AflROLLADOHA lAHOA U LMDH iDISAj

SENTIMIENTO

VICD C Ff AIURINC AHCAMiB. |EW lELEVISA)

[©

LOS PRIMOS

LDS MOnROS DEL NORTE rmSA.'ASL)

BARTENDER

ALtillS A tm :■( WUilC LAIISl

FIRE BURNING

SEAN KINGSTON ieiLU(iA rtEIGHIS EP<C*

SOLO TU

VALLW FEATumNG RAOUR (WARNER lATlHA^

HOTEL ROOM SERVICE

PITBUIL IMH ■.[:■: imu liHOUIiDS.J nMll)

■

CIAO BELLA

DON OMAR . Vi " Ml ■

Iso

EL PILOTO CANAVIS

LARRY HERNAHDEZ ■ 1 1 HIOVISA'MUSIVISA)

Dmd KstaTs -Esdiw Ik Sus tesos" Mds H
Ho. 2 on 1n|*il tt]ib«, Hit dBrft bel iMd k
MarlY two ynn. with 2 mitton audience wnpns-
SWE (up Hj%). Die mk ilu opm X Ho. U H
lUta Miflla Mlilif nl junps t-2 01 M liOi
Sonis (12J niHin ngnans, up (2%), ilieR
RsUlsseiKM«liiiMsnairilli).l.

l^l'-'ll

^TOP LATIN ALBUMS^

UST
WEEK
WEEKS
OH CHT

ARTIST

tllLE ilMPR'tJI . DlSIHIBUIiNtiLAatli

^PFhWV aupmtiira

uSSBBlH WUVtHeilAljlTT>3SItamWX_>'r.

1 rtQ Tlf^RFQ DPI KIORTP
UGRANJA ■ONUVIj'. Ur/.LE ♦

Wloir* ck THrtLICI.

lAREWOmCIOH -.''-I MJIE 01?W7UMLE +

MIPLAN'.H "■■i'.VjU .'.1 MiaCLATnOOISJta'lWE

■i

1
Ml

VARIOUS ARTISTS

1« KARCO CORniOOS HI )J. <t Tl,f OU>itSA b70Q37,1M£

■

TITO 'PI RAUIRIMn"

EL PAIROH ■:! : 1 . ■■■ 1 llWil-

■

CRiiPn KJirtNTP? np niiRAMRn

EL BORRACHO I'i. - ■ i ■ I

LUIS MIGUEL

■

■b

NO turn * 11 Hocnr clui mma ^MtAf^ i)twAs;iriiH

r-
10

YD MO CANTO PERO LO INTEHnHQS AaOGA T^Q^l.tAlE

PI TRHMO np Mpyipn

AlMAS GEMEIAS - '.n'.i'^A 353BD4'UMLE

OESOl LAPAIRIA EHVTVOfOKOVISAJS-IOM'UMIE *

VICO c

BAB1LLA .'■■■■ii;i:LA'* S.-l?U6 EMl ILlEVISA

JUAN GABRIEL

VICENTE FERNANDEZ

NECEStTO OE Tl SOHY UUSIC LAtlH bi2K

TERCER CIELO

LUIS FONSI

iwjWAsniL uiiNcnimi&M.i>acuniO0iitWMI f-

KANY GARCIA

BOIEIO OE EMTHADA m '.v MUSIC LATIN 4;M0

VARIOUS ARTISTS

LOSSOPEH UNOS I'L.A . nm UMlE

MARISELA

20 EIIIOS INMOHTALES IW ^.l-U

CONJUNTO ATARDECER

CONTIfiO PARA SICMPftt OIBA 7?1 307 UULE

MERCEDES SOSA M
CAHTDM DISCOS 60S »7SS.S0ftV UUSIC LAli\ nSE

TIERRA CALI

sifii :i 'ins ■ ■■ ■• ■ ■-•L rtiM) mjfWtJiU

CONJUNTO PRIMAVERA

JO AWIWEHSARIO EN VIVO 1 1 iV.r (. iVi76i'llMLE

LA QUINTA ESTACION

SINfBEHOS It;- Mil

DON CHETO

EL KIHt DE USTEDES - . - I M ■ .

LAURA PAUSINI

PHiMAWEHA ANTICIPADA LVA")jfc-' .AIIMAS16627

JOAN SEBASTIAN

Ptr^QiIO Ai CORAim MUSART 4;Da'BAlB0A

MAKANO

IE AMO r.r,r,;,'.M machITE 46D031-UMIE

DADDY YANKEE

rUiKTQ n URHO iSOMinuOt) n [M111,UUMTE»IEI1(U:

CONJUNTO PRIMAVERA

n s^v> riHu LA its-w. at us uiros i' rtxtj. &an«tHl

HECTOR ACOSTA

vpjHEtTi arjTii -■ ■ / ■:■ ■■ i .■"'.■■■■.-r -i'

UDS CBEtfOnC Ce WSIT : >JWC^ K AJPOO W«K
»«HiANDOEHLA«DA . :(i[ii : ; l.J |ii;_:

VARIOUS ARTISTS

DUMNCUEMSE 'IS 21MB Mli^A ;?t3DI.UMLt

UiUai ROCIO DURCAL
^-^^^14:1 oucTO ocas euacBCVsaprtusc LATH

VARIOUS ARTISTS
eANOA #1 S 1909 L'ISA J^ViO: LIM-.t

MANA

ARDt EL CIEIO /.MKNtt- ; 1 1 ... ! ;■ .

LOS INQUIETOS DEL NORTE

LUIS ENRIQUE

ciCLOS r-1 .rf'i- .-r-ic +

LA ARROLLADORA BANDA EL UMON

LOS TEMERARIOS BRONCO ICS BUKIS
iOMij«i«Kii 115 fluwifjtwai lima- ■i-.-. --

POLO URIAS Y SU MAQUINA NORTENA
SIGO SIEHDOEL MAESTRO -'L'.' Mi !;:.';.

LOS INQUIETOS DEL NORTE

LAQM . <■ : i •: •■■.•■■:A.yiei,u.nn:'6SMXAUi *

PATRULLA 61

CDEIOXM FWAIW LAS » EXCUBNAS USA 72949&1jWi

PANCHO BARRAZA

RICARDO ARJONA

570 PtSO ',',.ii"-NEt. .ATirtf. 516669

EL COYOTE Y SU BANDA TIERRA SANTA

LEWAHT* III VUEIO FrtN:>Vl5A 354I97 UULE

PAULINA RUBtO

C«AN UTV POP 1 r*MBSAL UISC LAIWO OlSOrbUMlE *

FLEX

I* EUOIUCIOH ROMANTIC STYlf [Ml . TVI' A f r 'lP

MARIACHI HERMANOS BARGIAS

CANTOS r ALABSNiAS : ■ r. ■■>;.'. - . ri.'. t

□

REGIONAL ■ A LATIN POP

MEXICAN ALBUMS ■V ALBUMS

s3§

ARTIST

MPniin oislniBiiKNG labeL)
LOS TIGRES DEL NORTE

FOUOVIS* 35<t921JMLE t

VARIOUS ARTISTS

fwm Bom a. aaco m wo 2009 nf^ 774 ' b7 .me
LARRY HERNANDEZ Q

TB NMICO CORniOOS '71 li !.\KrtCM>n WlKi:(.' LWt

GRUPO MONTEZ DE DURANGO

EL BOHRACHO II. ■ '. : • LIMLE

ESPINOZA PAZ

YT) NO U«TO fmO LO KTWtWWS ASLOSA 730761 LMf

8
8

10
11
12

EL TRONO DE MEXICO

AIMAS CEMEIAS ■ Inr.. H'jJBOJ UMLE

EL TRONO DE MEXICO

DESDt LAFAIHIfl EN VIVO i M.''.'' .- ^S-HJBft'UWLt ■*
VICENTE FERNANDEZ

NECESno DE II ■. ■'.- : . i; ■

VARIOUS ARTISTS

lOS SUPER UNO'S I' 'll.:'

CONJUNTO ATARDECER

C0NT1C0 HARA SIEMPRE 'I'^.A \ 1 -.I)." lJU

TIERRA CALI

SHU 'I v»s r-.r.T t. M

llLAIM}l!><110UULl

CONJUNTO PRIMAVERA
MANiutRSARiD EN VtVO (OWMSA 3Ure&'VML£ t«

DON CHETO

El KTME OE USTtOES PUTiriO 8832

JOAN SEBASTIAN

PEGADirO «L LDDAZON i; ^'.^<' 4209 8A1.S0A

CONJUNTO PRIMAVERA

wnxenBrntimmiaBsxiiimxumf!

AVANZAMO ER LA VIM tJNCOS OISA 77 i:'.S7 UMLE

VARIOUS ARTISTS

OUHAHIiiJFn^F Bi s 7no^ IS.A 721M1/OMiE

VARIOUS ARTISTS

BANDA WIS 7DH ' r I H.r t

LOS INQUIETOS DEL NORTE

LlUtWOCU ... . '^iWlAi ^'

LA ARROLLADORA BANOA EL UMON
COUCaOH PnVADA LAS 7D EXLXBIUAS 7?»%LUU

"If

1 18

ARTIST

rillE ilUPRINI . lllSrRlblUIING LABEL!

KIaventuba

BQS IKE LAST (TtHUM LAm nHXt^OM MOBC LAIN

HECTOR ACOSTA

5J«\iwni inini ij ..,iiwjx.(i».i>iL.U7jLi>mi*M-.AU

LUIS ENRIQUE

CICLOS III.' ' I'l^ H'MU ♦

■

VARIOUS ARTISTS

IMMTJCMWKCIlOICJBRMLANmOAXBIOXNOASCUItN

VARIOUS ARTISTS

SUPfH 1 S IBEGA HnS MACHETE 013t4ftUMLE

VARIOUS ARTISTS

30 THOF^CALES OE ATER HOT T SIEBtFRE VINA 610

OMEGA

ELDUEFWOa FlOWt' .'7.[ I tir .-. r;. MljSlC LATH

VARIOUS ARTISTS

JJUCMAUS ItbACIIAS 'rJrUjBCLiTN

■

GILBERTO SANTA ROSA

■

VARIOUS ARTISTS

FIESTALATIHA III'.' ' iiH' 7733 SOFFTl^UStC UTIN

VARIOUS ARTISTS

BACIUFA re AMOR VOL 4 J A >J b034aliafT MUSC LAIW

VARIOUS ARTISTS

BACHATA*1S «0L I M'.CMfTE On705'UML£

VARIOUS ARTISTS

MARIO ORTIZ ALL STAR BAND

iniBUIO tS ANlVFRSaHIO '71, ^TL'OSCrTT MUSC LA31N

ZACARIAS FERREIRA

TE DE30 IIBFIL i 7. 'i ' '. . r7U&IC LATIN

19 8

VARIOUS ARTISTS

LCfiM{JVISKLAUl.U7nH '> MOlKBilFSCKlMjSCLATM

■

VARIOUS ARTISTS

iLUMHinnM nc vihitsuhu it N«3i')tM*tABCiAni

VARIOUS ARTISTS

BACHATA ROMAHTICA I S '.ULHEIE 017SS6'tiMLE

VARIOUS ARTISTS

imMUmil lAWMTAlDnu •> L HU mil ,.'!' U ir L' lh

SS ARTIST

SS TITLE .iMPHlFJT ^IStRlBHIING LABEL)

4 KM NELLY FURTADO

*■ '*Aii 't. I .^.1 .... wacLATHoaigiwMt

, LUIS MIGUEL

JUAN GABRIEL

Mi CANCKMIS MX AIWU» I '

TERCER CIELO

LUIS FONSI
PWAHRAS ML SA-EHOC UNWRSAL MJSC LAllHQiUai

KANY GARCIA

BOLETO OE EHTRADA SONY MUSK LATIN <7M0

MARISELA

70 CXITOS INMOHTALES .1

MERCEDES SOSA

CANTDRA n- .

LA QUINTA ESTACION

Sl« FHENOS ■/ N'f r.HI;.IC LtlH.

LAURA PAUSINI

PRIMAVERA AHTICIfAOA AAHNtH LATlliA S16aL';

ROCIO DURCAL

DUnO lll^niS EO^ =.fi808iSONV MUSIC LATIN

MANA

ARDE EL CIELO 'fJM

RICARDO ARJONA

5T0 PISO Vi'.H-A-i

PAULINA RUBIO

CFWNUrrTOP ■■'i.ii- .ii ..L ..AlHOOl3075iUm'f>_

VARIOUS ARTISTS

SUPEH I'S ij', VIU^K: lAIIHO D1g36li'UMLE

MARISELA

70 EXITOS INMOnTALES VI

. 2 IM 6615

RICARDO ARJONA

JESSE & JOY

ELECTniCIOAO .\ .'■ i-.il' lU MIW ■i?13?0

ALEJANDRO FERNANDEZ

PANDA

I POETICS MOVIC OeZOBi'EMI lElEVISA

Bg 1= ARTIST

3» SS TITLE IMPHINT DISTKIBUIING LAB!

EDjw

MMy lA

WISIN & YANDEL

HIVOIUCION rt-F '.l'irHEirfll?9fi7.-UMLE'*

TITO "EL BAMBINO"
EL PATRON .i.TI - . Iil7,^

VICO c

10 BABILLA CARIBBEAN B4M6.'EMI TELEVL&A

MAKANO

TE AMO ".njAl.lfl r7.\rilETE 46fl03I 'UMLE

5, DADDY YANKEE

Mtmn <x wwtj isnAonwoo Ii lAfna.MKMit amTOLMl

„ FLEX

LA ETOLUCION ROMANTIC STTLE EMI lElEVlSA 6J9I7

DON OMAR

lOBN r7-.l Mi ■( l''17Kf7 OMLE

ALEXIS & FIDO

DOWN FD EARIH .'IV UUSIC LATIN 43561

VARIOUS ARTISTS

LATIN UHBAM KINGI MftCMtU 317319 UMLE

,g WISIN & YANOEL

LL UUUUC LA IVISIUnlA'IkL^ill 1l7r>«7>UK' MlblLLAIUI

■1

„ DJ NESTY

MTU * 'NCtL nXlBnill LAWnTMUXTMHiwaCTl DITTTA'AAi

KINTO SOL

CANCEL DE SUENOS '.'l«US MACHtlE OIJTIF UMLE

. MAGNATE S VALENTINO

OUIMICA MBftCTA F7ACHE1F OI3176'UMl£

„ FRANCO EL GORILA

WELCOME TO THE JUNGLE '7/T TA4CI€TE DI2B4S'UNt£

CALLE 13

LOL Df aiUS VKMM CaNMMO UIAIF JMll'&WT MJiC lAFI*

EDDY LOVER

ITN3WUNI 1 r.\»MLU< It ILLiMKM MJXLAIt4] «a71tAAl

TEMPO

FREE TtMPO FREE mtPO BOIOaSONY MUSt LATIN *

„ RKM <i KEN-Y

THE R0TALTY7U REAUa PBifcMACHETE 01?a?2U«»E

YOMO

Mr DESTINT BLACA F-LARL 7360

ARCANGEL

EL EENOMEHO MAS FlOW HACHEIE ITOOZaUMLE

Mcjndto {MI'S -Unlitig loi Piniise"
iHiK SS-9 on UUn Hiyttn Mrilav 0.6
nlUoii kapEtssiciis, up U7K) to beam
his secmd log n We on Hw diait The
iiKi9Ked rtiYthnik rotation also propels tlie
Alda lers asslsted Kadi 9-1 on Hot 1^
Songs (9.3 niSon, up Zi%).

BETWEEN THE BULLETS

THE PHILOSOPHER HAS RETURNED

After a four-year hiatus. Vico C returns to the charts with his latest
set, "Babilla," debuting at No. 1 3 on Top Latin Albums. It's his eighth
title on the chart, and fifth top 20, since -Aquel Que Habia Muerto'
p>eaked at No. 8 in the Dec. 26. 1998. issue. The pioneering Latin rap-
per was the first solo rhythmic artist to chart in the top 20 on Top
Latin Albums, years before the genre's emergence and transition
into the mainstream. — Rauly Ramirez

50 1 Go to www.billboard.biz for complete chart data

Data for week of OCTOBER 24, 2009 I CHARTS LEGEND on Page

Billboard

P JAPAN ■

UNITED KINGDOM

fTWOFftCIW

UKCHMncoi oaoMiiil.ttDf

mim coHTMii KiouA 13. mt

J. ITS ALL TOO MUCH

OOPSY DAISY

ClIinHUMl .

PAPARAZZI

J STonv

FOREVER IS OVEn

THE WIUHa«TS -«CIWIIW«LTDM

SEXY CHICK

otm ouETu n. WM ctMtvvtsiN

, r 1 WANT TO KNOW WHAT LOVE IS

MKHUM UfHT ISLUIO

EMPIRE STATE OF MMO

Ml • JUfCMHtrsfiociuTioii

IF A SONG COULO GET ME VOU
MJUUT LUSU VIRGIN

^. SAYONAFIA BABY

CHICAGO PDDOU .!.'!. MunilJ

BREAK voUR HEART

UID CFtUZ ■■ " ■ !■

PUSSY

MMMs^tm uKiv efts*;

, SHUNKASHUTOU

* MIlCRMYMf

SEXY CHICK

DAVID GunilK MON .

RELEASE ME

,g HOUSE ON A HILL

SWCET DISPOSITION

IHt UWEK rflAP l'.-fi:tlOu;T

HEAVY CROSS

MEU, HANSEfKI SHONEN
UHlCDfW- .11.

SHE WOLF

SHAKiH* W,- : HIV r-"i"

sue WOLF

SKA. m ■■ MUSIC L"'N EPIC

,0 FUrURAaU

1 GOTTA FEELING

IHt BIAO £T[0 PtAi Mli...i.:i

1 GOTTA FEELING

THE ILACX E1ED PUS INTEflSCOK

-t^ NIJI

■''^ ruiu . ■ ■■ a CO

HOTEL ROOM SERVICE

PlTBUtL ,!■ ■,

CELEBRATION

MADONNA - < ■

EStFOHE 1 OECAV

i>tt liwiT L <mc

RUN THIS TOWN

JAY-I HIMJUHH* » KATMi Wlil ■ r.

HEW

WE WEREN'T BORN TO FOLLOW

O CANADA

BILLBOARD CANADIAN HOT 100

^AUSTRALIA

SINGLES

i ii

(SKPiWTn-UIC) OCfDWil 1] not

§i

iMtLinWMOMDKMI ocnwiiiiiN

lAMA) OCTOMmi.mi

•ew

JAIUERAIS TELLEHENT
JEHA lEI UlP:'! '-<'

BflimfV STfARS -iNt MJSu:

SEXY CHICK

OAVIOGUfllA FT AIDN jLV im\U

■

LADY MELODY
KM HMtHGWAWV A.'

SEXY CHICK

OAV'3 GLKnA FT. AKIM &itM'VmG»<l'EMI

MEET ME HALFWAY

TMl '.AtH L'[[l I'tAS .-'jCaW

SEXY CHICK

DAWS 9UaU H KOK SUW.YiHGIh

□OWN

LIKE IT LIKE THAT
OlfT SEMSTIM SDNV Ml'^'Z

■

1 OOnA FCEIMQ

mc lucii tvn pus miEnscoPE

1 GOTTA FEELINL.
THE «UCI lYID PtAi

1 GOTTA FEELINO

THE SLACK EtEOCfAS ■ ■

COMME OES ENPANTS

COEUROEnRATEBARlrLAv

PARTY IN THE U.S.A.

MtLET i:rHus 1' .Lvwuaa'UMivmbAL

EVACUATE THE DANCEFLOOR

CASCAo* '.^:l.:[flRA[*Il^l^■*ATft

CHA CHING

HfDlE' . .f: -.l

THE LAST DAY ON EARTH
UTt mLLEH-HCIOKI SOV' UJSIC

HUSH HUSH

tut PUESrtAI DOLU 'HTEBSCOPt

V^HATCHA SAY

iASON UINLJIO 1 .UUA l4L>SHl£'WMIII<l

1 KNOW VOU WANT ME (CAU£ OCHO)

ntBuiL

CELEBRATION
MAUOHKA .■. "Ni^r - HOG

VOU BELONO WITH MC

GOOD GIRLS 00 BAD

•

O8SE5SE0

EVACUATE THE DANCEFLOOR
CASCAUA 'i; 1 ■,

RUN THIS TOWN

iAV ! niKAHNA t NATKE WEST ROC HADDN

LASSE-TOI ALLER BEB£

CHLICTir METISSE Ulii'.I^SAl

ONE LESS LONELY GIRL

BEFORE THE WORST
IW ICNTT PXONOGENIC'RCA

L-AMORE SI ODIA

MUM SON'' WUSIC

■

PAPARAZZI

iji»yaibrM£uu£MMj^ucw:HLti'n«xiyi

LOSA'SHE WOLF
IHAOW BOKV HUSK UtWEPKI

■

WAMT

IWnLJIHIMUOtUU>M«A<A'AVrE LlIESUWfl

ESTHAHEl A PARTine DA lEM

AUSUHOM AManOlO EPK

■

CELEBRATION
HMMU WAitNED BROS

•

HEAVY CROSS

rME GOSStf '.■ I.'.

CON LA MUSICA ALLA RADIO
UUWPAUUNI AILilM'iO

^!UJ!N:IIJ.'I.M

§i

(KBA ciunrs m onou r i him

NEW

KON IK MAAR EVEN BU JE ZJtN

■

Ml ROWSU (TUINTJE IN UtJN HART)

QAMAPU :

ENGEL SCHWEIOEN

N}HN( UMIMITEO M ..r

■

GEEN WOOROEN
FOAM RAUFR I

HAMASEI

ANOUK

ran aim OR WMH OMO

TIE8T0

UimOKOn MUSICAL FREEDOM

^«

JANINE JANSEN
lEltWlVlNtfllllEll HCCA

TINA TURNER
TlllAf Ctf.-^Ol

NIW

BACKSTREET BOYS
THIS a Ut iLt

lia SPAIN 1

—

SINOLES -1

IPNMUUUCItESUI OCTOBER 14, ItM

, ESCLAVO DE SUS BESOS

' tUtVIOIttUtVALE

1 KNOW VOU WANT ME (CAU£ OCHO)
HTUU UIRA

1 GOTTA FEEUNO

n« HACK fTED ftXt HITERSCOPE

LOBA

SHMIIU SOMVMUSK; LAtll. tPli:

HALO

MTMCE MUSIC WOnLD.'COLUMBIA

RECUCROAHE

U OUIHTA ESTAOOH ^OrfC MIISK)

LOOKING FOR PARAOisE

ILEMKM ma FT ALICU OVt WAFVCfl BROS

QUE NAOIE

MUUEl CAIWICO WD COM MAUJ VALt

WHEN LOVE TAKES OVER

MANOS AL AIRE

NBIT RPnWO 'fcSmLM(BBA. M£i: t/mj

§i

lAUSTBIiUm'

KimMTDfMt aclOBINl? m«

SEXY CHICK

[lAVID ttJEnA FT AKW i.UM V Si, 'i

IF A SONO COULD aCT Ml VOU

MARIT lARSIN .'- 'iir,'

PAPARAZZI

■

WE WEREFiT BOFIN TO FOLLOV*
ION JOVI ■: ■ •

I OOTTA FEELING

THE auKA tno nu ■ntnL--.ijf't

UDO JURGENS

THE MSI Of 1 ,r i '.■

KASTELRUTHER SPAT2EN
(Ih IREJI UHD FINE FIOSE Ki '

]

MICHAEL JACKSON
AiNG IX FW -CGACf

SEUINO ROSSI

OH LIEm tlllBI \t. .(HSAl

■

DAVID GUETTA
OHE ISrt .,; M . ^L.lt|

PORTUGAL

l"M) OCTOKRIi aM

, HOJE

' MIAIM HOJi LA rOLIE ftECOflOS

— ^ TOKIO HOTEL

HUMMKM ISLAND

KCW

AUALIA
AMALU IPL'''

' "4

MADONNA

CELEIMTUN IVADMER BROS

SOUNDTRACK

•

THE LEGENDARY TK3ERHAN

FOHIIM Uf TFiaNDME

DIANA KRALL
QUIET MSHTl VERVE

•

PEARL JAM

MCHVBCEn M[)NKCVRCHC<li1$LAm

, ^ PAULO GONZO
' PfBFIl ^CvUURIA

™, CECILIA BARTOLI

SACIWICIUM DftCA

3»

IVmOEWSflAKGNOnWATI OnOMR 11 not

NEW

TONTARFiA
KFKT ■■

TALK TO THE HAND

tHKtti itt ii<ii,-iiin,'iOHNiin AUMO

1 GOTTA FEELINO

THE RlACl mofCUINIERSCOPt

SEXY CHICK

CATCI GUEITA FT MUM GUM'VinBFH

AMBITIONS
DOMHTBm i'.i-irjtfl

SIVERT HOYEU
mOH [AMOIMi HICTOH

new

KISS

SnW)CBDOIt- .IvJ^OAnRUNNER

MARK KNOPFLER

GET lUWf .■ "■I;jr.i

■1

MADONNA

MELODY GAROOT
U< OME AIOI aM.t IMtllL '

EUROPEAN

HOT100

ocmntAioBi

SEXY CHICK

DiAVID GUETTA FT UOM dUM

"'t

1 GOTTA FEEUNO

THE BLACt EnOKAS "ilEHSCO'-f

PAPARAZZI

UUTT Ota vttt^UAKVMM.oeP'mtRSISDTl

CELEBRATION

MADUHHA AJ'tri'H BHQS

SHE WOLF

SMAA'SiA : V Tili: LA'iHim;

new

OOPSV DAISY
CrtlPMIJNt .

NEW

JAIF/EHAIS TELLEMEHT

PUSSY

MEW

FOREVER IS OVER

iHf wfunoATS Vi I'linl'ui'

EVACUATE THE DANCEFLOOR

LADV MELODY

CMPIRC STATE OF MIND
JAi ; ■ ALICIA 1' Hi: KATION

IF A SONG COULO GET ME YOU
NAWT lARSEM '. 'II.,'!

RELEASE ME

ACHES' "'■ .■<>■'■: .: 1 MAI ULUt.AAI*

BREAK YOUR HEART

lAtO CRUI Wl ■• I't^'UltilC

HEAVY CROSS

iH( GOSSIP ■ .. ; ;

WHEN LOVE TAKES OVER

OAVID GUrTTA FT lEllTFIDLAHO , IV VIP[iirj

HOTEL ROOM SERVICE

PITBULL ■■ 1 1,

1 KNOW YOU WAMT ME (CALLE OCHO)

MUSH HUSH

TH£ PiilSvtAT OMLS II.TERECOPE

to DIGITAL

^NiiistM saumiscAH

IHIENNATIOMLI OCTDBEH Z«

NEW

TONTARNA

HEW

TALK TO THE HAND

CHRIS HE '

1 GOTTA FEELING
TMf BIACl fIfOPfAS

SEXY BITCH

DAUD GUETTA FfAruWMCAAOM '^lM . nijI',

AMBITIONS

GOMKErBQT i\AaNifl

SOMETIMES

DOWKErSOY -/.imi^

RUN THIS TOWN

JAr L RIHAMA A KAMTE WtST RDC HATJDM

WHEN LOVE TAKES OVER

MviD euETTA n KEUV nowJiMD tjuu.vioam

NEW

AWAKE

OaMKETBBT W A^KH

EVACUATE THE DANCEFLOOR

mcwM rcip.AKP itPBALijTinN aativ

EURO 'M
DIGnALSONGS

Siiifef/songwrfl^r J«aa lee
stoniK HI il Ho. I on the Ffam
Si^ (tart wilt) twrdebifi
inck, "iaimenit Tettemetil."

ItFPlMilSEM

HWRFTWG REHAfini OCTOKH 11 IBBI

RABE UNDER VAND

THE SPELL

AllMABEAI [■! ■ • ■ ■,lh

GLAD IGEN

RASMUS SEEUCH 1 H T Oi^ E

MY WAY

1D0 OAGE

IHOIUS HaMCFI liKnM!i'i.fIiS;!).V 'J:\\i

DIVERSE
tt«:PMHMIvEnSAL

RASMUS SEEBACH

IIAiMM lEEUCH ARIPFOTt E

MADONNA

CflEBRAIlOM ■! MOS

MACTENS KORRIDORER

HtlAN Aill

RAVONETTES

11 Aha DOT 0) CONtHOl rSIVl«^i>L

IHIEISEM SDUNOSCM

tNIEHUlATIDHAll OCTMBI H. tM»

OOPSY DAISY

CHIPMUH JiUt

SEXY BITCH

DAVID BUETTA FCAJWUM AltOM GUUiMRGA

MEW

BODIES

NOUIE WUlAMt CHnYSALIS

1 GOTTA FEELINO

m tlMX EYED PEAS INTERSniPC

MEW

BAD BOYS

ALEIAHOlU BUm FUTUIWie FLO HR SVCO

SHE WOLF

■HAIIRA f-HNv Ml!>i:: LAIIMEP1C

EMPIRE STATE OF MIND

MT-t 1 ALJOA Ktn a'K hAIIOM

BREAK YOUF? HEART
TAIO CIIUI ', .

MEW

FOREVER IS OVER

THE UIUTOAVS l>:.Z\'i'-'"3U POLVNR

10
11
12

9
10

HOTEL ROOM SERVICE
PtTWU MH. jns --"nLn r,f(r,iNDS.'j

PAPARAZZI

lAirrwA " '

SWEET DISPOSITON
THE nilPfR TRAP iNfiCUC'JS

RUN THIS TOWN

m I MMMIA t KAim WEST ROC NATION

MILUON DOLLAR BlU
MWFTNfT MUST ON ARISTA

CELEBRATION
MAMMU WARNER BROS

EUROPEAN
ALBUMS

DCIOBn 14, MM

MADONNA

CELtWAIIIW \\\-\ ;ni.H,

; *

TOKIO HOTEL

HUAUNOID < ' S '<

MUSE

tm KtSISIAHCI 'IL "(lII ■' ■ ■. ■!

BARSRA STREISAND

lOVE IS THE AnSWIR , iMf.

KISS

HEW

iOHIC MOW '

MIKA

M BCT WW) ■«* TOOAWCH I'^-Lt.Ut.V.LVfl

PARAMORE

BRAND HEW ETU lUEUO IV MMEN

MARK KNOPFLER

StI LLfCAT , .

DAVID GUETTA

ONE LOVE .: "' ■.!l-;:tN

PEARL JAM

BAt«SPAC(R '.' -( Still

NEW

BACKSTREET BOYS

twi IS us ' ■,! . ,

NEW

SCOOTER

UMOIR IHE MHAB (IVffl TMf TOP S>IEFT|[LD

WHETNEY HOUSTON
I100> TO fOU ARISTA

NENA

UUK N (XRHAHY ».rji «, PEAS ENTenAMCNT

THE BLACK CYED PCAS

tHEEJI.O 1Uc..i:ut't

EUROPEAN

AIRPLAY

ocT0Kiiit.2iaa

1 GOTTA FEELING

THE BLAa EVES PfAt INTf RSCOPE

SEXY CHICK

DAW GumA n. AIM JUV vil'^ilM

BODIES

ROHH nLIAttI CHRYSALIS

WHEN LOVE TAKES OVER

HAviD TtLiiTTA n KELAT RouM Guuimm

PAPARAZZI

; 8

RELEASE ME

AIMS COPEKHAGEIt'l UAT BUIE'AATW

WE ARE GOLDEN

SHE WOLF

tHAAHU SON' WJSIC LAIWifPtC

CELEBRATION

MABDWIA^^ri'ihrn gnoS

F"K YOU

UlLTALllli 'Il '■■■■I [AHlOPHWt

HOTEL ROOM SERVICE

PITSUU MR III' " II "luii'ii.'li^i.J

SWEET [>REAMS

BETONCE MUiJC WOHlD CIXUMBIA

AYO TECHNOLOGY
MHDW 1 1 . .'.1' '.

1 KNOW YOU WANT Fi^E (CALLE OCHO)

PITHJH

1 WANT TO KNOW WHAT LOVE IS

MARIAM CAfirr ISLAND

ita for week of OCTOBER 24. 2009 I For chart reprlntx call 646.654.4633

Go to wwvtr.billboard.biz for complete chart data

Cni

120091

NilUtBM

■icjMptaOineDog

^ mUm,

In, SiUMral Use Puiw^^

CONSOEtt W OOW v. .ii>1 t UdIC.
A*^/;'.: ! ■■ ,Ti . • I'Mi'Mmcf'l^Un;

fifi . ; ! '.■ ' ;r5 H10a86
COUKIRYRXKSILIVW UlUDI j[U SKnwtrt
i( yAi>^i('> :;.»^,Urtaifl#iWir(j,

iniSttecwr ^

YDU 1 ET . 1 .1 The LiS Mn SttKlrq,

'■ - teKtMwgCoip.SMI

,Jrib7lNMSCU'/IUM

>S8I

M'Big Uud euda. EMI, Htmk CS ?

aoutHiK.eM'Bi
Hin35

a WNR [Tito B FMon njUtfiirii. AEOV^ It 1 3

BW IT IK (SO (M Miw fUtahn ASCAPAJnm
ai Mine CMorftxi *SC>(^ Dldai^

lLf» LlT ASCtf^ ki The (kwd FUtetav

*SCtfi,H.HiDoaa.RaH lo

BHffEIBRWiMBVF^

MflKJrc. BIMM IM MSK fUWing. BMl.

toil Ite Ire . flSM^SOr

.AStMffuiMt>^E>KAa3iipytt,Hioo3Er
iBTi em MD om uc. eMQ« ewiM^

MfiCjc . eiWkwia Use he . BMIS^ uac^

op. wmu£yin^X_-- .

BETin UK IT (H ftnlidCRS. ASDIf>M
fleOMnlUtsc he SMMttqKKMsniqaW)

CGMENITiAnOR :

^ mwyimcDU

lilTOrAtAFaaU

ASCWNnim Nnn Mitt niipW, 6C^^

ihrtiiiScre

mi.HLHIODZX

CANT HMIOLY WAIT '-.t-j runiniit. S^TicUi

■ .1 ■,iW5Cijwc.J>SCtf'|fl9t'

CJUn UWE IMTWHJT TOU (I M 1^ Mi£K PKasn
Q ASUP.Uywul Use - Mce So

DEJMC BITIUR flJ-mf^ Vh-a: MC8 Sor^.

ftsyr.i-;'-

OERCCHO OE AHDGUEMD U.riid IX
DIDtrT ¥DU KltOW HOW MUCH r UWHI YDU .

NAKYTHMG .:tbwPioduci(Rs.

001 - ■ ' ■ ■ ■ -.■ ^AiicCorpcrtWn.
jr. .. . I ...r|ijji^i I'WMmi^intrtine

hMl'. wWix) Use. BMh. WBU CS ». HI)
OONT Vm :>-ai(rn Hl^TinMMHO) »

ooin siDP Banir iWM m MgmiM.

BIM^ey eoJcwd Mac BMpifiM. K100%
OWN iBuds MuGK injS^^ PUr

Hai bF A UR iOdm CU) hMGhng BMW

sfyo wbm.hioCm

^«lOHn^EHB^n•l^AIVlw^^a^lwaC«»-

riWAivi ...

HiiiTDirr IN iKt MMlNG iCate WMno,

., -.J.-- I ■. ■■. .ro!lWHie,*SC#TK20
HOMCT TONK STOMP ;S4fV'A1V Mc lUMini) Con
»». eWSmUtf MAC BMVSinMe On Uus>C
mMm Mm. UC. t/UKMOm CORiVXl
BWMvEic a.S«0) tbK BWeott^i SotqAl ^

rffUmiMrMSKlHncriwn^^
wasil, IK, aClitaDBiii DmBMCUkn
Ur bfMhtnct hjtMv« nlKH^

GBO <QM la HiSIC. EKWDi eUMDSd Mac. kc.
'lA^lnW aitty MuHX BMhBI Ml Mac Ik .

^"'TlilSStw'*"^

" — =!.:» -3 nQjeiAflc

jgUse-MllItt

iNv Ail lamn lunMnii WK ^

IMinn In V SoLnd Kii&wi ASCWQul Hv-
rnorp Hane lUAshiu iCCAf^SkuB Co , IIT .
WW .(M Airt Itoctic . ASCAPl, HL-WU HBH
46

BES Tm TDDO (Unnn UoK ncitf*n.

mi-j .11

ESOAVODESUSBCSOS nvfrnlUoa K.

ini lUe SimlK. ASUiniinakic He,

lK.,EM<llbmbiwtn(UldwvCc*p BU)
iiyWU.HiD052.RBH1B

HI mnmpmatUoK. nMAm

MASCilMNalnrr^^

imCMBSlimNuK^XSfC--

lenrakc,MMir^^

Itak; K. BWU h^nfc PUilAn Biktd
Rhw litoc Co. M44eadptant JuriKP^
A5I»^ Apnl MBC inc . ASWVSaa; PM

HlttlUIU

'^•W»M«c.B*B(nrt«V

■■u4atiliPubl«ralnc.

' .lC.M),HUWM.nHl3

JLtST CAR YDU MINE ^drtBmMSC. MC.

HFTHN .L'-r. ir.' IiH H,i.i-.(ino[:wn

mEBUNNG'Sm'^ri'SanDiUC BMfMtvPio-

ilursii=;lC EMSsin lOicwi f\elMiro OBOife
IMLHi 1146

nB HOD (Mm vagi hm teoHh ntdsrwa

ASCjlP).HJWBM, HIQO 9

MHWiiaMHWaB
lUMIU (1±Bq1 Rnlxtoim ASUPrSinik'AIV Vm
lie ASCMMiw m UC Bbdaood Ujsic,
ta. BMifl» QrFmtfc WihnB K . GM^
Mnwy lUMm he. n««Mff*Hnn Puorr.
irqCop . eM'SnOT 9^ Use 8Mt6c^

FRESH i>mtt^7M;Muikni)ltfinLASC>f-,Ki)(1'
iitk.-ni HfAfntrttnnctlAacBHjSuciAdiMisc

HWmuS^ BlKtonod h:.. BWPrt Irsdt

Mflr* Slip Htti: KC»mamv
ua ASCSfvai j^l »c . JlSCAPv

[)nigm. BWSnxE a Uni«al he , Oyui

ASCAmMo^HAisiC-fWeStli

m niK [UliMrn. BMl. HAIlBM. FW «

rrs MY UFE , CONFISSWMS PIWT 1 1 .

U UUIBAU /Arm Utac*. UC, BW U 42

LA LA LA \f'j], ^ AS&in HIDQ64

LAST CHWU -AS lAoc Cont- ASCM^Smb h

iV Linu MORE COJNTKY IHA.M \m

inPiiUsnrnC(rp,eMltaacuiFkxrUisc BMi)

OLJTSIDE MT WWDOW I \'n n Gano 1} Uu Uk
■- . . 'tyC**!! MWC he,

ASU^.IA CMC WaK, ASCtfl. tt. K 30

UMITlKCnrainHge

CdmM

ifilL

IflWAmRI'MGDME ' . -- 'iiix BMODl|iiy«

I AscApT ti/iiaua

UIVE COME OOWH INOI L£_^ . —

UM LIVES OH ^omMnrCieesli

iaiui((nii4

MAFWDSA MM i^HMmL Msca. eWWd ^ u
~" ' ■ -| HAK, iBcTfilt . "

RUNAWAY jlUBAid PKln HSL ASCVAxtwcp

v -rr ASC«WW.CSICtm«7S
IM ne TOmW'WI Ufiit K. ASU^

In: _ BW W S&ClMgd ItoC Iv . eWN) I D

HiK UC n«BnBn& AMniSi MOB. auy

MffiaomCBIlfMHI

Mir.c UC A9yp/*taiOin«Otglteic.«Ctf«
Yr^hMroj :ic.»MMi8uaraMi«ASCtfi"

Nidicy TO BiMt Mom hw MuK

ijbnr. f>Jitii(tn lie. WWmi'amitanB Hucn
iTBCcrp.EMl'iSwiainnB ■'^^^'*-

Coin iSCVlfltWrthlltL _.

IJiim y^c Hl/MUH1GOI00:RBH35
WOLAlWlCaBiir^

SBNnMeKnibHInatoMjKFUA^ A5CV)LT

B11>TH!(WlM»*72

OHC iRKdvniiSMC he. BHIUnMal

IMIMcCop..
SESACtatrrtMt

KjBCAftflBhli '

BOmonMontiUBC^^
ISCV/W Uaic btTuCAnWBM IM>

sSm^HMW TO tOK >Be«ftMXd

;j 'n- '.V..- V H-M|MiO07e

300ICR on uniFi <ii-.:ii!W«trrcBmKisi:.

imC(ic,8MlSSF».'»JV

EUl IM «A UfMhc ASCVfdioofaMo
CKOt inBMM »maiM Misnn} sf^

Kia)99

wo ■uajqmopmm newwa mfm

CiDSE TO tOU "'■ ' / ,. .■ -AI.PBHJfl
COI«WOLWflASEHFtLU ■. ■

52 1 Go to www.biilboard.biz for complete chart data

0 BU iBIaa Baa Mac, ASQ«>,«yi
'iVt^r. iK.ASCAMioitoMWm

Knjm ^t:h.-vQ fJ/W WOO 32

OOTTA en IT >Bm Use aikfMi eUctaood Use

ix -t H6H?3
" J^-'iATltLUMKjfUtsta K.ASCW.WFUj

WVB«0[h

SWEAT rrwr^.v

TE VES FAIHL < Fcrorxnc EAMtSmn Aom

■■ ■ y PM'iiin

pni iihii«^„

'aWbUsc

TWMH ABWIT YDU .t' li SHI AftVpM,

«yi ■ -rmc.ASCw*!

[Uir,,c,-.l, r^^JWuicCapCMto

A^t/ii', -rfc ( ( J tiiift' M J j(, &ix|), EfcM*«n*m D

in IB IT MjK Ujae SUWni»1arTwtare PiM
H^Corp MfaAm itoc he. GM), WW flS

TW TW liw FU H0C, BM) WH 74

>^\M^ Wp^S^ »^imb2 Msg f

TKMEDOWl ■ ■■ -.m

C-.j-L ■
T*TM ,

am:-...; 1-. -r.',: I J . . . , !i re

igim^ii^u.iii:.ASWMla6tfMac.eMl

>!i[tl79

TVSV Bl OS on llkmn) Bto SmttftAWn

TOCMDD'rQNIX) ' ! ' ii:'.UiWF\fAtf>

IttEMiem (Mm SM Hs< AS^^
01 Ccrtunon Use ASCAPMsk dl WnBMit
ASCAT TcJUHtl Use ASCAPMctelStlHaiC,

BWBuoMustt, nt — — - - ■'
FUJtfSu.BMlH'

—JonwifWiwPu .

ASCAPiIhe PIKK& BW%Bm S OdfUiiSm
BU Anga Beyince Use ASCilP)H. W S

'<SCA^ T S Gad ftbielmi BMQ OlOO 47
U^^ASCAP«o tflud iads, BMOl MW. Q S.

BtysPiWonna

ix; . EMtM aWwDOd Use tc. i

ToUS'jiilt^ilStas

TOim MR' wr M iNHSalKSan (Wb^

Data for week of OCTOBER 24, 2009 I CHARTS LEGEND on Page -

EXECUTIVE
lURNTABLL

Send submissions to: exec a billboard.com

ECORD COMPANIES: Urry Jackson is promoted to presi-
3r^t of A&R at Arista Records and executive VP of A&R at RCA
usic Group. He was senior VP of A&R at RCA Music Group.

JBLISHING:Wtener/Chappell Musk appoints Steve Marktand
3 of A&R for Nashvilte. He was VP at Windswept Publishing.
BMI promotes Beth Stadeiberger to senior designer. She
cviously freelanced for various companies in education, book
jblishing, art exhibitions, entertainment and public relations.

■Ml

^^^^uH B^^^SOI ^■^&u3H l^^ud^l

IGITAL: The media content delivery company MedlaNet
imes Dan Dougherty VP of business development. He was
^ of sales and business development at SpiralFrog.

ANAGEMENT: The Collective names Lucas Keller artist man-
}er. He was a manager at Uppercut Management in Chicaga

^DIO: Citadel Media names John Rosso president He was
■nior VP of Citadel Interactive.

iUATED FIELDS: The music services organization Rocket
:ience appoints Ken Gulllc GM, promotes Alicia Yaffe to VP
new media and strategic marketing and nan>es Paul Reltz
rector of sales and marketing. Gullic was director of oper-
ions and acquisitions at MTV Program Enterprises, Yaffe
3S director of digital sales, and Reitz was senior director of
bel sales and marketing at Sony/Red.
The licensing consulting company RightsTlow promotes
son Walker to director of royatties. He was manager of systems.

-Edited by Mitchell Peters

:S(X)DWORK<S

AVE KOZ DONATES WINE SALES TO STARLIGHT

zz saxophonist Dave Koz never imagined that a conversa-
>n with a fan about his love for wine would lead to his own
and beingcarried in Whole Foods Market — or that proceeds
jm the venture would benefit his favorite charity, the Starlight
lildren's Foundation.

But after overhearing Koz discuss his desire to develop a
,ne brand during his annual Smooth jazz cruise in 2008, the
n approached him. saying. "I really love this wine idea and
int to be able to help you in any way I can," Koz recalls.
The fan turned out lo be Patrick Bradley. Whole Foods pres-
ent for llie Southern Pacific region. After deciding that a
laritable angle could be worked out with selling the wine in
lect Whole Foods stores, Koz and Bradley headed to Califor-
a's Napa Valley and chose Vinum Cellars to make KOZ Wine,
iree varietals are available at Whole Foods stores in South-
n California, Arizona and Nevada, with prices ranging from

6.99 to $29.99.

But Koz says tho Ijpst part about the project is that 100% of
s earnings from the wine sales will be donated to the Starlight
iildren"s Foundation, an organization that helps ill children
id their families cope with pain through entertainment, ed-

ation and family activities. Koz has been a global ambassa-
)r to the charity for 1 7 years.

"This isn't a vanit)' project for me." Koz says. "It's some-
ing where you can do good and drink good at the same time."

Koz hopes the wine will soon be available for purchase on-
le and at other retail outlets. "It's something I'm commit-
d to and love doing." he says, 'So hopefully in the years to
»me you'll start to see it in places besides Whole Foods."

— Mitchell Peters

2009 BMI LONDON AWARDS

BMI Pop Av/cird winners
Eg Whita Cleft) <ind
Adel« (ct-ntor) With
BMI s Phil Graham.

BMI honored the United Kingdom's and
Europe's premier songwriters, com-
posers and music publishers Oct 6 dur-
ing its annual BMI London Awards. The
ceremony— hosted by BMI president/
CEO Del Bryant, BMI senior VP of
writer/publisher relations Phil Graham
and executive director of writer/pub-
lisher relations for Europe and Asia
Brandon Bakshi— took place at Lon-
don's Dorchester Hotel, Park Lane and
honored the past year's most-per-
formed songs on U.S. radio and TV.
British citizens honored at the event
are members of the U.K. performing
right society PRS for Music and are rep-
resented in the United States by BMI.

PHOTOS: COURTESY OF MARK ALLAN (ejtcept
whefe noted)

FroinMt BMI Brandon Bakshi j'ld Del Bryant konA.vard
recipient DOftovan. pobi<v.<j-,it ttvii'm."i. CE C Ralpft P»»r II
and fin.injginc) director lor London Nigel Elderton. and UMI s
Phil Graham i ■coif-' i <■> Ki^iAMO/--.- 1 .

INSIDE TRACK

NOT SO INVISIBLE

Los Amigos Invisibles, the Venezuelan
funk band from Caracas that relocated
to Brooklyn more than eight years ago,
will celebrate its 20th anniversary in 20Ti.
But the F>arty has already started, with
the group enioyir>g an ever-growir>g fol-
kjwing throughout Mexico, South Amer-
ica and its adopted home country.

In the last three months the band's
sixth studio album, "Commercial," was
released simultaneously in six Latin
American countries and the United
States; the act also headlined a 13-city
tour throughout Venezuela, the first in
its native land; closed out a packed tent
at the Austin City Limits Music Festival;
and was nominated for a Latin Grammy
Award, its fifth chance at the trophy.

And there's more to come. The
Amigos recorded a Sept. 10 concert
at Mexico City's Teatro Metropolitan
for a future DVD release. "American
Troglodyte," a track the band re-
corded with Norman Cook and David
Byrne, will appear on that duo's forth-
coming album. And tho group is start-
ing to prepare for a summer 2010
concert collaboration with the Los
Angeles Philharmonic Orchestra, as
part of an upcoming festival curated
by friend and fellow Venezuelan cul-
tural ambassador, the L.A. Phil's
newly inaugurated musical director
Gustavo Dudamet.

"A lot of people are tuming their eyes
on Venezuelan musicians because of

him." says Amigos guitarist/band-
leader Jose Luis Pardo. "It's tike the
way people started thinking about
Brazilian music when Gilberto Gil, Tom
Jobim and all the Tropicalia first
emerged on the international stage . . .
There's a lot of awareness right now
and I think all Venezuelan musicians
will be able to thank Gustavo for that
for qult«a while."

OCTOBER 24, 2009 I

v.billboard.blz | S3

■■■■'I

lamn

EDITED BY KRISHNA TUNi

I. '.optrlOrtn tor jUtiXleesat

MOBILE ENTERTAINMENT LIVE 2()0<;

Innovations in smart-phone
design and application distribu-
tion is breathing new life into
a struggling mobile music
market. Billboard's Mobile
Entertainment Live event— pre-
sented by Logic Wireless, and
in association with RockPit and
B. Taylor— was held Oct. 6 in San
Diego as part of the CTIA
Wireless IT. & Entertainment
conference. Leaders from the
music, technology and devel-
opment community joined to-
gether to discuss the changing
landscape and set new goals for
the year ahead, photos: courtesy

OF ALBERT CHAu/ITSMEBERT.COM

A group of iPhone and omer app dRwelopws r>f(*idert ms-ight ink> what makM a
urayl jrtist Jpp on llw "Ask the Experts: Artisl Apps" paoet From leM Melpdeo VF
ofajsinoss dcvelopmenl Dsv* Dederer. Tapulous head ol business developmem
Tim O'Sflen. it ikn CFG All Partovl, Modor.^t. CEO Jon VlaxsoiMilot. Ep<cTilt CEO
Jonathan Zweig jr,d Billboard executive director of content aqd programrntng for
digitat/mor.iif Antony Bruno, who rrvodcrjlod

i: :..vlor iM-rtiiociatian ipmor o» Mobile
■ jjinment Live, peffovis at the after-
i>.if ty <it th» 207 Lounge ^ttw j^rd Rock,

director Ty RDML-^rcrin Molion »nor VP ot BlackfJerry platfornns All...
W.I rig I l»'liv<?K*(J rt Branrwr firfl) tk".c<ibO<t hnw fh-vi'lomiv .tn<i .-irtr.f. < .m
■itfsfniaiion wofk wiirj yic clevicL' monufaclurcr to use IhP BlackBorry
-■A - thi^turo tt. v.f f ,'•*. .» rn*w promotion tinU distribution chiinnt:! dufum
ho4ds.fw Telco hia kc-ynote intc-r./if/w with Miboard executive* director oi

content ond programmir>g K diqiI<3l/mobile AlMBV Bruno

o«rd m

Brtain

iijrketirKj

SyLi 5(.i-.w.,rt.r I tnerole

- are playiF>g
I'l ! : ,L.j"_ ..f ■nu'jii. diitribution
and p*Qnx>tion and hinted at new
iPhonc aops expected soon

C Copyno'o 2009 bv Ntal»fi Butlneu Mrdd. vx AN ngMi r
(IS&N OOOb' U&M 0S6-100I pubNihpd >«l<ly *K*o
EngunU LE16 9EF. R»giunr*<] w a nmodpv M Ow BntlW P
from Kraut merotorm.RouM 100. MMmxmcI.NT. lOBMor n<
wn Rd «2. Moiliuusa. OM L4r ILZ Vat 121 luu« «Z. Prtnlm

Music industry visionancs set '.htj stage lor the day s discussion m the
■'Oullo'j'' V-i/w l-iotTi the Tod" parwl FfOm Mt. iiwJeporKlfnt Or\ltne
Di'^.lfibution Alli,inrr- CrO Kevin AmoM. Irtti -scupr' pkihuHvp VP o' dlqil.ll
TedMiCO. INcjronvp-. CEO RoW3 McDanlalt/Tid'^'liTi.-,' l<'i VP ol ni,.th t i-^
.uwi rnu^ic. iorvicc^ Adam FHck and Bdll^oafde^! tofi.ii director Bill Werde

■ihMtotial muMng c^ncv* PtHtirwHn- P<w»*ien4r>iiii>9nD<Kl<lr>HtqBllt>osn). »0 Box nsi.N
rt; Doug HMim, KB a thvTOSgroup com r-B0C>-190-S4S0. 1(1. Ill Un<Mr CanMMo PuMcotKin MM A<
■MKionlDrTTutton. cbH BOO-ftSB-«XrZ (outiKM US- M7-SS9-7SJ1) or (fnal tMW>o«nl**uiunii>.u>n

AashnSaM.

chairman/CEO ot
presenting sponsor
L091C Wirele&v
delivers welcomir>g
renwrks at ttw
corwention's kKkolI

4l IL 60OCS-JS9S Cunvnt MMcti
NO. 40011729 mun uncMva
cxtw irAirmMkin, call ftM-aM-44(X>

firitpubliitMf BILLBOAnOMMAZI

54 BILLBOARD I OCTOBER 24. 2009

RICH GOLDMAN
CEO
WpTldaMuuc

JOEL GOODMAN

Composer

KEATLY HALOEMAN

ceo

pigFACTORY Mii»k

COLIN KELLY
Drrc'ctoi A&R
Gotham Records

BETH KRAKOWER
CineMedia
Promotions

GLENN UTWAK

Panner
Utwak+HawMn

JEANNETTE PEREZ

Sr. Director SooncHradcs,
Fl/m&TV
RCA/Jivo UM
Group

DAVID POLEMENI DAVID G. POVtTELL

VfCe Piesnient, HeaJ Music Supervisor and

of fitn\ & Te\eviiion Music Rights Specialist

S1 Songs Amofica Tho IMtmc Bridgo LLC

ANDREW D. ROBBINS

Director, Fi/rri/

TV Music
MusicBox. ac

DOREEN

JOG SOLO

RINGER ROSS Composer, Pioducci. Music Supervisoi
/P, Ft/m/TV RBlations Songwriter

BMI Job Solo INuilujIiuift Inc

JONATHAN WEISS ANGELA ROSE WHITE
Founder/Pfv?sic^em
DaBot Mutk S«rvkos

JOSH ZIEMAN

President
US Op«rdtio/>s

Dramatico

DIDIER C DEUTSCH, Racoid Pmduair. SonyA^agacy
ARLENE FISHBACH, Music Supervisor

CHRIS LANGRia. Manager of A&R and Music Supervision. Man Mada Music

DAVIS POWERS, VP of Music Progr.vmniing, Currant TV
JEN PYKEN, Music Supervisor, Lucky Duck Musk
CHRISTIAN SALYER. CEO. BUiwl Out Music
JEREMY SWEET, Music Supervisor. Smashtrax Musk
MICHAEL WELSH, Music Supervisor and Rights Clearance Specialist

Registration: Lisa Kastner 646.654.4643 • LKastner@Billboard.com • Sponsorships: Kim Griffiths 646.654.4718 • Kim.Griffiths@Billboard.com
Hotel: The Beverly Hilton 1.800.445.8667 - Discounted Rate S279. Space is Limited.

apm

»Mus.c II

^Flrstcom, SS ' gettyirnages hraadJaiTT ^"g^U ri

midemrri

The world's music community v^^J

/ /

The sound of opportunities

Make connections Source business Find solutions Cain knowledge

FREE! MidemNet is now included in MIDEM registration.
One price. One place. More value.
To accelerate your music business.

.Reed MIDEM

MIDEM: 24 - 27 January 2010 | MidemNet: 23 - 27 January 201

Cannes, Franc

Cni

S COUNTRY GREEN FIT FOR ROYALTiE^ NMPA
ING MUSIC MYSPACE REBOOTS TO FOCUS ON

g&^yiVE SUBSCRIPTIONS?

:6 99US S8.«9CA>,

I9!0

|,|.|.|..i|...||i.|i||n|

Eoo/000 zoa

08E 30V wi nv.....

6ViS-0E68e SW a00NN33!)9
3AV 3II01S N m

mouii xooa siuSon
smofl AHia

TOO aidwvsi6/a3/gaNZ690T: «

FIRSTENTERTAINMENT
CREDITUNION

An Alternative Way to Bankj^

Everyone welcome!

NOy seriously,
Tmat

First Entertainment.

Yeah, I know

it's Saturday:'

So there I was - 9:20 am, relaxing on the
patio, enjoying the free gourmet coffee,
being way too productive via the free
WiFi, when it dawned on me ... I'm at my
credit union. AND, it's Saturday mormna!

rnment >„redit Union is proud to
announce the opening of our newest branch
located at 4067 Laurel Canyon Blvd. near
Ventura Blvd. in Studio City. Our members ore all
folks just like you - entertainment industry people
with, you know... important stuff to do. Stop by
soon - the java's on us, the patio is always open,
and full-service banking convenience surrounds you.

We now have 9 convenient locations in the
Greater LA area to serve you. All branches are
open Monday - Thursday 8:30 am to 5:00 pm and
Friday 8:30 am to 6:00 pm and online 24/7. Plus,
our Studio City Branch is also open on Saturday
9:00 am to 2:00 pm. We hope to see you soon.

if you're reading this ad, you're eligible to join. 888.800.3328 • www.firstent.org

Cni

ON THE CHARTS

PAGE unnsTTitu

THE BILLBOARD 200

MICHAEL Ujnf/

TOP INDEPENDENT

nss/

SOWCWOM

TOP DIGITAL

SOUHflUICIt/
1>CIWKtMTU0* HEW worn

TOP INTEflNET

MOUCiBWLE/

i:iiA?»LrM

HEATSEEKERS ALBUMS

BAflMESS 1

TOP COUNTRY

lArUJ!! SWIFT /

TOP BLUEGRASS

PATTY LOVEltSS

TOP RW;HIP-HOP

JAYZ

TOP CHRISTIAN

VMUousAfmsn/

TOP GOSPEL

BEBCtCECEWMAHS/

TOP DANCE/ELECTRONIC

LARV GAGA .'

TOP TRADITIONAL JA2Z

MICHAEL SUSIE

OP CONTEMPORARY JAZZ

CHHIS 80TTI

y> TRADITIONAL CLASSICAL

ntma ooHmo/

^■1.;^ rI.-|^^H^iOIICS*Bf«B)..

DP CLASSICAL CROSSOVER

mmk BELL

TOP WORLD

ROOFtlGO Y GAimiflA .

TOP LATIN

AVENTWA ,

f SONGS

PAGE

AflTtsT ■ -mi

THE BIUBOARD HOT 100

MY SEAN FEJITUMNO IN. WATMC /

HOT 100 AIRPLAY

JAV SEAN FCATUMNG Ul mUfm 1

HOT DIGITAL SONGS

BniTMFT SPEARS

HEATSEEKERS SONGS

MAINSTREAM TOP 40

MY SCAN FunmNC Ui witnc /

DaMi

ADULT CONTEMPORARY

mmvtmi

•ntioDiwwmic

ADULT TOP 40

Wm Of LEON .

ROCK SONGS

1 «ICE \H CHAINS

ACTIVE ROCK

1' BKEAKIHC BENJAMH /

44 L , ,s

HERITAGE ROCK

AJCf IN CHAINS

HOT COUNTRY SONGS

KffTH URBAN

UtlNSTREAM RSB HIP-HOP

JAV-Z mHAKHA A KANYE WESI .'

RHYTHMIC

ikl l mHASMAAKAHTEWISIi'

ADULT RtB

MAXWEU

HOT RAP SONGS

M l RIHAMMtWUIYEWEST/

HOT RiB HIP HOP SONGS

MAXWELL/

CHRISTIAN SONGS

lOBYMAC '

lOT CHRISTIAN AC SONGS

PHIlllPS CRAIG i OEM/

CHRISTIAN CHR

TOBYMAC

HOT GOSPEL SONGS

BEBE ACECfWIUMS/

HOT DANCE CLUB SONGS

ACNES

HOT DANCE AIRPLAY

' DAVID GUCTTA FUIUMNG AKON .

SMOOTH JAZZ SONGS

JESSY J

■(■ri-r.H HAD

HOT LATIN SONGS

OAVK) WML/

fSCitWDESSKIOi

HOT MASTER HINGTONES

DMtt/

raRMH

[his week on .biz

AflTST 1ITL£

TOP POP CATALOG

MKHAEL JACXSOH /

TOP MUSIC VIDEO SALES

JOtMHCYr

'.r.FH. UVILA

HOT VIDEOCLIPS

MUSE

TOP OVD SALES

SHOW WHTE AMD tHE SEVEN DNARFI

ENTS

1 il

IPFHONT

5 MODEL
MAKEOVER As
MySpace sharpens
its focus on
entertainment,
music shows the
way forward.

6 Publishers Place
8 Digital

Entertainment
10 On The Road
12 Latin
14 Global
16 Q&A: Jonathan

McHugh

ON THE COVER: Death Cab for
Cut<e photograph by Ryan Russgll.
Photo iitustratlorl by Jnn.ithah
BsrK^t i

§1

FEATIHES

COVER STORY

18 'NEW MOON' RISING Twiiighf

got teenage blood pumping. Now Atlantic
goes in for the kill with a sequel's sound-
track featuring Death Cab for Cutie and
Thom Yorke. Plus: A Q&A with Chris Walla.

22 BEHIND THE MUSIC PLACE-
MENTS Music supervisors and execu-
tives tell the stories behind the year's top
10 synchs.

24 CLOSE HARMONY How Fox and

Columbia used "Glee" to rewrite the script
on TV music.

26 TV PARTY Now that the Roots are on
TV five times a week, will the exposure
translate into album sales?

MUSIC

29 FLOWER CHILD
Big Kenny goes
green on new solo
album.

30 Global Pulse

31 6 Questions: Carly
Simon

32 Reviews

34 Happening Now

IN F.VKHV
ISKIK

4 Opinion

36 Marketplace

37 Over The Counter

37 Market Watch

38 Charts

53 Executive Turntable.
Backbeat

'I 1

Online

NEW BILLBOARD.COM

Check out new. exclusive
content on Billboard.com,
including video interviews
with Rod Stewart and Alice
in Chains and the chance to
win a trip to New York to
meet John Mayer and film a
Fuse TV/Bill board.com
"Daily Noise" segment.

Events

RLM&TV

This conference, set for
Oct. 29-30 at the Beverly
Hilton in Los Angeles, will
feature keynotes by Mary
J. Blige and Sacha Baron
Cohen and Erran Baron
Cohen. For more
information, go to filmand
tvmusicconference.com.

$£xr

TOURING

OCTOBER 31. 2009 I www.billboard.biz

. OPINION

EDITORIALS COMMENTARY LETTERS

Appeasing Piracy

Net Neutrality Proposals Would Hinder Anti-Piracy Efforts

BY RtCK CARNES

An Internei where all file transmissions
are treated equally while their legality
is impossible to determine will conlinut-
to be a disaster for songwriters. The
Internet as it's currently configured isn't
"neutral." It's a thieves' paradise.

Unfortunalely, this is precisely the
regulatory regime proposed this week
by the Federal Communications Com-
mission in its draft rules regarding "net-
work neutrality." the principle that
Internet users should be able to surf the
Web free of any restrictions imposed by
their Internet service provider (ISP).

The Songwriters Guild of America
read with great interest the remarks of
the participants at an earlier FCC-hostcd
workshop on the role of online content
in the broadband ecosystem. Some par-
ticipants expressed their fear that un-
less the commission imposed "net
neutrality" by law, customer privacy and
speech freedoms would be compro-
mised. This isn't only inaccurate but also
represents a back-door attempt by some
technology companies to enhance their
competitive position.*; while rationaliz-
ing the theft of private property for their
own benefit.

The most prominent purveyor of this
line of thinking was Gigi Sohn, co-
founder /president of the advocacy group
Public Knowledge, who tried to equate
"net neutrality" with avoiding content
regulation. But in order to make such
an argument, Sohn needed to downplay
the rampant looting of copyrighted
works on broadband networks. She did
so by stating that 'claims of damage to
the industry were suspect" and tltat there
wasn't sufficient data on the topic.

Nothing could be further from the
truth. According to the RIAA. the value
of U.S. recordcd-music shipments to-
taled $8.5 billion in 2008, down 18.2%
from JlO.4 billion in 2007 and down
41% from $14.3 billion in 2000. Accord-
ing to the U.S. Bureau of Labor Statis-
tics, songwriter income dropped 32%
between 2003 and 2006 alone. Every
major music publisher I have contacted
tells me they have laid off at least half,
and sometimes all. of their songwriters
in the 10 years since piracy began to dec-
imate the music industry. The level of
damage isn't "suspect,"

The unfortunate reality of the digital
world is that online piracy of music is
rampant and has deeply and materially
harmed the songwriter community. Yet
Public Knowledge explicitly asks the

•

Tho curivnt
situation, which
|)('rniil« a small
p(>rc(Mitaj*o of loolors
to control a vast

majority of a
conimiinicalioii

network's
bandwidth for the

purpose of
committing illegal
acts, is sim{)ly
una(^ceptal)le.

FCC to prevent the companies that own
these private networks from addressing
the problem of piracy. Sohn's free speech
and privacy arguments merely seek to
Intellectualize highway robbery.

Sohn did say that she thought pirates
"stink" and "should be thrown in iail."
but this came off as lip service consid-
ering that she continues to oppose pro-
posals to enhance criminal liability or
penalties for copyright pirates. She even
refuses to have the Internet service of
persistent copyright infringers tem-
porarily suspended. Instead she sug-
gests that ISPs should "shame them'
with warning letters. Songwriters be-

lieve it's foolhardy to trust the personal
ethics of thieves to solve the persistent
problem of illegal downloading.

Comments filed with the FCC note
that more than half of the traffic on
broadband networks stems from use of
peer-to-peer networks by a small minor-
ity of users and that the overwhelming
majority of P2P traffic represents the
unlawful stealing of copyrighted works.

The current situation, which per-
mits a small percentage of looters to
control a vast majority of a communi-
cation network's bandwidth for the
purpose of committing illegal acts, is
simply unacceptable. Efforts lo perpet-
uate this system, which incidentally is
causing frequent and significant slow-
downs in service to the law-abiding
users Sohn purports lo represent, is
difficult to fathom.

The greatest risk of harm to con-
sumers comes from regulatory and leg-
islative proposals lo prevent responsible
ISPs from managing their networks. At
the moment, the free market is the best
weapon we have to combating Internet
piracy. Technology created the illegal
file-sharing monster, but more technol-
ogy can detect and deter those practices
that are illegal. In other words, we must
fight technology with technology. Un-
fortunately, the current net neutrality
regulatory proposals would smother this
nascent technological counterattack
againiit Internet piracy.

The songwriting profession right now
is like a person drowning in the quick-
sand of digital piracy. Of those whose
heads remain above the surface, many
are up to their armpits. There's a chance
that some new technology will be the
rope thrown to us before it's loo late. But
companies and entrepreneurs need an
economic incentive to develop those
anti-piracy technologies. Regulations
restricting the ability of ISPs to manage
their networks would discourage the de-
velopment of these vital technologies
and would eliminate the last bit of hope
that songwriters have to survive the dig-
ital onslaught. ••■

Rick Cornes is president of the
Songwriters Guild of America.

WRITE us • Stiare your feedback with Billboard readers
around tht> world Send correspondence to lettefsqblllboard.com

Include name, title, address and phone numljer for verification

SUBSCRIBE ■ Go to blllboard.b)z/sub5crfbe or call
800-658-8372 (U.S. toll free) or 847-559-7531 (International).

Billboard

■I J0T-4JC

CDITODIAL

IXECUTIVE EDITOA:iaOaERT LEVtNB' -I' • : > '
DEPUTY EDITOR: Loul« Hau - !■ ;
SCNKW EDITOR. Ann Dontfuc .
SPECIAL FEATLfRES EDITOR Thorn Oulty

INTERNATIONAL BUREAU CHIEF: M«rk SutlMtlftnd : ! K
MUSIC EDITOR: CoctMy Kanling :t
BILLBOARD BIZ EDITOR ChfH H Walih < : :

EXECUTIVE DIRECTOR OF CONTENT AND
PdOGRAMMING FOB LATiN MUSIC AND ENTERTAINMENT: I
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FDR TOURtNC AND LIVE ENTERTAINMENT Ray WadM (NuIt, iIi
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR OIGITAL/MOfllLE Antony Bruno ' : ^Tl-IJ-ir

SENIOR CORRESPONDENTS Ed Chrulman
Gall MitchctI - . : rom Fciguion

SENIOR EDITORIAL ANALYST: Glwin PMplH

CORRESPONDENTS Ay*la B««-r«tlucU . . Hlldwll P*tm

INTERNATIONAL L*rt BrkrKM . .'.■i.^i WoHVMtQ SpthT i L-irr n o Rob*rt Thompkon
GLOBAL NEWS EDITOR Andra PalM 01 -J l 2>J^-J:0-6C68
copy CHIEF: Chrli Woodi
copy EDITOR ChfitU THu*

ASSOCIATE EDITOR, Sf>eCIAL FEATURES. EvI* Nagy ' < i i : <
CONTRIBUTORS: Jim BMsmwi. Larry BluimfifvM, Juliana Koranttfig. Karri Haion.
Datoorah Evani Prka, Paul S«xt«n, Slav* Tralman, AnaMaila TiioukM. Kan Tuckar

SPECIAL PROJECTS MANAGER: Kfl*tlna Tunil

BIlLBOARaCOH
BILLBOARD.COM EDITOR: JESSICA LCTKEHAHN 64e-6S4-5S3£
BILLBOARO.COM NEWS EDITOR: DawM J. Mnca r>4i. t,M^<^fl>

aiLLBOAROCOH ASSOCIATE EDITORS: KvM CMMpCkM r-V" .f .VI •I'H'^ HOMlCa H«fM 6-16

DESIGN t PMOTOGBAPHT
CREATIVE DIRECTOR: CHRISTINE 80WER-WR1SHT

PHOTO EDITOR Amelia HalvarMW SENIOR DESIGNER: Gf«g Grabowy

CHABT\ 4 Um AfJtll
DIRECTOR OF CHARTS: SILVIO PIETROLUONGO
ASSOCIATE DIRECTOR OF CHARTS Raphaal Gawm

SENIOR CHART MANAGERS: Kalth CaulfMd --ji. Compilation. Dio

>i Gaorga (SJuas RSBAiip l
' F'WM Age. Ringiom

i^iMieriSa'vi Ma

CHART MANAGERS: Bob Alton -
J i ■■ '■' r Cordon Murray

Silvio Platroluongo
' '■ - I Gary Tni»i

: - . Alt! VHoulli

INTERIM CHART MANAGER Rauly Ranilrat
CHART PRODUCTION MANAGER Mktuial CutMn
ASSOCIATE CHART PRODUCTION MANAGER: AMi VltONlli
BILLBOARD RESEARCH MANAGER Conton Murray < -o-SM-
□ IGITAL

VICE PRESIDENT, DIGITAL JOSHUA ENOROPF
DIRECTOR. MARKET DEVELOPMENT ErfC Ward
MANAGER. MARKET DEVELOPMENT: JusUn Harrit

ADVEBIIMNO SAILS
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER: JEREMY LI
NATIONAL SALES DIRECTOR/DIGITAL A CONSUMER Darafe SanUMT M6-654-46I6
DIRECTOR. BUSINESS DEVELOPMENT « EAST COAST SALES: Ckvfy HMB 6d6-fil5d-4710
EASTERN SALES DIRECTORS: Antonto Amato > k'^ > ■U-'^.-f Ryan BWdl fr46-6S<-4£
DWECTOH. SPECIAL FEATURES « WEST COAST SALES: AkI Kaoalu i:5-S2S-3299
MIDWEST SALES DIRECTOR AUna ScMirka "
WEST COAST ACCOUNT DIRECTOR Clisy Dannaliy

NASHVILLE Lm Ann PhDtoglo ' Cynthia Mellow 6)S-IU-026S (Toui

ADVERTISING DIRECTOR DETROIT: Kathy Va'SO

ADVERTISING DIRECTOR EUROPE/U K, FrvOark Fanucel C i-i4-207-<20-€07S

INSIDE ACCOUNT REP: Jalf SarraTta :

MANAGING DIRECTOR/LATIN Gene Smtlh i

LATIN AMERICA/MIAMI HarcU Ollval - ;0S-eG4-3;22T

ASIA-RACIFIC/AUSTRALIA: LIfMla Matlch ■ ' fs. 61:1.9440-7768

JAPAN: Ahl Kanako '

MANAGER OF SALES ANALVTtCS Mima Oomai i - >'t-4G95
ADVERTISING COORDINATOR: Aiaiandra Harts <,■:>.■ v^-i-SSfli
MARKETING

SENIOR MARKETING DIRECTOR UtA OIBSOM 646-65a-4629
EVENT MARKETING MANAGER MiCOla CarbMW 646-6S4-4634
SENIOR MARKETING MANAGER: Jamat Cra«t t»36-CS4-S4a9
MARKETING MANAGER: Karri Bargman ' :■ L.M-4ei7
SALES/MARKETING ART DIRECTOR MalliM ImBIcIi
SALES/MARKETING DESIGN MANAGER: Khn Oralhis

AUDIENCE MARKETING
AUDIENCE MARKETING DIRECTOR NEH. CISENBCRO
ASSOCIATE AUDIENCE DIRECTOR (CROUP): Linda Lam
AUDIENCE MARKETING ASSISTANT MANAGER: NMIa AuguMM

soBscMiPTioNi. .-. ■ . ^ ■-. ■-"\aiionai) or ncoSoT

LICENSING. EVENTS A REPRINTS
VICE PRESIDENT. BUSINESS DEVELOPMENT ■ UCENSING: ANORCW HM arvjiew mvt^
EXECUTIVE DIRECTOR. CONFERENCES t SPECIAL EVENTS: NICHELf JACANMbO
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER CaM« Marqwai t.S-l-464e
SPONSORSHIP SALES MANAGERS: MalttMH Carrana < > . : 1 : ^ Kimarimila6Ae-«
SPECIAL EVEffTS DIRECTOR. Margarat O-snaa

SPECIAL EVENTS MANAGER: Uta DIAnlonlo

EVENT CLIENT SERVICES MANAGER Courlnay Mark*

DIRECTOR. LICENSING « CUSTOM MEDIA: Dtana OrlMOll 646-654-4677

MANAGER. MTERNATtONAL UCENSING » SALES. AngaMna BlailiiMwl 9i0s4nabwnaiMl9

MAGAZINE REPRINTS An^le VwiCarder ^. -'. -f.----Af-!-^ f .^ '.7e or flea*n»VG$^

PRODUCTION
PRODUCTION DIRECTOR: TERRENCE C. SANDERS
ASSOCIATE PRODUCTION DIRECTOR: Anthony T. SlaMngi
ASSOCIATE PRODUCTION MANAGER: Rodgar Lacnard

CROUP FINANCIAL DIRECTOR: BARBARA CRIENINGIR o.l6 bM'<l67S
HUMAN RESOURCES DIRECTOR: BILL PINTON
LEGAL COUNSEL; MARK MILLER
DISTRIBUTION DIRECTOR. LotI BrMMaM

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: OMM PWtS 646-654-4696
VICE PRESIDENT. MANUFACTURING AND DISTRIBUTIOM: JaflKirar GrafO
VICE PRESIDENT. AUDIENCE MARKETING: Joanna Whaatlay

NEWVDRK: no&CMn»i
rir^ Vo'k. NV 10003
nir.na 64« eS4 4SO0

Edii Fax 646-6S4'4fiei
Adv Fd. 646-654-4799
NASHVILLE: S200W«s;
End Ave . Sute £00
Nasfwile. TN S7301

BILLBOARDOFFICES
U» AWOitl^ 5055 W.i*r>r«
9Sid, Loi Angalev CA 900J6
PTwne H3-H5-2S0O
Fax 523-525-2394/2S95

HMMi 101 Crandan Blvd .
5u4e 466. K«y 8(»cayn«. PL
3S149 PtKW 305-36t-5279

LONDON: End««vOur >
189 Snaft«tu(v Ava.
London WCX BTJ.
F^no O" 44 207 420
Ca. Oil 44-207.420-6C

SENIOR vice PRESIDENT THE ENTERTAINMENT OaOU^
GERRY BYRNE

piiyvtood Peoo'tt- • :■ ,. . ■ . ■ • Ciiin jQurr^al Inlarrutional

niclscn

•• capvuflTn *i wMtf* o' part ror

PRESIDENT: Crag Famr, SENIOR VtCE PRESIOEm, HUMAN RESOi

Mkhaal Afcea: SENIOR viCE president brand media. Andra

Bilbao; SENIOR VICE PRESIDENT. MEDIA A ENTERTAINMENT 0
Nielsen Bu5lr>»i Medid Byma: SENIOR vice PRESIDENT. FINANCE: Sktana Coogln. SENI

V>CE PRESIDENT RETAIL: David Loachnar. SENIOR VICE PRESIC
CONTENT Scon McKaiula: SENIOR VICE PRESIDENT, BurLOINO i. DESIGN. Joa R«vWt SE
VK:E president central SERVICES Mary Kay SuM*4. CHIEF OPERATING OFFICER.
ENTERTAINMENT: HOMird ARpalbaum: VICE president, MANUFACTURING • DtSTRIBUT
Jamlfar Gragw VICE PRESIDENT, LICENSmG: An*««i Hn; VICE PftES4DeNT, CLIENT MAftI
Sua Tramblay; VICE PRESIDENT, AUDIENCE MARKETING Jo-

OCTOBER 31. 2009

THE

resT

ROM

T| ■

»GOOGLE,
lAJORS TO
ARTNER

oogle is partnering
ith major labels to
unch a new feature
make it easier for
usic fans to
scover. sample and
ly songs on the
arch engine,
xording to two
*ople familiar with
e plan. The new
ature will be
cllrtated by start-
is ILike andLaLa,
Itch will enable
■ngs to be streamed
) the Google page
at will also featured
■uy" button to help
duce the number of
3ps fans must take
acquire music.

-JAPANESE
HIPMENTS
OWN 14%

gures from the
>cording Industry
;5n. of Japan for the
nuary to
■ptember 2009
■riod show a
ntlnued downturn
physical shipments
music in Japan.
:ernational
pertoire also
ntinued to slide. A
tal of 156.7 mittion
dio product units
>re shipped during
ose months, down
% from the same
rIod in 2008. The
lolesale monetary
lued totaled 185.4
lion yen ($2
lion) and

presents a drop of
J6 from the same
riod of the
evious year.

CRACKER
ARRELTO
FFER
VCKSON
OLLECTION
acker Barrel Old
luntry Store will
reduce the Alan
ckson Collection, a
)-plus-piece
sortment of
oducts created in
njunction with
ckson and
ailable at Cracker
Trel beginning Nov.
The collection
stures clothing,
odand exclusives
e the CD "Songs of
ve and Heartache,"
lich will include
o unreleased
ngs.

HIGH NOTE

Mulic publishers im\

royalty wins

RENEWAL NOTICE

m: §08tify m i

crock at subscriptions

DANCEY DANCE TIME
Nick Jr.'s 'Yo Gabba
Gabba!' hits the road

THE FIRST
How Aventura became
a Latin chan-topper

SILENCED VOICES
Bollywood singers
struggle to organizo

■ ■lltlir.lij BY ANTONY BRUNOj

MODEL k
MAKEOVER

As MySpace Sharpens Its Focus
On Entertainment, Music Shows
The Way Forward

In an effort to recapture its momentum in online so-
cial networking. MySpace is trying to reinvent itself
as a social entertainment hub.

Providing the template for these efforts? MySpace
Music, parent News Corp.'s joint venture with the four
major labels.

The same features that MySpace Music has been
rolling out — content sharing, improved recommen-
dation functions, usage metrics and promotional
programs with labels and artists — will eventu-
ally be offered to other entertainment com-
panies like movie studios, game publishers
and TV networks.

MySpace Music will serve as a proving
ground for these technologies and ser\'-
ices before they're implemented across
the broader site.

"You'll see over time that the strategic shift
in MySpace that's being deployed is wholly aligned
with the types of products we're launching right now,"
says MySpace Music president Courtney Holt. "We're
working together, and this all is part of the larger vi-
sion for where MySpace is going."

The efforts come as other online music offerings
continue to proliferate. Google is expected to provide
details on its plans for a music search service that has
the backing of the majors. And Facebook is rolling out
the ability for users to "gift" MP3 downloads and
streaming digital songs to their Facebook friencb { Bill-
board.biz, Oct. 21).

MySpace CEO Owen Van Natta and chief product
ofBccr Jason Hirschhorn areIf>oking to convert :ill the
service's social networking tools into a platform for
sharing, recommending and discussing entertain-
ment rather than the sort of free-for-all discussion it
has facilitated to date.

To get an idea of what this will mean for MySpace
members, consider MySpace Music's new video hub.
Members can not only search and browse videos on
demand, but they will also get recommendahons based
on what videos their friends arc watching and receive
notifications when their favorite artists post new
videos. The same technologies that MySpace Music
built to allow this can easily transfer lo other types of

Fresh face: Warner
Bros. Records artist
LIGHTS was the first
act to twnefit from
MySpace Music's
new IntrtxJucing
initiative; inset;
MySpace Music
president
COURTNEY HOLT.

content elsewhere on MySpace.
"Social recommendations are a big
deal , and we haven't done enough to expose
them on the site.' Holt says. "If you and 1 have simi-
lar tastes in music, the delta between us is of interest
to both of us. Figuring out a way to expose that ... is
going to be a big focus for us in the future."

Of course doing so requires content, and MySpace
hopes to lure the entertainment industry with pro-
grams designed to promote their work and analyze its
consumption as a way of obtaining that content. Look-
ing to MySpace Music again as an example, the new
Introducing and Artist Dashboard initiatives serve as
the blueprint for this effort.

The Introducing program is designed to promote
five artists each quarter to the MySpace community
by featuring them on the Music home page, hosting
debuts of new albums and singles, adding them to fea-
tured playlists and filming special behind-the-scenes
footage — all timed around prerelease and release-day
activities. Canadian singer /songwriter Lights, who's
signed to Warner Bros. Records, was the test subject
for the new initiative, which has now expanded to in-
clude acts Sherwood, We the Kings. Kid Sister and Ser-
ena Ryder. Each ofthem will be the subject of a 12-week
promotional push across the MySpace platform. My-
Space could easily do much the same for movie pre-
mieres and videogame launches.

And the Artist Dashboard feature — which provides
information on the number of streams and views for
songs and artists' profiles pages, as well as informa-
tion on the age. gender and location of those fans —
illustrates the kind of metrics that MySpace can share
with other content providers to help inform their pro-
motional and marketing efforts.

Rolling out these features to other parts of MySpace
won't simply be a matter of flicking a switch. While
music is part of the MySpace DNA. it doesn't have the
same history or relationships in film, TV or games.
Reaching that same level of synergy with other ele-
ments of the entertainment industry will take time.

But MySpace's partners in the music industry have
faith they can pull this off and welcome a service that
focuses on all forms of entertainment. After all. TV
shows, films and videogames all have soundtracks,
and adding them to the social network may provide
new opportunities to promote music.

"If they can figure out music, they can figure it all
out probably." says Jeremy Welt, senior VP of new
media for Warner Bros. Recorcb. "I like the increased
focus. There's a ton of things they're working on to
improve music. 1 like the fact they're trying to gel
this right."

Jriz

MOBILE: For 24/7 n»wi and an«lytlt on your COll

phone or mobile device, go to
motill«.blllbo<rd.bl>

OCTOBER 31, 2009 I www.blllboard.blz I 5

Cni

.UPFRQNL

>>>PRISA TAKES
ASTAKEINV-ME

The Spanish-language
media giant PRISA has
purchased a 12% stake of
V-me Media, the U.S.-
based company that owns
the Spanish-language
network V-me. PRISA is a
leading multimedia
company with operations
in 22 countries, tt owns the
radio networks 40
Principales, Cadena SER,
Caracol Radio and W
Radio, which operate
throughout Latin America,
Spain and the United
States. V-me was launched
three years ago as a
partnership with public TV
and now reaches nearly
80% of all Hispanic homes
in the Untied States.

>>>BROWN
PREPS FAN
APPRECIATION
TOUR

Chris Brown has lined up a
19-city Fan Appreciation
tour that begins Nov. 14 at
the House of Blues in
Houston and makes stops
in Los Angeles, Atlanta
and Brown's hometown of
Richmond, Va., before
ending Dec. 13 in
Philadelphia. A portion of
the tour's proceeds will be
donated to the nonprofit
groups Best Buddies
International and the
Jenesse Center.

> >>USER-BASED
WEB RADIO FIRM
JELLI MAKES
NATIONAL PUSH

Jelli, a company that
merges crowdcastinci with
traditional radio, is hoping
to take its user-controlled
radio system national
through a deal with Triton
Media Group. As part of
the agreement, Triton will
syndicate two daily Jelli
shows, "Top 40 Jelli" and
"Rock Jelli," while Triton's
digital division will allow
affiliates to create
customized Jelli
programming. Jelli allows
listeners to control what
songs get aired using
Web-based real-time
voting, as well as the
ability to pull a song off
the airirutantly.

Compiled by Chris M.
Walsh. Reporting by Katy
Bachman, Antony Bruno,
Leila Cobo. Mariel
Concepcion. Chris M.
Walsh and Reuters.

Battle Tested

Music Publishers Emerge Winners
From Royalty Tussles

During the past year-and-a-half, as the
recording industry grappled with the
critical task of establishing new roy-
ally rates for music, the negotiations
were fraught with risk for the National
Music Publishers' Assn.

Bui looking back on the resulting
string of negotiated settlements and
Copyright Royalty Board (CRB) ruhngs,
it's clear that the NMPA and its presi-
dent/CEO David Israelite have navi-
gated these potentially treacherous
waters with uncommon skill and savvy.

Along with the RIAA
and the Digital Media
Assn., the NMPA bene-
fits from the historic set-
tlement that all three
groups reached in June
2008 to set royalty rates
for interactive streams
and tethered downloads.

But theNMPA also se-
cured important victories
in the CRB's broader ruling in Octo-
ber 2008 that set mechanical royalties
for digital and physical music. That de-
cision incorporated the terms of the
settlement on interactive streams and
tethered downloads but also set a 24-
cent statutory mechanical royalty rate
on mastertone ringtones and imposed
a 1.5% late fee on the payment of me-
chanical royalties, crucial gains for
music publishers that are being ap-
pealed by the RIAA.

More recently, the NMPA capital-
ized on the leverage it gained from the

Publishers
Place

ED CHRISTMAN

win for music publishers, negotiating
an agreement with the RIAA that will
deliver publishing companies a wind-
fall of more than $264 million in me-
chanical royalty payments composed
of pending and unmatched royalty
money held by the four major labels
(Billboard, Oct. 17}.

As a result of the settlement, the la-
bels will change business practices that
have been frustrating publishers, such
as withholding all song royalties on an
album when the royalty split for a sin-
gle song is the subject of
a dispute among song-
writers. Also, the major
labels agreed to stop
withholding an album's
digital royalties when
there's a dispute involv-
ing CD mechanicals for
that album.

While RIAA chair-
man/CEO Mitch Baln-
wol downplays the late fees as a
"secondary issue," music publishers
are convinced that they were the main
reason why the NMPA was able to gel
the majors to the negotiating table.

"They have had some of that money
for more than 10 years," says a senior
executive at an independent publish-
ing company. "If they really wanted to
pay it out, they would have figured
something before now."

Tlie changes should help ensure that
labels will properly license composi-
tions before they release CDs or digi-

.biz

For 24/7 news and
analyils on your
mobile device, go to
nioMle.billbMrd.blz

late-fee ruling to secure another big tal downloads. In exchange, publishers

■ ■^CTJW BY AYALA BEN-YEHUDA |

Dialing
it Up

Recording Academy
Courts Manager Support
Of Performance Royalty

The Recording Academy has begun
enlisting the support of artist managers
in its efforts to gain passage of the Per-
formance Rights Act, which would re-
quire U.S. terrestrial radio stations to
pay artists and labels performance roy-
alties on recordings they air

In a Sept. 1 5 meeting in Santa Mon-
ica. Calif, the academy updated man-
agers on its artist advocacy efforts.

Managers are "not exactly a group that
has a forum of its own," academy pres-
ident/CEO Neil Portnow says, "Not
everybody was as deeply informed as
you might think, so it was a good chance

who join the settlement will help re-
solve song splits and will agree to waive
late-fee penalties as long as labels are
putting forth their best efforts to abide
by the new set of business practices.

Besides extracting concessions that
publishers have long wanted from the
labels, the NMPA's Israelite was equally
astute in navigating the political mine-
fields of the music publishing land-
scape. By incorporating an opt-in
component to the RIAA settlement and
setting it up so that all participating
parties will be able to see what they'll
get beforehand, publishers don't feel
like they're having anything shoved
down their throat. Even better, if pub-
lishers don't like their share of the set-
tlement and opt out. they're still free
to pursue whatever means they cur-
rently have at their disposal to get what
they think is their due.

Beyond that, Israelite shrewdly
avoided triggering the concerns of in-
dependent publishers by not picking
the Harry Fox Agency (HFA) to over-
see the disbursement of settlement
payments and instead hiring "special
master" Kenneth R. Feinberg. who
administered the Sept. 1 1 Victim Com-

At the helm: NMPA
president/CEO DAVID
ISRAELITE

pensation Fund and is cu
rently administering TAF
bailout funds for the U.S. D
panment of the Treasury.

Some indie publishing cot
panics have long viewed tl
music-licensing clearinghom
rightly or wrongly, as beii
more focused on the concer
of major publishers.

"David did a tremendous job,' ;
indie publishing executive says. 'I ha
no doubt his intentions are right. H
ing Feinberg to oversee this is a re
honest effort to give this settlement it
partiality. 1 would lose my mind if F
was administering this settlement.'

Still, when Israelite attended a i
cent meeting of the Assn. of Indepe
dent Music Publishers to explain t
terms of the settlement, he used t
occasion to remind indie publishc
that H FA played a key role in bringi:
it about, by providing financial su
port that enabled the N M PA to efft
tiveiy litigate theCRB royalty hearin
and secure the late-fee ruling th
brought labels to the settlement tab
The only benefit N MPA is seeki
for itself in setting up the settlcme
is requiring publishers who opt in
the settlement to join the trade groi
Given everything that the N M P A h
recently accomplished for its mei
bers, Israelite is certainly justified
asking for that.

For 24/7 publlihlng n*w<
and analysis, see
blllboird.Mz/publlat)lng.

Managers and partners: Attending the Recording Academy's Sept. 15 meeting on the Performance Rights Act were
(from left) artist managers DEBORAH KLEIN, PAT MAGNARELLA, RON LAFFITTE, MATHEW KNOWLES and SUSAN
MARKHEIM; Recording Academy president/CEO NEIL PORTNOW: and artist managers PETER LEAK. SIMON
RENSHAW. DAN FIELD, MICHAEL LIPPMAN. IRVING AZOFF and ROB McDERMOTT.

for everybody to get some detailed in-
formation and let them ask questions
and understand where we are.'

Veteran manager Simon Renshaw
says the meeting made it clear that
there's a global dimension to the issue:
U.S. artists won't get paid radio royal-
ties they're owed in other countries until

stateside radio reciprocates with pay-
ments to overseas collecting agencies.
"They're holding far more money from
American artists than we're holding for
alot of those international artists," Ren-
shaw says.

By the end of this year, the academy
expects either floor votes in the House

and Senate on the act or negotiatio
with the National Assn. of Broadca
ers to shape the legislation. The S<
ate Judiciary Committee passed the ;
Oct. 15. putting a radio performan
royalty law closer to passage than i
ever been in 80 years of efforts to :
cure such compensation. •

OCTOBER 31, 2009

ASCAP

AT THE

RYMAN

ONGRATULATIONS TO OUR 2009 COUNTRY AWARD WINNERS

ACKSON GARYlPigTON ASIILKY (K)HLKY

EMI MUSIC PUBLISIIIXCr

GOr^DEP^ NOTE SONGWRITER/ARTIST PUBLISHER SONGWRITER
HM, AWARD OF THE YEAR OF THE YEAR OF THE YEAR

■ SONG OF THE YEAR: ( ;^)^ v^ Written by

■P Published by: SONGS OF COMBUSTION AND BUG MUSIC / WINDSWEPT

Ever Wanted

infer Nettles Publishing

Summer Long

sard King

Vy Mannell

srt Wachtei

1 Music Publishing

lUsheet Land Music

' Tunes

sersak Music Publishing
!!adv Gone

rmy bpiiiman
s Staplefon
)Gayle Music
gs Of The Village
) Of A Miner Songs
sersal Music Publishing

Ilk When I Knew It All

laei uuianey
rihrasher

V LeVox

56 C Songs

lor Bob Music

g/ATV Music Publishing

loongs Amenca

■5Stown Songs

nne On Over

lona BanKs
nel Proctor
i.ica Simpson
36 C Songs
set Kisses
1 Music Publishing

Country Boy

Alan Jackson

EMI Music Publishing

Tri Angels Music

Country Man

(ialen (iritlin
Jason Matthews
EMI Music Publishing
Mas Village Music
Songfighter Music

Don't

Jonathan Singleton
Crosstown Songs

Don't Think I Don't Think About It

Clay Mills

Danus Rucker

Cada|a Publishing I

MXC Music

Still Working For The Woman

Don't You Know You're Beautiful

Lhns Lindsey
Moonscar Music

Down The Road

Mac McAnaliy
Beginner Music

Every Other Weekend

(Jennie Harnngton
Platinum Plow

Warner/Chappell Music Publishing
Everything Is Fine

Josh Turner
Bream Buster Music
Universal Music Publishing

Feel Thai Fire I
Dierks Benlley
Creature Sounds Publishing
Sony/'ATV Music Publishing

Good Time

Alan Jackson

EMI Music Publishing

Tri Angete Music

Here

Stephen Robson
Sony/ATV Music Publishing

Here Comes Goodbye

(Jlint Lagerberg
Big Loud Shirt
Extreme Writers Group

Home '

MichgSI Buble (SOCAN)
Wamer/Chappell Music Publishing

How 'Bout You Don't

Jeremy Stover
Hits And Smashes Music
That's How I Roll Music
Universal Music Publishing

I Can Sleep VVhen I'm Dead

Rivers Rutherford
Universal Music Publishing

I Still Miss You

Keith Anderson

Jason Sellers

EMI Music Publishing

Romeo Cowboy Music

This Is Hit

Troy D Songs

I Told You So

Randy Travis

Sometimes You Win Music
I Will

Rory Lee Peek

A Sling And A Prayer Music

SI Songs Amenca

I'll Walk

Lonnie Fowler

Brent Wilson I
A Dog Named Kitty Publishing I
Bwilsongs Music
Soulhcastle Songs

I'm Still A Guy

Kelley Lovelace
Brad Paisley
EMI Music Publishing
Sea Gayle Music

It Won't Be Like This For Long

Chris DuBois
Ashley Gorley
Darius Rucker
Cadaja Publishing
Bug MusicA/Vindswept
Sea Gayle Music
Songs'Of Combustion

It's America

Brett James

Brett James Cornelius Music
Stage Three Songs

Johnny And June
Deanna Bryant

Amylase Music f'\
Tell Texas Tunes III ■ '

Just A Dream

Hillary Lindsey

Gordie Sampson (SOCAN)

Bug MusicM/indswept

Raylene Music

Songs Of Combustion Music

Last Call

t:nn hnderlin
Shane McAnaliy
Crazy Water Music
Universal Music Publishing
World House Of Hits

Last Name

Luke Laird

Hillary Lindsey

Laird Road Music

Raylene Music

Universal Music Publishing

Learning How To Bend

James LeBlanc

Matt Warren

House Of Fame Music

Let Me

Marc Beeson
Danny Orion
Danny Orton Songs
Dazahit Music
Spnngfish Music
Universal Music Publishing

Love Is A Beautiful Thing

Craig Wiseman
Universal Music Publishing

Marry For Money
David R Turnbull IV
Sea Gayle Music

Nothin' To Die For

Craig Wiseman
Big Loud Shin

Put A Girl In It Sonc

tJen Hayslip
Get A Load Of This Music
Melissa s Money Music
Warner/Chappell Music Publishing

Relentless

James Lebianc
John Paul White
Chief Black Cloud Music
EMI Music Publishing
House Of Fame

Roll With Me

Tommy Karlas

Year Of The Dog . ■

Shuttin' Detroit Down

John Anderson
John Rich
J Money Music
Seminole Wind Music

Start A Band

Ashley Gorley
Kelley Lovelace
EMI Music Publishing
Bug Music/Windswept
Songs Of Combustion Music

That's A Man

Steven Dale Jones
Mark D. Sanders
Larga Vista Music
Songs Of The Sanderosa
Steven Dale Jones Music
Warner/Chappell Music Publishing

Troubadour

Monty Holmes

Ash Street Publishing

Broadus A Spivey

Trying To Stop Your Leaving'

Uierks Bentley /
Big White Tracks

Waitin' On A Woman

Uon Sampson >-
Emma And Maddie Music !
Sea Gayle Music '

Where I'm From / A

Joe Leathers | ^3

Curb Songs

You Cari Let Go

Kory Lee Feek xfm

SI Songs Amenca

You're Gonna Miss This \ ^

Ashley Gorley \
Bug Music/Windswept -. '

Songs Of Combustion Music

C ONORATT^^ATIOXS TO ASCAP MEMHEKS:
'^^IG WISEMAN - NSAI Songwriter of the Decade 1999-2009 - MARK D. SANDERS - 2009 Nashville Songwmters Hall of Fame Inductee

DON SAMl'SON- Writer of NSAI's Song of the Year "Waitin' On A Wonran"

BY ANTONY BRUNO |

Subscription Renewal

New Round Of Online Music Services Try Their Hand At A Struggling Model

How risky is the ad-supported
music business? So risky that
the next generation of online
music services is opting to
take another stab at the still-
struggling monthly subscrip-
tion model instead.

While the knee-jerk reac-
tion among digital entertain-
ment pundits is that any
monthly subscription music
service is doomed, the digi-
tal music landscape has
changed enough in the past
year to warrant new experi-
mentation with a payment

heavily on bolstering the ser-
vice's subscription-based pre-
mium tier as it eyes a U.S.
launch early next year. And in
the United Kingdom, the satel-
lite TV service BSkyB has
launched a SlO-pcr-month un-
limited streaming service that
includes 10 monthly downloads.

Given how the incumbent
subscription services Rhapsody
and Napster have struggled to
break the 1 million-subscriber
mark, it seems like folly to fol-
low in their footsteps. But new
subscription services like MOG.

free tracks are compatible
with the iPod, it improves
their ability to compete
with iTunes by focusing on
full-song streaming — the
one element that the Apple
store lacks.

Moreover, one of the most
frustrating features of music
subscri ptions — D R M -wrapped
tracks that are rendered un-
playable after a subscription
lapses — appears to be nearing
its demise. Napster and Rhap-
sody struggled mightily to mar-
ket plans based on tethered

keling, technological innova-
tion and customer relation-
ship management, the need
to quickly scale their sub-
scriber base will remain a con-
stant challenge.

With that in mind, it's un-
clear whether the $5-per-
month model proposed by
MOG and Napster is actually
sustainable. Industry sources
say Napster, for one, doesn't
plan to maintain its SS
monthly price indefinitely.
While the low price point
looks appealing, history sug-

New subscribers: Spotlfy's DANIEL EK. MOG's DAVID HYMAN and Rdio's JANUS FRIlS and NIKLAS ZENNSTROM (from left)

model that industry execu-
tives hope will play an impor-
tant role in the future.

By Thanksgiving, the music
blogging site MOG, led by
founder/CEO David Hyman.
plans to launch a full-song
streaming service, charging S5
per month for unlimited
streams and five downloads per
month. Kazaa, Skype and loost
founders Niklas Zennstrom
and |anus Friis are launching
a music subscription startup
called Rdio. Daniel Ek, co-
founder/CEO of the ad-
supported music streaming
service Spotify. is focusing

Spotify and BSkyB are each
launching their initiatives with
a large installed user base to
which they can market and up-
sell other products and services.

In addition. Napster, MOG
and BSkyB include MP3
downloads free of digital
rights management in plans
that cost about the same as
those downloads alone would
cost at iTunes. By doing so.
they're hoping to separate the
cost of the service from the
value of the music in the con-
sumer's mind.
And because
those DRM-

ORIGAMI AUDIO

For the tech geek who wants all the latest
gadgets but is also concerned about the
Impact such products have on the envi-
ronment, there's OrigAudio's Fold n' Play
speakers. Made from recycled paper, the
one-watt speakers cotlapse and retake
shape through prefabricated folded lines,
like origami. The 3.1-Inch cubes come In five designs,
plus an unadorned model that lets users create their
own artwork. They're compatible with any audio device
with a headphone jack and don't require an external
power source.

A pair of Fold n' Plays costs $16, and six-packs are
available for $60. —AB

downloads, but their Windows-
based incompatibility with the
iPod doomed these efforts
from the start.

With the emergence of a
mass market of smart-phone
and Wi-Fi-enabled devices,
subscription services can sim-
ply let users stream their
music from their device of
choice — including the iPhone
— much like they stream
music online. No clunky file
transfer necessary.

But new subscription serv-
ices still have to
determine how
to communi-
cate their value
to consumers
who are used to
owning music
outright or down-
loading it for
free from peer-
to-peer networfcs.
The newcom-
ers also face the
same licensing headaches as
other music services. While
labels have grown more open
to innovative models, they still
look for the lion's share of rev-
enue stemming from online
music. For music services
shouldering the cost of mar-

gests that price alone isn't
enough to draw skeptical
music fans to the subscription
model. The now-defunct
Yahoo Music Unlimited once
offered a streaming-only plan
that offered roughly the same
monthly rate with the pur-
chase of an annual subscrip-
tion. When it launched, the
low-price plan seemed a bold
move that would provide
badly needed momentum to
the subscription music
model. It didn't.

The most promising way to
expand music subscriptions
to a larger market is bundling
access to unlimited music
with another service, such as
an Internet subscription or
mobile data plan. Spotify has
taken a few steps toward that
end in Europe, and BSkyB
can bundle its service as an
option for its existing satel-
lite TV offering. The first
subscription service to suc-
cessfully strike that kind of
deal on a mass scale could be
the first to prove the poten-
tial of the model. Until then,
it's all just potential.

For 24/7 digital n«ws
and analysis, s*«
billboard.blz/dlgltal.

BITS & BRIEFS

30 SECONDS TO
MARS TWEETS WIN
GUITARS

The rock band 30 Seconds
to Mars has teamed with the
digital marketing firm Cul-
ture Jam for a Twitter pro-
motion with fans. Every day
for 30 days, one fan who
tweets a message to the
band through the Culture
Jam application will win a
Nostalgia Series guitar from
the Michael Kelly Guitar Co.
Members of the band will
pick each day's winner.

BULLISH MOBILE
ENTERTAINMENT
OUTLOOK FOR 2010
Mobile entertainment rev-
enue worldwide is ex-
pected to grow 33% in
2010, according to a Busi-
ness Confidence Index sur-
vey prepared by the Mobile
Entertainment Forum and
the consulting firm KPMG.
That rate would mark a
sharp increase from the 6%
growth that last year's
study predicted for 2009.
The report projects that
Asia and Latin America will
account for most of the
gains. Survey participants,

which consist primarily •
executives at mobile ent<
tainment companies, si
they expect 63% of tha
revenue will be derive
from subscription fees ar
one-time purchases, rath<
than advertising. Sales >
mobile applications are e
pected to contribute 14
of all revenue, half of whit
will come from app pu
chases, with the other hi
from In-app purchases.

SHOZU LAUNCHES
APP STORE

The mobile video servii
ShoZu has launched its ov
branded app store. Tl
ShoZu app, which lets use
post videos taken on thi
mobile phones, has be<
available through Appli
App Store, Nokia's OVI sta
and the BlackBerry Af
World. Now the company
selling those same ap
through its own store a;
direct sales channel. Shoi
says the soft launch has .
ready generated more pi
downloads than third-pai
app stores. It plans to su
port other mobile phoi
platforms in the near futu

HOT MASTER RINGTONEStm 31' BiilbMr

2009

(o.n>.iDii> nk'Iscn
TITLE „ j I

Wn FOREVER

WmH DRAKE FfftTURINEi KANVt «ST. Lfl WAVK & EMNIM

EMPIRE STATE OF MIND

.A' ; . Jiicia «Yr,

PARTY IN THE U.S.A.

VIII rv riHm

WHATCHA SAY

w:,m niHan

DOWN

JAV SEAN lEAIURWG LI WAVWt

Bia OHEEN TRACTOR

lASOII AiriEHIl

OBSESSED

MAMAH CAflEV

RUN THIS TOWN

SM-l aiHAWIA A KAN^E AISI

•

HALLOWEEN (MOVIE THEME)

JOHN EIAAPCMIEn

TOES

BILLBOARD I OCTOBER 31, 2009

John Cafp«nt«r's "Halloween (Movl
Tham*)'* craaps into tha lop 10 U
the first time In his third straigh
spooky season on this chart, as th
31-year-old classic moves 14-

NEED YOU NOW

LAHV AtJlEilELllAI

1 GOTTA FEELING

IHE HLACA tWl fEAS

PAPARAZZI

I AIW liAfiA

SUCCESSFUL

riaA^E lEATllRII^:, TRtV SWKiZ A H WAYNE

FIREFLIES

ywi cin

BEST 1 EVER HAD

WASTED

U.tl.1 vim. lEAIURMU PUES OR OJ OA JLACEMAN

IMMA STAR (EVERYWHERE WE ARE)

lERrMlll

DO 1

UJ« flRYAH

MEET ME HALFWAY

nil 11 .v;:k rvrn ^F-v .

TQgjg^g^mmaM

Cui

BELMONT

Mike Curb College of
Entertainment & Music Business

UNIVERSITY

FUTURE
EMPLOYEE

Rolling Stone, Time, BusinessWeek. . . all recognize Belmont University's
impact on educating the next generation of entertainment professionals.

615.460.6272 I www.BELMONT.edu

Cri

IIPFROMT

Kid Rock

Yo Gabba Gabba! Live Offers A
Different Spin On Family Shows

On The
Road

£RAY
WADDELL

It's party time. Yo Gabba Gabba! is the lat-
est Michael Cohl venture that looks like
a winner.

Yo Gabba Gabba! Live: There's a Party in
My City, the first live U.S. touring show for
the popular Nick )r. TV show "Yo Gabba
Gabba!," is going to be a hit. as well as per-
haps the newest staple in the profitable fam-
ily entertainment genre.

Conceived by the animation/entertainment
company W!ldbrain and produced and pro-
moled by Cohl's Miami-based S2BN Enter-
tainment, Yo Gabba Gabba! Live put doubles
on sale in New York. Chicago
and Los Angeles and sold them
out immediately, adding more
dates in all three markets. The
tour begins Nov. 14 at L.A.'s
Shrine Expo Hall, then heads to
New York's Beacon Theatre Nov.
21 and the Rosemont Theatre
outside of Chicago Dec. 5.

Cohl is best-known as the pro-
moter of the Rolling Stones'
world tours since 1989, and he was a key player
in orchestrating Live Nation's mega-deals with
acts like Madonna, U2, Jay-Z and Shakira.
Cohl resigned as chairman of Live Nation and
CEO of Live Nation Artists in June 2008 and
launched S2BN later that year.

Overseeing Yo Gabba Gabba! Live for S2BN
is Mike Luba, the company's president of
music and family entertainment. Luba
founded the artist management/marketing
firm Madison House (String Cheese Inci-
dent, Drlve'By Truckers), then left to join
Cohl at Live Nation Artists two years ago.
When Cohl split with Live Nation, Luba fol-
lowed him, eventually bringing "Yo Gabba
Gabba!" to his attention.

Luba says he heard about the show from
friends with children. "I have a J-year-old
who actually saw it and went totally mental,"
Luba says. "Then I saw it on TV and went

Super music
friends: The
characters of 'Yo
Gabba Gabba!'

kind of mental."

The 2-year-old TV show, which was con-
ceived by Scott Schultz and Christian Ja-
cobs, stands apart from other kids'
programming thanks to the surprisingly hip
mix of acts it has featured, including MGMT,
the Roots, Mates of State, the Shins and
the Ting Tings.

"Christian is the front guy for the Aqua-
bats, so the show has a kind of punk rock sen-
sibility to it." Luba says. "When I first saw it
I had that moment of like, 'Holy mackerel,
this could be "Sesame Street" for my genera-
tion.' Not only something that a
kid really loves, but something
I love for a whole different set of
reasons."

Yo Gabba Gabba! Live
jumps into a lucrative but
competitive family entertain-
ment field that annually fields
longtime winners like Dora
the Explorer, Sesame Street
Live. Clifford the Big Red Dog
and others. Luba thinks the rock sensibil-
ities, and the expertise at S2BN, offer a dif-
ferent spin on the genre.

The tour will have a major video element
and rock show production values, with for-
mer Nell Young lighting director Mike
Baldassari designing the lighting rig.
"There's a moveable portal which kind of
frames it with lights, a giant LED screen
which splits in two and moves around, and
the rest of the time it's singalong and
dance-along with what's going on onstage,"
Luba says. "It won't look like most kids'
shows, and it won't feel like Broadway. It
will feel like a party."

Luba says the target demographic for the
tour ranges from "newborns all the way up to
probably 6 or 7." That typo of demo provides
the opportunity to market to both kids and
parents and to sell four tickets instead of two.
Prices range from $33 to $75.

"Yo Gabba Gabba!" host D) Lance Rock vrill
be on hand for the tour, as will be the
show's characters Muno, Foofa,
Brobee. Toodee and Plex, as well as as-
yet- unidentified musical guests.
"It's up to us to not only let
people know the show's coming, but
to educate people as to what it's all
about so they know what to expect, and
then to blow their minds when they get
there." Luba says.

Options for touring North Amer-
ica in 2010 are being weighed, and the global
touring opportunity for Yo Gabba Gabba! Live
seems obvious, given Cohl's background as a
global producer.

"The family entertainment market plays
right to our strengths." Luba says. "We're glad
that we found one that we all really feel pas-
sionate about and one we think has a really
big run ahead of it." ••••

.biz

For 24/7 touring news and analysis,
see blllboard.blz/tourlng.

10 I BILLBOARD

B^JJvaCCJRE Concert Grosses

GROSS/

ARTIST(S) Attendance

venue. Date . i '

Promoter

H $22,570,336
MM

BRUCE SPRINGSTEEN S THE E STREET BAND

Gianit Stadium, East Rutherford, 260:668 J^iWd'.^

N.J.. Sept. 30. Oct. 2-S. 8-9 r.\~, to ir 4>k».ts

Uv« Nation

H $6,664,880

MM •iisi-.aio

U2, MUSE

Cowboys Sladtum. Arlington. 70,766
Texaft, Oct. 12

Live Nation Global Touring

H $6,399,375

mM isso/sio

U2, MUSE

Raymond James Stadium, 72.688
Tampa. Fla.. Oct. 9 h

Live Nation Global Touring

M $1,220,279
mm $69 50/S49 50

METALLICA, LAMB OF GOD, GOJIRA

Target Center. Mlnnoapolt*. Oct. 13

Jam Productions

H $1,194,309

mm i^>^•Ax■Si9•30

METALLICA, LAMB OF GOD, GOJIRA

St. Pete Timet Forum. Tampa, ]S,341
Fla.. Oct. 3

Frank Productions. C3 Presents

R $1,182,818
mM $c9 0O'S-:^sc

METALLICA, LAMB OF GOD, GOJIRA

SankAIIantic Center, Sunr^. 18,162
Fla.. Oct. 1

Frank Productions. C3 Presents

H $1,171,625

METALLICA, LAMB OF GOD, GOJIRA

American Airlines Center, Dallas. 18.108
Sept. 29 i. Lvi-

Ltve Nation

H $1,123,583
mM ii78;i:!s

MAXWELL, COMMON, CHRISETTE MICHELE

Verizon Center. WasKlngton. 13.858

D.C.. Oct 2 .1 ;> I!

Uve Nation

M $1,105,745

METALLICA, LAMB OF GOD, GOJIRA

Ptiillp» Arena. Atlanta. Oct. 4 If,"'^

Frank Productions

M $1,100,908

METALLICA. LAMB OF GOD, GOJIRA ^^^^H

ATST Center. San Antontot Sept. 28 1?;'®^

Live Nation

$1,090,032

FARM AID: WILLIE NELSON S OTHERS ^^^^H

Verizon Wireless Amphitheater, 20,285
Maryland Heights, Mo„ Oct. 4

Live Nation

M $927J!31

MAXWELL, COMMON, CHRISETTE MICHELE ^^^^M

Philips Arena, Atlanta, Oct. 5 13.502

Live Nation, In-house

m $922,436

RUSSELL PETERS, JOHN PAUL ^^^^H

Rexall Place. Edmonton, Alberta, 10.773

Oct. 7 l':'.:-;. .

Bass Clef Entertainment

M $854,243

METALLICA, LAMB OF GOD, GOJIRA

U.S. Bank Arena, Cincinnati. 13,196
Sept, 15

Frank Productions

H $845,782

KEITH URBAN, SUGARLAND

Verizon Center, Washington. 12.292
D.C. Aug. 20 i 1 1 i

The Messina Group/AEG Live

M $835,070

MAXWELL, COMMON, CHRISETTE MICHELE

United Center, Chicago. Oct. B

Live Nation

Rl $804,426

METALLICA, LAMB OF GOD, GOJIRA ^^^^H

John Paul Jones Arena. 12,247
Charlottasville. Va., Oct. 17 . > ir

Frank Productions. Outback Concerts

PI $788,366

ROD STEWART, THE KIN

ReKBll Place. Edmonton, Alberta, 9,364
Aug. 10 10 ' ' ,

Live Nation

B $753,325
in SISCVUO

MAXWELL, ROBIN THICKE, CHRISETTE MICHELE

Wachovia Spectrum, 9,761
Phiiadelphta, Oct. 3 lo H:i"'

Live Nation, in-house

M $731,825

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

Vsrizon Vi/lreless Amphitheater. 15.883
Irvine, Calif.. Oct. 3

Uve Nation

R $709,623

WIDESPREAD PANIC, THE ALLMAN BROTHERS BAND ^^^^H

Verizon Wireless Amphitheater. 21.816
Charlotte, N.C.. Oct. S-4

Live Nation

H| $699,740

BLINK-182, FALL OUT BOY, ASHER ROTH

Madison Square Garden, 14,733
New Vork. Oct. 4 -

LW9 Nation

m $697,062

SO YOU THINK YOU CAN DANCE TOUR

Air Canada Centra, Toronto, 12.203

Sept. 29 , Sr

AEG Live

Efl $696,563

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE ^^^^H

Cruzan Amphitheatre, West 18.986
Palm Beach. Fla.. Oct. 17 :, „.,

Live Nation

EI! $694,871

PEARL JAM, BEN HARPER ft RELENTLESS?

Amphitheater in Clark County. 15.350
Ridgefleld. Wash.. Sept. 26 , . .i

Live Nation, In-house

PI $688,735

KISS, BUCKCHERRY

Bell Centre. Montreal. Oct. 1 ?

Glllett Entertainment Group. Live Nation

EH $686,850

DAVE MATTHEWS BAND, WILLIE NELSON ^^^H

Sprint Center, Kansas City. Mo^ 11.238

Sept. 30 1 • ? i

Live Nation. Mammoth

En $683,373

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

1 ^'^^^

Cricket Wireless Amphitheatre, 17.693
Chula Vista. Calif.. Oct. 2 i < . i

Uve Nation

Eff] $682,623

AMERICAN IDOLS LIVE '

Wachovia Center. Philadelphia. 11.119
Aug. 20

AEG Live

M $680,508

KID ROCK, LYNYRD SKYNYRD, BLACK STONE CHERRY ^1

nil t795a'i2S

Nissan Pavilion at Stone Ridge, 19.9SG
Bristow. Va- Aug. 1 .^0 i

Live Nation

R $680,332

BLINK-182, WEEZER, TAKING BACK SUNDAY, CHESTER FRENCH

Nikon at Jones Beach Theater, 13,950
Wantagh, N.Y., Aug. 25 .^ i ^.it

Live Nation

R! $678,928

BRUCE SPRINGSTEEN S THE E STREET BAND ^^^H

Wells Fargo Arena. Des Moines. 8.451
Iowa. Sept. 21 l i

Live Nation. In-house

fn $678,597

OEPECHE MODE, PETER BJORN AND JOHN

Red Rocks Amphitheatre. 8.679
Morrison, Colo.. Aug, 27 ■^7:'*-

Uve Nation

M $675,718

PINK. THE TING TINGS

|M S75.'i49.50

Staples Center. Los Angeles. t2,7Sl
Sept. la ^ r

Concerts West/AEG Live

■i $675,455

TAYLOR SWIFT, KELLIE PICKLER, GLORIANA

Q«MM Center, Omaha. Neb., 13.892
AUBi.9. . se'ioui

The Messina Group/AEG Um

HOME FRONT

ILLBOARD NAMES TOURING AWARD FINALISTS
adonna, U2 and AC/DC are among those up for honors at the
>09 Billboard Touring Awards, which will be handed out Nov.
at a reception in New York.

The finalists for the top tour and top draw awards, which ac-
lowledge the top grossing and ticket-selling tours, respec-
/ely, are U2's 360° tour, Madonna's Sticky & Sweet tour and
C/DC's Black Ice tour. The
vards are based on global
3x-office numbers reported
Billboard Boxscore from Oct
2008, through Sept 30, 2O09.
Finalists for the top pack-
je award, which recognizes
le top-grossing tour with
iree or more artists on the
II. are five-time winner
snny Chesney for his Sun
ty Carnival tour with Mi-
nda Lambert, Lady Anlebel-
m, Sugarland and Mont-
3mery Gentry; the Jonas
•others' World Tour 2009
ith Jordin Sparks, Honor So-
ety and Wonder Girls; and
ckelback for its Dark Horse
ur with Hinder, Papa Roach
)d Saving Abel.
The acts up for the Break-

through Award, which goes to the top-grossing act in its first
decade as a national headltner, are Lil Wayne, Taylor Swift,
Kings of Leon and II Divo. Competing for the top comedy tour
award are Dane Cook, Robin Williams and French & Saunders.

Finalists for the top boxscore award, which goes to the top-
grossirvg single engagement for the time period, are U2 at Croke
Park in Dublin, U2 at Stade de France in Paris and the Oxegen
fest at Punchestown Racecourse In Naas, Ireland.

The global concert mega-promoters Live Nation and AEG
Live are Joined by Sao Paulo, Brazil, promoter Tinrw 4 Fun as fi-
nalists for the top promoter award. T4F is also a finalist, with

MCD and the Australian promoter Michael Coppel Presents, in the
international independent promoter division. Chicago's four-
tin>e winner Jam Productions, Austin's 2007 winner C3 Presents
and Madison, Wis. -based Frank Productions are the finalists for
top independent promoter, U.S.

Other than the Boxscore-related honors, the Billboard Tour-
ing Awards aiso include the Concert Marketing & Promotion
Award and the Eventful Fans' Choice Award, both of which are
determined by online voting. Additionally, Ozzy Osbourne will
be named the 2009 Legend of Live and Vans Warped tour
founder Kevin Lyman will receive the Humanitarian Award. For
a complete list of finalists, go to billboard.biz.

The Billboard Touring Awards will wrap the sixth annual Bill-
board Touring Conference, set for Nov. 4-S at the Roosevelt
Hotel in New York. For more information atiout the conference
and awards, go to billboardevents.com.

SACHA BARON COHEN, COMPOSER ERRAN
BARON COHEN TO KEYNOTE AT FILM & TV MUSIC
CONFERENCE

Sacha Baron Cohen and his brother, composer Erran Baron
Cohen, will participate in a keynote panel at the Hollywood Re-
porter/Billboard Film & TV Music Conference Oct. 29-30 at the
Beverly Hilton in Los Angeles.

The siblings will discuss their collaborations on the TV
program "Da Ali G Show" and the films "Borat" and "Bruno."
The former has grossed $128.5 million in the United States,
while "Bruno," which comes out on DVD Nov. 17, has grossed
$60 million, according to Box Office Mojo.

Although Sacha Baron Cohen often makes public appear-
ances in the guise of his latest film character, he'll make a rare ap-
pearance as himself at the conference. Author/journalist Dan
Kimpel will moderate the discussion, presented by ASCAP. • •

At 60. Ross-Ellis Is more innovative than ever. Our line of green audio and video packaging
products is the most extensive available, and includes vinyl jackets. CD and DVD
board products made with 100% recycled board, as well as 100% recycled plastic trays.

Environmentally sound production practices, soy- based inks and triple certification
(FSC. SFI, and PEFC) guarantee that when you choose Ross-Ellis, you help safeguard
our planet. And this year, we've moved Into a new plant with even greater
capacity to serve our clients.

All that-plus a rock-solid commitment to quality, reliability, and sen/ice.

so VISAFIS OI^ KJjJEPING THE BJSATl

l^ij^^tinentai '

www.ross-ellis.com callus: 1-800-447-2149

STABILITY • EXPERIENCE • INNOVATION

OCTOBER 31, 2009 I www.blllbOdrd.bu I 11

Cni

UPFRONT

Kings
OfBachata

Aventura Is The Latin Music
Success Story Of The Year

when members of the urban
bachata group Aventura taped
a music special at the White
House last week, they started
to explain their music to Pres-
ident Barack Obama.

According to Aventura
manager Johnny Marines.
Obama said, "You guys act like
I don't know what bachata is,"

These days, even if many
people still don't know what
bachata is. they know Aven-
tura. the group that's taken the
traditional music
of the Domini-
can Republic,
modernized it
with touches of
R&.B and tropical
music and made
it the hottest-
selUng Latin mu-
sic today.

This week,
Aventura's new album. "The
Last" {Premium Latin),
notches its 1 5th week at No. 1
on Billboard's Top Latin Al-
bums chart (see En Breve,
right) and is the top-selling
Latin album of the year so far.
The group recently sold out tlic
first of three lanuary shows at
Madison Square Garden in
just three hours. It also sold

out Los Angeles' Staples Cen-
ter and has added a second
show there.

The Aventura phenomenon
— the sales, the touring, the
exposure in both mainstream
and Latin media — makes ttic
group the biggest Latin suc-
cess story of 2009. on par with
Daddy Yankee in 2005.

Which begs the question
What is behind the group -
success, and what can hr
learned from it?

Aventui .i
has risen to
prominence in
the last four
years, but the
group has been
together for
more than a
decade. Long
signed to the
indie label Pre-
mium Latin. Aventura devel-
oped the sound known as
"urban bachata." which other
acts have emulated without
the same level of success.
Early on. Aventura took the
Backstreet Boys route to
stardom, making it big in Eu-
rope first, where its hit "Ob-
sesion" topped pop charts in
2004, Then, when Sony picked

up the group for distribution
in 2005. U.S. sales exploded.

In addition to being a hit
with kids, Aventura has con-
nected with women, who like
its lyrics about love and ro-
mance, while men admire its
sense of style and tailored out-
fits, according to Angelo
Schlplllitl. national director
of live performance for SBS
Entertainment, which is pre-
senting the group in New York.

Los Angeles and Miami.

"They have charisma, they
have the talent, they have
something that is urban, but
not that urban — they're still
traditional,' says David La-
Pointe, owner of LP Market-
ing & Promotions in Miami
Beach. "They have a broader
appeal and il combines tra-
ditional bachata with pop-
pier elements.'

And like Marc Anthony.

Aventura's mem-
bers hail from the
Bronx, giving them
a home-grown U.S.
fan base, according
to Sony Music Latin
senior VP of com-
mercial and sales
Guilermo Page.

The group hasn't
been shy about
reaching out to new
jttdienccs. as it did
when it toured last
year with Enrique
Igleslas. But Aven-
tura has also made
sure to stay close to
its core fan base.
For example, in
'007, after selling
H t Madison
^i]uare Garden the
time. the group
embarked on a dub
tour dubbed La Gira
del Pueblo (The
Tour of the People)
to give back to fans
who'd followed it
on the club circuit
for years.
Even now, Aventura's arena
tour, which kicks ofT in No-
vember, is affordably priced,
with tickets beginning at S39.

"I just think it's the combi-
nation of these four guys who
were able to come together."
Marines says, "and were able
to make this music that just
can't be matched."

m for 24/7 Latin news
JMV analysis, see
blllt>oard.b(z/IMIn.

BRANDAID

Moderatto, Syntek Star In Mexican Branding Campaigns

Two new branding campaigns
In Mexico— one with the rock
band Moderatto and the other
with the pop star Aleks Syn-
tek—are taking the concept
of product integration quite
literally. And they're offering
the artists and labels more
than just free promotion.

To coincide with the Oct.
22 worldwide launch of Mi-
crosoft's new Windows 7 op-
erating system, Moderatto will
release its new single, "Zodl-
aco/W7," to radio arvd Include
It as a t>onus track on its forth-
coming hits EP. Listen closely,
and you'll hear Windows
tones (such as e-mail alerts)
incorporated into the song.

"The idea is to accompany
the radio promotion with
everything that has to do with
the promotion of Windows,"

says EMI Musk MexKO market-
ing director Alfredo Delgadilkx
"[It] gives us the opportunity
to grow the exposure of the
song in all its formats, physi-
cally and digitally."

Microsoft bought 120,000
downloads of the song from
EMI to give away to con-
sumers at Window5.com.mx
and will sponsor a concert by
the band early next year, ac-
cording to Christian Maya, di-
rector general of BIR Music
Group, the agency that bro-
kered the deal.

Moderatto's manager Fed-
erico Ponce de Leon says the
deal also included money to
produce the song as well as a
fee for the band. Another one
of his clients, Syntek recorded
a song for a Ferrero Rocher
chocolates holiday campaign

and taped a convnercial to air
from the end of October until
January 2010.

Los Concorde, another act
Ponce de Leon
manages,
licensed two
new songs for
a Doritos cam-
paign in Mexico,
with each song
used for two
months. "I'll come out with
it on the album next year but
two songs are already paid
for," he says. "Our position is
that brands r>eed us too. A lot
of people just give away the
track . . . [but] my artists are
of a certain level."

Even so. Ponce de Leon
says, "How many [brands]
can do deals like this? Few of
them, and that's the reality."

Of course, candy makers
and software companies can't
underwrite the entire music
industry. But "there are
brands for everyone," says
SIR'S Maya, whose 2-year-old
company works with major
labels and indie artists.

"There are brands like Mi-

crosoft that have a budget for
a band like Moderatto," and
those with less money to
spend who can work with de-
veloping acts, he says. 'There
has to be a way for [new acts]
to be heard too and a way for
them to get some income."

—Ayaia Ben-Yehuda

EN ESPANOL: All the great Latin music coverage
you've come to expect from BHtboard— In Spanish!
Blllboarcfenaspanolxom.

12 I BILLBOARD { OCTOBER 31, 2009

BRIEVE

AVENTURA SHOWS
STAYING POWER
With 15 weeks atop Billboarc
Top Latin Albums chart, Avei
tura's "The Last" has had tf
fourth-longest run at No. 1 c
the chart this decade. Th
places It t>ehind only Shakirc
"Fiiadon Oral: Vol. 1" (17 weel
in 200S), Christina Aguilers
"Mi Reflejo" 09 weeks in 200*
01) and Daddy Yankee's "Ba
rio Fino" (24 weeks ki 2004-01
"The Last" Is also the toi
selling Latin album so far th
year, with 178,000 copies, a
cording to Nielsen SoundSca
It's followed by Wisin & Ya
del's "La Revolucion" (Unive
sal Musk Latino), with 152,00
Luis Fonsi's "Palabras d
Silencio" (Universal Mus
Latino), which has sold 82.0C
copies this year and 202,0C
since Its '08 release; Vlcen
Fernandez's "Para Siempre \
cente Fernandez" (Sony), wi
81,000; and Tito "El Bamb(n<
with "El Patron" (Siente/Ur
versal), which has sold SO,OC
copies. —Leila Col

REGIONAL MEXICAN
TOPS AT RADIO
Regional Mexican radio liste
ers are the most consistent
their listening habits of a\
music format regardless of la
guage, according to Arbitror
Radio Today 2009 report. A
though Arbitron's shift to tl
Portable People Meter fro
the diary system means th
Arbitron is measuring listen
exposure to twice as mai
radio stations per week as b
fore, regional Mexican ranks
the top music format in terr
of time spent listening. Ho»
ever, regional Mexican rad
Isn't immune to the reporti
drop in TSL that other forme
experienced after the PP^
rollout, with regiorxal Mexicat
share of the overall radio au<
ence dipping from 3.4% to ZS
between spring 2007 and f
2008. —Ayala Ben-Yehut

PERFORMERS NAMEC
FOR LATIN GRAMMYS
The urban alternative act Ca
13 will perform with salsa lo
Ruben Blades Nov. 5 at the L9
Grammy Awards, the Latin R
cording Academy announce
Nominees David Blsbal, Sha
Durcal and Luz Rios also m
perform at the 10th annu
awards, which will air live <
Univision from Las Vegas' Ma
dalay Bay Events Center— Ai

midemrr?)

f he world's music community S

/ /

The sound of opportunities

Make connections Source business Find solutions Gain icnowledge

FREE! MidemNet is now included in MIDEM registration.
One price. One place. More value.
To accelerate your music business.

.Reed MIDEM

MIDEM: 24 - 27 January 2010 | MidemNet: 23 - 27 January 2010

Cannes, France

Cni

GLOBAL
NEWS
UNE

www.billboard.biz/global

»>SPANISH NAME
PIRATE SITES

Spain's anti-piracy
umbrella group the
Coalition of Creators and
Content Industries has
delivered a list of 200
Spanish Web sites offering
links to unauthorized
downloads to the
country's industry
ministry. That follows the
government's recent
creation of an inter-
ministerial commission to
draw up legislation to
combat intellectual
property violations (Bill-
board, Oct. 24). According
to coalition president Aldo
Olcese, the commission is
"the first official
recognition that we have a
problem of grand
dimensions," while the list
has been forwarded "to
facilitate the government's
work with the greatest
speed."

^ »>PIAS STRIKES
YOUTUBE DEAL

The Belgium-based Pan-
European independent
distributor/label group
PIAS Entertainment Group
has signed a global li-
censing and marketing
deal with YouTut>e that wMI
enable its label and artist
clients to share in revenue
from ads that appear
wherever their repertoire is
used on the service. The
deal covers PIAS audio and
video releases as well as
user-generated content
featuring repertoire owned
by PIAS-distributed labels.
Those labels will now also
be able to ask PIAS to re-
move content they no
longer wish to appear on
YouTube.

>>>DOMINGO
COLLECTS ECHO

Tenor Placido Domingo
collected a lifetime
achievement award at the
German record industry's
15th annual ECHO Klassik
awards, held Oct. 18 at
Dresden's Semperoper
venue. Other key award
winners included mezzo-
soprano Elina Garanca,
baritone Christian
Gerhaher, violinist Anr>e-
Sophie Mutter and pianist
David Fray. A jury from the
record industry plus
selected political, cultural
and media figures chose
the winners. Organizers
say 1.8 million viewers
watched a delayed telecast
by ZDF TV that evening.

Reporting by Howell
Llewellyn, Andre Paine
and Wolfgang Spahr.

LONDON — Kasabian is in a base-
ment studio filming an online docu-
mentary. An hour ago. the alt-rock
band was recording a session for
radio and TV. Soon it will be on the
radio bantering about Oasis before
braving the rain for a rooftop maga-
zine photo session.

It may seem like just another day's
promo, but all this activity is taking
place in one building for a single media
outlet: the British music weekly N M E.
which hopes its multiplatform ap-
proach can maximize promotional op-
portunities for labels — and revive the
magazine's fortunes.

"The way our target audience — pri-
marily 15- to 24-year-oids — consume
media has changed massively," says
NME publishing director Paul Cheal.
"Research told us our audience wanted
media wherever they were, so our
whole strategy revolves around multi-
ple touch points."

NME has been on U.K. newsstands
since 1952. The NME.com Web site
launched in 1996. followed by NME
TV in 2007 and NME Radio in 2008.
Combined, the brand has a weekly
reach of more than 1 million people,
according to Cheal, and is now coor-
dinating artist interviews across all
platforms, offering a promotional
"one-stop shop." As well as Kasabian's
Oct. 7 visit. Manic Street Preachers
and Doves have appeared in recent
months, with Jamie T and Florence &

BY MARK SUTHERLAND

Know Your NME

British Music Weekly Goes Multiplatform

the Machine booked for future slots.

"NME is very important for us."
Kasabian frontmanTom Mcighan says.
"You've got to try and get as many kids
into [our] music as possible and if that
means Internet and video {interviews],
then all well and good."

While rival U.K. music magazines
Kerrang and Q also have TV/radio op-
erations, only NME houses all its plat-
forms in the same location — a
significant advantage, according to
Kevin McCabe, VP of promotions and
press for EMI's Parlophone Records.
McCabe recently booked the Hot Rats,
featuring Gaz Coombes and Danny
Goffey of Supergrass, onto multiple
NME platforms.

"They've stolen a march," McCabe

says. " Multimedia is the future and the
more things they can put in one build-
ing the easier it is for labels. For the
right act, it's a no-brainer."

But while the brand is flourishing,
the magazine's average weekly circu-
lation during the first six months of
2009 was just 40,948, down 27.2% from
the same period last year, according to
the Audit Bureau of Circulations.

Cheal says the magazine remains
"the heartbeat of the whole brand
proposition" and its "leading profit
generator." But he says "stabilizing the
circulation is an immediate objective"
for new editor Krissi Murison, who
took over Sept. 1 after returning from
a brief stint in New York as music di-
rector of Nylon. She had previously

been at NME from 2003 until Febn

ary of this year.

Murison plans a design revamp i
February 2010 and says immediate ei
itorial changes include a "subtle" broa<
ening of the magazine's scope
"NME has to start behavin
like a weekly music mag;
zine again," she says. "Fi\
years ago, all the most exci
ing music was coming froi
the guitar scene, but that
less the case now."
NME failed to make the top 10 i
Billboard's recent Maximum Exposui
survey of the United Kingdom's mo:
successful platforms for music pn
motion (Billboard, Sept. 26). But Mur
son says the brand remains "absolute
influential," citing its early suppo
for acts like La Roux and Florence .
the Machine.

EMI 's McCabe says declining circi
lation is an issue for marketing ar
promo departments, but he prai:
Murison's initial changes. "It's aboi
making the print side relevant a^ain
he says. "If she can get the feature wr
ing right, then they've got a shot."

Murison, meanwhile, maintains th
the magazine's appeal remains i
strong as ever.

"If you ask bands [what tlu-
choose] if they could be on the cov
of any magazine in the world, it's .
ways NME," she says. "It's the one ih
means the most to people."

BY AHIR BHAIRAB BORTHAKUR |

UNSUNG
STARS

Effort To Organize Bollywood
Playback Singers Stumbles

BANGALORE, lndla-Th« singers behind India's Bol-
lywood musicals appear to have lost another chance
to establish a collective voice.

In mid-September, Indian media reported the
launch of Performers Syndicate Ltd., which had
planned to lobby on behalf of "playback" singers to
secure them royalties long denied them by the In-
dian entertainment industry. Playback singers pro-
vide vocals for Bollywood musical stars.

But just weeks later, PSL looks dead In the
water. The Initiative "has been called off due to
internal differences between its members," says
prominent playback singer Kunal Ganjawala, one
of PSL's founders.

Ganjawala insists PSL was never a formal entity,
saying that "a couple of us discussed over the phone
creating a syndicate for such causes, but were yet to
formally meet."

PSL CEO Shahid Rafi— the son of one of India's
best-known playback singers, the late Mohammed
Rafi— didn't respond to requests for comment. A
prominent singer involved in the effort, who asked
to remain anonymous, says press coverage portray-
ing the PSL as fighting for performers' rights has
strained his relationship with labels.

14 I BILLBOARD I OCTOBER 31, 2009

Even in piracy-ravaged India, Bollywood sound-
tracks sell millions of copies annually, accounting for
71% of India's $140 million in recorded-music sales
in 2008, according to the labels group the Indian
Music Industry,

Except for a handful of huge stars, playback
singers receive one-off recording payments from
film companies, which strike their own soundtrack
deals with labels.

PSL hoped to win singers royalties from record
sales and payment for their recordings' public per-
formance. At present, that performance right isn't
covered by India's 1957 Copyright Act. But if Intro-
duced, such a provision could open up
new revenue streams for international
and Indian artists alike.

AtuI Churamani, VP of the lead-
ing Irxlian label Saregama, insists
record companies can do noth-
ing unless the law changes. "How
much is to be paid to the singers has
[never] been spelled out," he says.

"We already buy the music froi
producers at a high cost— and sell
ing the product is itself a chal-
lenging task in today's market,"
says Adarsh Gupta, CEO of an-
other leading label. Times]
Music. "So sharing revenue
with the singer
doesn't arise."

But others dis-
agree. Kulmeet
Makkar,CEOofBIG
Music & Home
Entertainment,
which releases Bol-

lywood soundtracks and videos, says, "Why shou
record latiels oppose this move? If the [legal] positi<
changes, I do not see labels having any issue with c
recting payment to Its rightful owners."

While a 1995 amendment to the 1957 act esta
lished performers' rights to block the release
unauthorized recordings, it didn't set out any pr
vision for paying royalties. Nevertheless, "the cu
rent setup vis-^-vis performers' rights largely he
a lot to do with how business is conducted, rath
than the act itself," says Ameet Outta, a senior a
vocate with copyright experience at the law fir
Luthra & Luthra in New Delhi.

Dutta adds that the situation reflects the lack o
strong association "that can collectively withstat
the film producer/music company lobby."

PSL was the second attempt in recent yea
to do just that. In 2006, leading Bollywoc
singer Sonu Niigaam set up the Singer's Ass
of India, but internal rifts meant that proje
was also stillborn.

Film producers and music compani
are powerful [and] taking advantage
the situation," Niigaam says. " Whf
ever contract singers enter into wi
film producers, [they] must g
their share of royalties."
There remains widespre;
enthusiasm for a lobbying c
ganization. "We should ha
a common platform to raise o
issues," says Shilpa Rao.
leading young playttack sing
"And this platform should a!
ensure that, if we take tl
protest path, there should t
no loss of business."

Raising their voices:
Bollywood singers
SONU NIIGAAM and
SHILPA RAO (inset)

Join Billboard and today's top promoters, agents, managers, venue operators,
sponsors, digital music executives, ticl(eters, merchandising companies and
production professionals at this must-attend concert industry event!

PANELISTS INCLUDE

CORAN CAPSHAW

Oivr.e'/r-'anaaei
RmI Light

STRAND CONOVER RON FARIS

A9onl/S|jonv3r'.hips Senior Director, Brand

WHIUm Morris MiirVding ft fnrioviitton

EndMVOr virgin Mab4l«

UANA FARNHAM JONATHAN FELDMAN

VP (■Ijfiot-ny D" . , ! -'..- I.. r.f>.D

MSG i .. ■ ■:g

EntcrlainmMit AllMitlc Recordt

: HARtANFMY STEVE GERSTM AN JORDAN GLAZIER

VP Touring Prevdem CFC

' :-Hli0tl'V9/AFTist Dov Cut March Ev«rttful

:-"liCtl'u}/A.Ti-.t Dov CutMBfch Evorttful CCCG.LLC Paradigm Talent « Uve Nation TIchetlrtg C3 Pr«»«nt« VmWx Mufic World

ReadruMMT Itocordi Uterary A99r>cy EnlwtalfMntnt

E ntcftainiiicibt

DREW MCGOWAN

i«miof Group Manager,
p;ibJic Relations S

Th« Clorox Company

HARVEY LEEDS JIM LEWI

Prciidi-ii HMdquaiten Agent H^ad

Talent Buyft Live NaUon of Ltv? ^wr-Ti.

Tho Agancy Group

Vector Management

I'l* §: M m

BRIAN MANNING MICHAEL MARION

Creative ArtUts
Agency

Flallron
Management

JOHN MEGLEN

CEO
Concern West/
AEGUve

CHRIS TSAKALAKI5 DON VACARRO

STUBHUB TicketNctwork

Live Nation
Alliances

SPONSORSHPS: Cebele Marquez 646 654.4648 • CMarquez a billboardcom REGSTRATKNt Lisa Kastnef 646.654.4643 • LKastnef o billboard.com
HOTEL: The Roosevelt Hotel 888.833.3969 - Discounted Rate Available $299/Night - Space is limited!

CORPORATt SPONSORS

ven on arena

Mozes

BOK CENTER

music networx Tl

I1SBC<Z> RockHouBe

Cni

I Hl= Rll I ROARn

BY ANN DONAHUE

rv AND FILM

(producer/

MUSIC
SUPERVISOR

Jonathan

The^lHfri/TV music vet says ^ —
budget constraints are pushing
music supervisors into new roles.

When it comes to film and TV music, Jonathan McHugh has a dream resume. He worked
on the soundtracks to "Empire Records" and "Austin Powers: International Man of
Mystery." He was the music supervisor for cult indie films like "Roger Dodger" and
"Rize. ' He even played a label executive in a bit part in Snoop Dogg's 2006 film "Hood
of Horror."

In recent years, however, as "head chef" of his own company. Song Stew Entertain-
ment, McHugh has found himself moving away from traditional film/TV music jobs. He
got that cameo in "Hood of Horror," for example, because he was also the film's
writer/producer. He also produced the 2008 film "Repo! The Genetic Opera" and the
reality TV show "Battleground Earth: Ludacrls vs. Tommy Lee," which aired on Discov-
ery's Planet Green channel.

One reason for moving to film and TV production, he says, is adapting to the eco-
nomic times. With the music industry In a slump— and film studios and TV networks put-
ting more pressure on music budgets for major productions— expanding to new jobs is
a necessity.

McHugh will speak at the Hollywood Reporter/Billboard Film and TV Music conference,
held Oct. 29-30 at the Beverly Hilton In Los Angeles, about his journey from music su-
pervisor to movie producer. In an interview, he explains why he anticipates more of his
colleagues will follow in his footsteps by diversifying their skills.

Why did you branch out Into
writing and producing?

My mother was a novelist, my fa-
ther is a wood sculptor. My brother
is still, to this day, a 50- plus-year-old
folk singer. So I grew up in this re-
ally creative family. As I became an
executive and got out of college and
got into college radio and radio syn-
dication— always promoting other
people's things — I started writing
scripts and i got a movie made
[■'Hood of Horror"]. It was like, all
of a sudden, you realize you can do
both — you have the left brain and
the right brain. You can promote
other people's stuff and keep pro-
moting your own stuff.

And this ii what indtpcndant
people need to do now to

survive.

Look. I love music supervision, I
love putting songs to pictures. But
what I also love is producing,
where you help create something
from conception — not just the
music, but the whole process.
Once you've built up 25 years of
relationships and skills, it's really

not that hard. It's a question of
finding the gig that gets you in
there. That's why reality TV is in-
teresting, because it moves so
quickly. When you love a lot of dif-
ferent things, you want to keep
doing them. You have to build up
and have different skill sets that
can bridge the gap — that's what
needs to be done in today's world.

So how did "Battleground
Earth," your reality TV show,
come together?

Leslie Greif produced [A&E's "Gene
Simmons: Family Jewels"] and he
was engaged by a new green net-
work called Planet Green to create
a show. Steve )ones, who is now the
show runner on the Discovery show
"Pitchmen," called me and said, "I
think this would be perfect for you.
We need some talent: a rocker and
a rapper." And we ended up getting
Ludacris and Tommy Lee and cre-
ated a series that was nine different
weeks of environmental challenges
across the country that their teams
had to compete in. It was great be-
cause not only were you on TV, but

you were doing something good.
We got letters from teachers that
said, "We usually don't do anything
about TV, but we had our kids watch
your show every week." I got rid of
the BMW and got a hybrid, [laughs]

Around this same time, you
were working on a feature film,
"Repo! The Genetic Opera."
Talk a bit about that.

That was one of the greatest and
worst experiences of my life. You
spend a year-and-a-half on this
movie — it's a horror movie and a
musical. We got everybody from
Nivek Ogre from Skinny Puppy to
Sarah Brightman to Paul Sorvino
to Paris Hilton. Because of Paris
Hilton, we got in Time magazine
and Rolling Stone. But we also got,
"Well, you got Paris Hilton in your
movie — your movie sucks." The
payoff is when you go see that
movie now in a midnight show and
people are all dressed up and
screaming at the screen and talk-
ing back to the movie. It's a new
"Rocky Horror" — and "Rocky Hor-
ror" obviously stiffed when it came

out, too. You realize that you gave
birth to a freaky little child, but that
freaky little child may grow up to
be something.

And now you're working on an
animated short film based on a
Facebook app?

My friend Yair Landau ran the dig-
ital animation group [at Sony Pic-
tures] and produced "SurPs Up."
"Open Season" and "Cloudy With a
Chance of Meatballs." which was
just a big hit. His idea was that an-
imation was a big monster that was
impossible to enter. So he hooked
up with Intel and they [used] their
amateur animation software
Maya — we had 27 different anima-
tors all contribute through Face-
book. All these people got $500 a
pop and a chance to be in an ani-
mated feature — it's called crowd-
source animation.

The idea for the short is that this
guitar gets put in this used instru-
ment store and hears the sound of
a violin in the front room and falls
in love and has to get to the front
room — all to the tune of "Smoke on

the Water." Yair's like, "We need a
guitar that can talk." I said. "We
need someone big: Steve Vai." Steve
said he didn't want to do scores any-
more because he didn't like his work
tweaked by directors, and I said,
"This is different. No, you are the
movie. You are the star . . . and I
need a violin." And he has this girl
in his band. Ann Marie Calhoun —
she won the My Grammy Moment
[in 2008]. She's an incredible, beau-
tiful, wonderful spirit. We cast these
two and now [the short is] opening
for the Sony film " Planet 51 ," which
is due out at Thanksgiving.

You have another reality TV show
in the works called "Crash
Course to Stardom."

That's something we're putting to-
gether now — we haven't shopped it
yet. The music business isn't
dead — the record business has
problems — but the dream is so
much alive. If you go to Guitar Cen-
ter, the place is packed. It's really a
way to help people through our net-
work of individuals that have spent
a lot of time in the business.

This new band Bascom Hill, we
went to see them at Summerfest
in Milwaukee and they were just
OK. And then we listened to their
music, and f thought, "These guys
are great, they really have poten-
tial." And then you find out they've
never been schooled — if you're liv-
ing in Racine or Milwaukee, Wis.,
who is going to tell you this [indus-
try] stuff.^ We think it's a viable
concept — kids want to see what
happens in the business.

And in a different way than
"American idol."

Right. "American Idol" is the king
of it all, but there are other people
in the court still interested in see-
ing how the game works.

When you love a lot of different things,
you want to keep doing them. You have
to build up and nave different skill sets.

BILLBOARD I OCTOBER 31, 2009

Copyrighted materi|

ELSEN BROADCA

eptember 2009 Reel

100,000 SPIKS

(iw to Save a Lite/The Fra//Epic

)iologjze/Tjmbaland Feat. OneRepublic/Mosley/Blackground/lnterscope

100,000 SPINS

itiat Hurts the Most/Rasc;il Flatls/Lyric Street
iin it!/ChrisBrown/Jive/JLG
n Yours/Jason Mraz/Atlantic/RRP

100,000 SPINS

wa La Vida/Coldplay/Capitoi

100,000 SPINS

rtio Wouldn't Wanna Be Me/Keith Urban/Capitol Nasiiville
)icond Ctiance/Shinedowr/Atlantic
i'kei Face/ L;idy GaGa/Streamline/KonLive/Clierrytree/lnterscope
mser/iJe-Yo/Oef Jam/IDJIVIG
Mter in Time/Leona Lewis /SYCO/J/RMG

100,000 SPINS

ju Belong witli Me/Taylor SwIft/BIg Machine
liber/ I /LaFace/JLG

Docl(You Down/Ken Hilson Fiat. Kanye West & Ne-Yo/Mosley/Zone 4/interscopeterscope
iss Me Thru the Phone/Soul a Boy Tell em Feat. Sammie/ColiiParlt/lnterscope
ilnow You Want Me (Calle Ochoj/Pilbull/Ultra
liotta Feeling/Black Eyed ^eas/lnterscope

100,000 SPINS

Eaking Up in Vegas/Kaly Psrry/Capitol
)lke Me Out/ Franz Ferdina id/Domino/Epic
iiick in a Moment You Can t Get Out Of/ii2/lnterscope
sease Don't Leave Me/Pin ;/Warner Bros./WRN
' Red/Blake Shellon/Ultra

TToday Was Your Last Day/Nlckelback/Roadrunner/RRP
nn't Trust Me/ >j J i ; : o / Photo Finish/Atlantic/RRP

100,000 SPINS

iimmer Nights/Rascal Fla ts/Lyric Street
mall Town USA/Justin Mo )re/Valory
iie Woll/Loba/Shakira/Epic
!isessed/ iriah Carey/lsland/IDJMG
ever Say Never/The Fray/Epic
wing for the Night/George Straii/MCA Nashville
now Your Enemy/ Green D;iy/Reprise
litel Room Service /Pitbull /Mr. 305/Polo Grounds/J/RMG
nod Girls Go Bad/ :bra Star;hip Feat. Leighton Meester/Fueled By Ramen/Atlantic/RRP
iiwn/ <iy iedn K>at. Lil W iyne/Casil Money/Universal Republic
seak Up/Mario Feat. Gucc Mane & Sean G./3rd Street/J/RMG
gg Green Tractor/Jason Al lean/Broken Bow
liltlefield/JordlnSparks/19/Jive/JLG
Guns/ Green Day/Reprise

10,000 SPINS

itiatcha Say/Jason Derulo/Beluga Heights/Warner Bros,
selcome to the Future/ Brail Paisley/ Arista Nashville
1 row It in the Bag/Fabolois Feat. The-Dream/Desert Storm/Def Jam/IDJMG
weet Dreams/ Beyonce/Music World/Columbia
iiccessful/ 'ip.kp Feat. Tre ' Songz & Lil Wayne/Young Money/Cash Money/
Universal Motown

(ly Hey (I Love You)/Mlchiel Franti & Spearhead Feat. Chorine Anderson/

Boo Boo Wax/Anti-/Unlversal Republic
lun This Town/Jay-Z, Rihai na & Kanve West/Roc Nation
iirty in the U.S.A./Mlley C\ rus/Hollywood
jiparazzi / 1 < (I y G aG a / Strenmline/KonLive/Cherrytree/lnterscope
Inly You Can Love Me This May/ Keith Urban/Capitol Nashville
Gagnificent/LI2/l$land/lnlerscope
im Drunk/ Boys Like Girls 'Columbia
as a Business Doing Pleasi re with You/Tim McGraw/Curb
rm in Miami Trick/Livii Au/Party Rock/lnterscope
Dom My Heart to Yours/ Lai ira Izibor/Atlantic
lililn' for You/Colbie Cailla /Universal Republic
5 on You/ Flo Rida Feat. Ni-Yo/Poe Boy/Atlantic
merican Ride/Toby Keith/Show Dog Nashville

;mber

2009

- 1

nielsen

Cni

New Moon' Rising

TWILIGHT' GOT TEENAGE BLOOD PUMPING. NOW ATLANTIC
SOES IN FOR THE KILL WITH A SEQUEL'S SOUNDTRACK FEATURING
)EATH CAB FOR CUTIE AND THOM YORKE

)Y ANN DONAHUE • PHOTOGRAPH BY RYAN RUSSELL

ust in case you've been in a sight-, sound- and Twitter-deprivation tank for the past two years,
lere's the lowdown on the "Twilight" franchise: It's a series of four books written by Stephe-
lie Meyer about Bella, a human girl who hearts Edward, a vampire boy. This is awkward, due
3 Edward's predilection for snacking on platelets, but also because high school relationships
re invariably angsty and messy. • The first of the series, "Twilight," became a feature film
tarring bed-headed porcelain heartthrob Robert Pattinson, and made almost $400 million
ast year at box offices around the world for its fledgling movie studio, Summit Entertain-
nent. The accompanying soundtrack, featuring Paramore, Muse, Linkin Park — and a rather
Dvely track by Pattinson himself— sold 2.2 million copies, according to Nielsen SoundScan.

On Nov. 20. the adaptation of the
?cond book in the series, "The Twi-
ght Saga: New Moon," hits theaters,
ut more than one month before —
n Oct. 16 — Atlantic/Chop Shop
ecords released the soundtrack,
umped up from Oct. 20 after the
bum leaked on the Internet. In its
rst three days of sales, the sound-
ack sold 1 1 5,000, copies, according
> Nielsen SoundScan. landing it at
0.2 on the Billboard 200.

For the next three months. Atlantic
ant.s to make the "New Moon" sound-
ack inescapable. The label is team-
ig with teen lifestyle all-stars to
romote the album: Hot Topic. MTV
id MySpace. For those too old to wear
lack nail polish, the soundtrack also
ill be sold at Whole Foods. Nordstrom's. Hallmark and Holly-
ood Video.

But besides its omnipresence, there's a secret weapon the
bel is deploying for "New Moon." The soundtrack features
acks from Thorn Yorke, Bon Iver & St. Vincent, Lykke Li and
ja Wolf, among others— and they're all exclusive to the album.

"We had offers from artists that were incredibly wonderful

id incredibly commercial, and it would have been easy to

ly. 'Oh. let's go for it because we'll sell more records' — but
wouldn't have been true to the project," says Paul Katz.
)Undcr/CEO of Eye2Ear Music, which consults with Sum-
lit Entertainment on music; Katz produced the soundtrack
bum and has been involved since the script stage to deter-
line where music could fit into the film.
The track list mediates the one bit of risk to the "Twilight"
rrics: So far, the franchise owes its popularity to the capricious
aishes of teenage girls. Getting "Twihards" who love virtuous
mipires to buy the soundtrack is easy — but getting Radiohead
ins to plunk down cash for a little bit of the "New Moon" uni-
-Tse will be a coup.

new moon

Vampire diaries: DEATH CAB FOR CUTIE

(loft): above: 'The Twilight Saga: New Moon
—Original Motion Picture Soundtrack"

" Keeping it as a combination of ob-
viously great artists — but making it
interesting for people to discover —
was a very carefully considered view. "
Katz says.

HE WOLF

As "New Moon" opens, there's a com-
plication in the story of our star-crossed
lovers: While Bella may love Edward
forever and ever— eh. Edward thinks
it's best to lake a break. Enter boy-next-
door Jacob, who — in the grand narra-
tive tradition of mystical Native
Americans — is a werewolf

This love triangle forms the plot of
"New Moon." and accordingly the
soundtrack is moody and wistful, but
with an undercurrent of strum und
drang machismo. Each song is exclusive to the soundtrack, as-
yel-un released, and most were written specifically for the movie,
remixed or given new lyrics to fit the film's themes. "I was very
inspired by the John Hughes movies of the '80s, which made
me listen to indie rock bands that probably weren't meant for
1 3-year-olds; Yello, the Psychedelic Furs, New Order," says music
supervisor Alexandra Patsavas, who also produced the album.

as she did for tlic soimdtratk lo "Twilight , " "Hopefully we can

create a similar moment in time for 2009 teenagers."

Patsavas received coffins and Dracula pictures in her South
Pasadena, Calif, office from bands trying to get her to listen to
their tracks for inclusion on the "New Moon" soundtrack. "The
big difTcrcncc between the last album and this album is that
the last album we really had to go out there and beg and plead
for the first album and for this one, it was completely the re-
verse," Katz says.

The first single is Death Cab for Cutie's "Meet Me on the
Equinox,' airrently No. 15 on the Alternative chart. The song
debuted on MTV.com Sept. 1 3 in tandem with the Video Music
Awards; the music video, a sepia-toned intermingling of the

band with footage from the movie, debuted Oct. 7.

"With Death Cab we felt like they were hip enough, they
were cool enough, and they were musical enough and broad
enough without being super commercial super pop." Katz
says. "And one thing Summit is cognizant of, when we choose
an artist — and they choose us. it's a mutual thing — is that we
want enthusiasm.'

And Death Cab is nothing if not enthusiastic about discussing
the travails of Bella. Edward and )acob (see story, page 21). It
can follow in the footsteps of the singer of the "Twilight" sound-
track's first single: Paramore's Hayley Williams, who blogged
relentlessly about the series on the band's Web site, posting
pictures of herself holding the books and attending the movie's
premiere. Her fan-girl joy caught on: the "Twilight" soundtrack
significantly boosted Paramore's profile with its single from
the album. "Decode," selling 927.000 copies, according to
Nielsen SoundScan.

"Paramore did a fantastic job for us — and for them." Katz
says. "We want somebody who will feel really good about being
involved in the project and talk it up."

But the plan is to work " New Moon" like a traditional album,
with several singles being released. Two contenders for the next
single slot are Lykke Lf s "Possibility." which is the longest mu-
sical take in the movie and played over a pivotal scene in the
film as Bella pines for Edward, or the Killers' "A White Demon
Love Song."

Patsavas has a longstanding relationship with Atlantic — her
imprint. Chop Shop Records, is affiliated with Atlantic, and
"New Moon" artist Anya Marina is signed to it— but ultimately
the soundtrack's tone was a group effort. Marina, for instance,
was selected by director Chris Weitz after Patsavas, looking to
boost the number of female vocalists on the soundtrack, sent
him a compilation CD with 15 female artists. Marina's cover
ofT.I.'s "Whatever You Like" won him over.

■[Patsavas] doesn't get force-fed priorities to follow because
they're going to be big songs." says Livia Tortella, GM/execu-
tive VP of marketingand creative media at Atlantic. "She starts
with the feeling of the film and then she creates a mood around
it. I can't tell her, "Oh, you've got to use this band because it's a
priority.' I've got to give her a band that's going to fit the mood
she's creating and also has a bit of a base so I can open up the
film. They're about the mood, about the feeling of it, and that's
really exciting because it's really creative."

The Yorke track came about after Patsavas established the
relationship by licensing the Radiohead track "15 Step" for the
end credits of "Twilight." "Early on in the summer I was speak-
ing quite a bit to (Bryco Edge. Yorke's manager] and ho said
Thorn had something already recorded that would be appro-
priate for the movie." Patsavas says. "I was thrilled."

Patsavas' credentials are well-established — she's the music
supervisor for "Gossip Girl" and "The OC" — but the music for
the "Twilight" series also receives invaliuble siipport fi'om Meyer,
the books' author. The fourth novel in the series. "Breaking
Dawn." is dedicated to Muse, which appears on both soundtracks.
"They are super important to the "Twilight" family," Patsavas says.

Meyer writes on her blog at StephenieMeyer.com about what
music she listened to while writing the novels. Her site now in-
cludes streams of her suggested songs, as well as links to pur-
chase ringtones. "You start out with a [reading] experience that

OCTOBER 31. 2009 • www.hillbaard.biz • V

'Moon" landing (from left): The film's K r

and ROBERT PATTINSON, who play Bi , n

director CHRIS WEITZ and the cast on set; THOM YORKE.

people are so excited about and she's such a passionate lover
of music, so it has her stamp all over it," Tortella says. "The
music is like a character with a life of its own. and Slephenie
gave birth to that."

Since Meyer wrote "Twilight" in 2005 and started singing
the praises of Muse, the band has seen steady sales in the
United States, according to Nielsen SoundScan; when the track
"Supermassive Black Hole" was placed on the "Twilight" sound-
track, the band's popularity jumped. In the six months lead-
ing up to the release of "Twilight," Muse's 2006 album "Black
Holes and Revelations" sold 41 ,000 copies, according to Sound-
Scan. In the six months following the film's U.S. bow. the set
sold 73 .000 — up 78.5% compared with the pre- "Twilight" week.

"Supermassive Black Hole' had already peaked on the Al-
ternative radio airplay chart at No. 6 in September 2007. In the
track's two-and-a-half years of release before the "Twilight"
film's debut, it had sold 154.000 downloads. In the 1 1 months
since the film hit screens, the track sold another 310,000.

"Some time ago, when the band was playing in Arizona,
we invited [Meyer] to a show," says Muse's manager, Q Prime's
Cliff Burnstein. " Twilight' director Catherine Hardwicke
wanted to use 'Supermassive' in a very long scene, with not
a lot of dialogue in the foreground. We thought, 'This is fun;
this is a nice woman who writes these books, she's a fan of
ours, let's get involved in this.' No one was really thinking at
the time, 'This is a huge opportunity.' "

The "New Moon" soundtrack features a remix of Muse's "I
Belong to You" that was rerecorded to emphasize the track's gui-
t;irs .-ind takrs out the French opera interlude in the original ver-
sion. "fThe band] loved the change they made, Chris [Weitz] was
really pleased, Alex was really pleased, and at the last minute
we were able to get it into the movie," Burnstein says.

The soundtrack also features a track by score composer and
multiple Academy Award nominee Alexandre Dcsplat. (The
score from "Twilight" was by Carter Burwell on Afiantic, and
sold 182,000 copies, according to Nielsen SoundScan, a fantas-
tic sales number for a score: it's the 1 Ith-biggest-selling sound-
track of 2009. A label deal for the "New Moon" score is still
pending.) Weitz asked Desplal for a sweeping, romantic score —
along the lines of what Maurice Jarre did for "Doctor Zhivago."

"There is a central love theme for Bella and Edward, but
Chris felt that we didn't want to put that out front because in
the film Bella and Edward are separated through much of it."
Desplat says. "You don't hear that theme in its full treatment
until the end of the movie. For the soundtrack album it's an
arrangement of that melody but just for piano."

Katz is mulling hiring a songwriter and an artist to create
and record lyrics to the piece, and then release it as a single —
much like the teaming of Bryan Adams, Mutt Lange and com-
poser Michael Kamcn on the 1991 film "Robin Hood: Prince
ofThieves."

It all speaks to a broader theme of the soundtrack: It's more
than just a souvenir of the movie — it's an album that can be
worked to radio along the lines of a traditional artist release.
"We see the soundtrack as an entity in its own right, which
obviously you can't say about every soundtrack," he says.

20 • BILLBOARD • OCTOBER 31, 2009

YOU'RE SO VEIN

It's hard to overemphasize the impact the "Twilight" series has
had on the cultural conversation. In recent days, Ryan Seacrest
has been doing dramatic readings of sections of "New Moon"
during his morning radio show and posting the videos of his
candlelit performances on his Web site.

It makes the soundtrack a safe bet as a slam-dunk — digital
sales already launched Anya Marina to No. 22 on Billboard's
Heatseekers Songs chart, as her "Satellite Heart" was offered
as an immediate download from the soundtrack with a pre-
order from iTunes — but it also makes its success hard to repU-
cate. "With Twilight' and 'New Moon,' people are buying into
the whole experience." Tortella says. "They want to own it."

Of the 2.2 million copies of the "Twilight" soundtrack sold
in the United States, 1 .7 million were physical CDs and 521,000
were digital downloads, according to Nielsen SoundScan. (Ex-
cept for the Paramore track "Decode," the tracks on the album
weren't available a la carte on iTunes.) Part of the reason for the
popularity of the physical format among young buyers may be
the goodies that were packed into each CD — and Atlantic is re-
peating that strategy for "New Moon."

Each CD will contain a poster of the film's characters, and
there will be different editions that contain a variety of bonus
tracks of songs in the film that didn't make the album, includ-
ing Lupe Fiasco's "Solar Midnite," the Magic Numbers and
Amadou & Mariam's "All I Believe In" and two classical tracks.

There will be CDs available with merch — look for "New
Moon" T-shirts for your gothy teen at fye this holiday season —
and. for the first time, the soundtrack will be available for $32.99
as a US B drive sculpted into the family crest of the Cullens, Ed-
ward's vampire family.

Besides placing the soundtrack in nontraditional retailers to
take advantage of the holiday season, the label is unveiling a
Hot Topic tour Nov. 6, with various bands from the soundtrack
making appearances during a 1 5-market trek. Besides perform-
ances, the tour includes signings in Hot Topic and Q&A ses-
sions in the mall where the stores are located.

"Tlie first volume really centered a lot around Paramore,"
Tortella says. "This one is really about showing the depth of it and
the mood of it by having a bunch of artists participate in events."

Death Cab will appear on "]immy Kimmel Live!" and at
mlvU's Woodie Awards. In addition, the soundtrack will be
promoted in onscreen advertising in movie theaters and a prime-
time TV campaign during Thanksgiving weekend.

Online, MySpace is the soundtrack's key partner, debuting
the soundtrack listing, Marina's single and then streaming the
soundtrack in full. The film's first trailer also premiered on the
site — and received 4.2 million views in the first 24 hours.

The " New Moon" soundtrack also will receive a push interna-
tionally, with Spain, France, Germany, Australia, japan and Mex-
ico getting bonus tracks fi"om local artists in their native language
on the soundtrack. In Mexico — where "Twilight" is known as
"Crepusculo" — the soundtrack to the first movie went to No. 5
on the Mexican albums chart and went gold, selling at least 40,000
copies, according to the Mexican labels association Amprofon.

"The fun part about having a franchise like this is it's the ex-
perience of the music and the experience of the film that really
drives a lot of the ideas," Tortella says.

FANGS FOR THE MEMORIES

As for the film itself, there's more music in it than "Twiligln
it features roughly 20 cues, Weitz says. "The movie has a lot i
spots for music and a lot of spots for score, and we're trying
ride a very delicate balance and not make it wall-to-wall mrpc
ing," he says. "I think there is a threat to modern film in th
there's not enough silence. And so it's very rare you actual
get to hear the entire song played out." The one song that doi
play in fiill during the film, he says, is Yorke's "Hearing Dan
age," which underscores a fight scene.

Weitz is well-known for pushing music in his movies; 1
was a producer on last year's "Nick& Norah's Infinite Playlis
and he was nominated for an Oscar for best adapted streei
play for the 2002 music-intensive film "About a Boy." " He's gi
good musical taste and he's very into it," Katz says. "He wasi
just like he was the director out there, he was part of the tcatn

So to address the question Outtering in a million teenage gi
hearts: Why does Pattinson not make an appearance on these
ond soundtrack?

The answer He didn't want to. (Sorry, girls.) "We asked
Rob wanted to do it, but his music is kind of his private stuff
a way — as opposed to this huge public dazzle on him on ll
moment," Katz says. "We wanted to respect that. If he coriu
to us on the third one and he wants to do something, then \^
would obviously be delighted."

Right now Pattinson is filming "Eclipse" — the third book
the "Twilight" series — in Canada in preparation fora release i
summer 2010. Katz and Patsavas are back onboard for the soiin
track album, and while a deal with a record label isn't fiiia!i?i
yet, Katz says, "We would like to work with Atlantic again."

The plot of "Eclipse" provides more rich sonic territory, i
eluding a vampire versus werewolf battle and lots of chas
"ragged breathing" between Bella and her supernatural bt
toys. In other words, it adheres to the same formula that li,
sold 70 million copies of Meyer's books worldwide, accordii
to the publisher, Hachette Book Group— an alchemy ol ho
mones and horror that spavmed films and soundtracks to fee
off the stories' success.

"There's no illusion that it wasn't the 'Twilight' phenom
non that helped make it so successful," Katz says. "While tl
music is great, if it came out by itself, it wouldnl have the san
impact at all."

Additional reportingby Jeff Bond and Keith Caulfield.

Copyrighted materiii

rHE BILLBOARD Q&A:

Chris
Walla

^YCORTNEYHARDING

hances are, most tv/eens watching the video
or Death Cab for Cutie's "Meet Me on the
■quinox," the first sir gle from the "New Moon"
oundtrack, will fast forward right past the
•and to get to the scene of Robert Pattison sans
hirt. But it's their loss, because they'll be
nissing out on one of the band's practically
latented heartbrok<?n indie rock ballads. •
juitarist Chris Walla and his bandmates
frontman Ben Gibb.ird, bassist Nick Harmer
nd drummer Jason McGerr) have had a hell
fa trip. Founded in the late '90s in Bellingham,
^ash., the group traptured a solid indie
ollowing before b(?coming the unofficial
oundtrack for sensitive dudes everywhere on
The OC" and signing to Atlantic Records,
tints on "Saturday Night Live" and a chart-
opping album, the 2008 "Narrow Stairs."
allowed in due course. • Now the group is
lart of one of the most highly anticipated
oundtracks in rece it history, appearing on
New Moon" alongside the Killers and Thorn
orke. Walla chatted about his love of the
ampy, vampy novels, as well as his current
roduction work.

Id you write "Meet Me on the Equinox" specifically
:>r the soundtrack, or was It something you had lay-
ig around that you thought would work well with

If film?

bit of both. The song wa- already written, and then it got
leaked a fair bit to make it v ork for this. When we first started
orkin^on this. Ben [Gibbard] sent about 10 demos he thought
light work, and while nine of them ended up not feeling quite
ght. one was eerily pcrfecl.

That said, it definitely needed retooling, and there was a
•al concern about the timir g. Ben just got married, Nick was
1 the middle of a cross-country move, and )ason has a 1-year-
Id he's barely seen because we've been on tour so much. We
inic to the conclusion thai we were going to devote three
i\s to this, and if it worke<i. great. And we figured if it did-
I work, at least we had a g eat song for the next record. But
has worked out beaulifull; — it's really been kind of perfect.

You've read some of the books. Why do you think the
"Twilight" series has taken off in such a massive way?

I didn't have a clue how big this was until 1 told my 18-year-
old cousin and she was like [squeals], "OMG! OMG! OMG!"
It was amazing. It was nuts. Part of what makes the books
great is that they have this teenage-girl-diary quality to them;
it's strangely believable and it works. [Author] Stephenie
Meyer really got in touch with her inner 17-year-old to make
it happen. I think that's part of the reason why it works for
boys too; it's a weird instructional manual in a way.

Is this the first movie soundtracit you'v* worked on?
You've been part of TV soundtracks, but why have you
held off on film until now?

Right, we have never done a film. When the "OC" thing hap-
pened a while back, we went through a whole host of emo-
tions. When we got the first request for that, they hadn't
even aired the pilot, and we said. "Sure, why not." It was
one of the first licensing things we did and we didn't think
it would be a big deal. For a while after it got huge, we
thought, "God, we're the 'OC' band forever, stuck in this
box." But we realized it was only a chapter in the band's his-
tory, and we had albums and a fan base and it wouldn't be
the only thing wc ever did.

In terms of "New Moon," part of it was the fact that Nick
(Harmer] and I were clued in to this, and I really love the

series, and there's some real pnjoymenl to be had from

being part of something that is such a part of the cultural
Zeitgeist. But I'll also say I'm a little weirded out about
being a 33-year-old man heading into this teeny, tweeny
promo campaign.

Are you going to have to hang out al Hot Topic for
five hours while teenage girls rip your hair out?
Well, we're not starring in the film, so I feel a little safer,
but I guess there is a level of guilt by association. We will
be doing some promo. I'm sure. Part of me is excited be-
cause being in a big band, I've been able to do some really
awesome stuff, but I want to make sure we're not signing

up for anything too bizarre. We've gotten some requests that
sound excellent, and some of them are like, "Oh, God. no,
we're never doing that."

Like what? Are you going to be on a lunch box?
There is a lot of product placement and retail tie-ins. al-
though I don't think we're going to be on a lunch box. [laughs]
I think the thing that's most exciting for me is the fact that
being part of this. I'm able to feel like I'm 15 again and think
back to some of the soundtracks that were really big for me.

The way they are building this whole franchise is really
one of those modern. 360-degree cultural assaults. So if
"Meet Me on the Equinox" winds up in the credits, or as part
of a very pivotal scene, it will remind whoever loves the
movie of that moment every time they hear it. Thai's great
for us and it's good for the movie.

Is there a full Death Cab album coming soon?

It's downtime right now, but at some point early next year
I think we're going to dive in and start working on stuff.
We're going to be more laid-back about it; while all our other
albums have been recorded on a strict schedule, for the next
one, we'll get together for a week-and-a-half or two weeks
and we'll be in the studio and kind of see what happens.
We've never done it before, but we feel like we finally have
the luxury to do that.

You also did production on the new Tegan & Sara
album, and you've released solo projects In the past.
Are you working on any other personal projects?
It's all record-making, all the lime right now. I'm working
with lots of bands who are kind of just starting out. or have
made one record, or haven't even made a full-length [album].
I'm really loving it. because I remember what it's like to be
starting out, and it's really cool to be around that kind of
energy. I'm going to do a record with this band called the
Lonely Forest, from Seattle. They're an awesome, really
blue-collar rock band with a Superchunk vibe and great en-
ergy onstage. ••••

OCTOBER 31. 2009 * www.liillbDarlbiz • 21

Behind The Music
Placements

MUSIC SUPERVISORS AND EXECUTIVES TELL THE STORIES BEHIND
THE YEAR'S TOP 10 SYNCHS • BY ANN DONAHUE

Getting a song placed in a TV show or film takes a certain kind of serendipity: The right song needs the support of the right music supe;
sor and executive to end up in the right storyline at the right time — and then, well, the rights have to be available and affordable. • 2009 \
a year when the film/TV music industry took some chances — and saw some big payoffs in terms of creative accolades and sales. Here
list of the film/TV music teams whose choices made the most impact.

MUSIC

SUPERVISOR:
PJ BLOOM

Executive: Executive producer
Ryan Murphy /// Song: "Don't Stop
Believin' " Songwriters: Jonathan Cain, Steve Perry,
Neal Schon , , / Show: "Glee"

Ever)' Wednesday night after "Glee" airs, digital sales of the
tracks featured on the show explode, and at least two songs are
featured in ever>' episode. The potential for the show's music
to be a digital sales success was apparent immediately after its
premiere following the "American Idol" finale in May. "Once
Ryan [Murphy] committed to making "Don't Stop' our signa-
ture song for the pilot, we needed to engage tlie process of turn-
ing one of the greatest pop/rock songs of all time into one of
the soon-io-be greatest 'Glee' songs of all time." Bloom says.
"Since we hadn't cast our actors yet. this resulted in no less than
20 different demo versions created by two different producers
sung by everyone from the top session vocalists in town to Jour-
neycoverband frontmen. Intheend.our'Glee'iiber-producer
Adam Anders managed to create exactly what we needed-
which in turn was sung by our exceptional cast. The rest
is show choir history." So far, the 'Glee' cast's version
of "Don't Stop Believin' " has sold 503,000 digital
copies, according to Nielsen SoundScan.

(TIE) PERFORMED BY:" " "
KRIS ALLEN

Song: "Heartless" /// Songwriters: Jeffrey
Bhasker, Malik Jones. Beniamin Mclldowie
(Mr Hudson), Scott Mescudi (Kid Cudi),
Kanye West. Ernest Wilson /// Show:
"American Idol"

One performance can make someone
the favorite to win "American Idol" —
and lead to extraordinar)' digital sales.
Here's how song selection works on the
program: Contestants are provided with
a list of songs that have been cleared for
use on the show. If they don't click with \^

ants that make the final choice as to what they perform on Tues-
day nights. For Allen, doing a cover of West's "Heartless" —
with a tinge ofhow the song was covered by the Fray — launched
him from the cute, competent contestant in the glitter glare of
Adam Lambert to the front-runner. Digital sales of the song
back it up: 304,000, according to Nielsen SoundScan.

(TIE) PERFORMED BY:
ADAM LAMBERT

Artist; Adam Lambert /// Song: "Mad Worid" /// Original artist:
Roland Orzabal /// Show: "American Idol"
Showcasing Glambert's softer side won him new fans and
showed why "American Idol" is still relevant. Up until he per-
formed a rendition of "Mad World" — more of an homage to
Gary Jules' haunting version than Tears for Fears' poppy slow
bum of a nme — Lambert had his pipes turned up to 11. week
after week. By toning it down, he kept the audience surprised
and underscored what's so compelling about "American Idol":
It's a reality show that makes great TV out of actual artist de-
.-elopment. Sure enough, the ratings for "Idol"

rose the week after Lambert's un- A-^Jdt^

expectcdly subdued perform-
ance, from an average of 22.8
million for the week of his
performance to 24.2 million
for the week after, accord-
ing to Nielsen.

aucer veiopmen
— r

one immediately, they can suggest a song \
that the show's staff will then try to get ^
cleared. Ultimately, however, it's the contest-

22 - BILLBOARD OCTOBER 31, 2009

MUSIC

SUPERVISOR:
ALEXANDRA
PATSAVAS

Executives: Executive producer
Josh Schwartz and Stephanie Savage /// Artists: Sonic Youtf
the Plasticines, Albert Hammond Jr., Lady Gaga /// ShoM
"Gossip Giri"

Getting screen time on a show that's all about flash and glai
makes artists memorable. Out of the first 10 episodes of "Goi
sip Girl" this season, four of them will feature acts on camen
Sonic Youth, the Plasticines. Albert Hammond Ir. and Lad
Gaga. The week that Sonic Youth appeared — admittedly, a
part of a ratings-boosting wedding episode — the number c
"Gossip Girls" viewers rose from 2 million the week prior t
2.5 million, according to Nielsen. Making frequent opporti
nities for artist appearances is part of the show's design. Pa
savas says. 'It always t:unics about when Stephanie and )os
outline the episode and we work in the live performances,
Patsavas says. " Lady Gaga shot yesterday — and 1 can't talk aboi
the plot, but it is spectacular." ffhe Gaga episode will air i
about a month.) It's Patsavas' talent for matching the tone c
a film/TV project with the tenor of the music that has won he
de\'otees: "I'm a complete square and a musical illiterate fc
the most part, so I was kind of a blank slate that she could soi
of throw things on." says Chris Weitz. director of 'New Moor
Iscrstory. pa^c 19).

. : • I^cted to love SONIC YOU-

Cni

EXECUTIVES: MICHAEL
3ENSDN AND MARIA
PROVENCIO, CO-EXECUTIVE
/Ps OF MARKETING. ABC
ENTERTAINMENT GliOUP

-ong: "You Found Me" /// Songwriters: Joseph King, Isaac
.lade /// Show: "Lost"

ometimes the sound of a band can help define a network. It
U started when the Fray's "You Found Mc" was placed on "Grey's
inatomy." The group's sound resonated with ABC viewers,
nd Michael Benson developed a plan to incorporate its music
ito a number of shows, as well as the network's online prop-
rties. Soon, the Fray was the centerpiece of a campaign pro-
aoting the return of 'Lost,"" and the band has received significant
iposure on ABC's Web sites. 'What we have to offer from a
lusic and television standpoint gives the audience that much
lore,' he says. And the deal is reverberating throughout the
idustrv — Benson says labels are now presenting ABC with
rtista months in advance in hopes of incorporating them into
s programming.

EXECUTIVE:
^AIHY NELSON,
HEAD OF MUSIC,
UNIVERSAL

ong: "Virtual Diva" /// Songwriters: William Omar Landron
Don Omar), Jose Armando /// Film: "Fast & Furious"
Jsing Latin music in the right vehicle (pun intended) can ex-
ose artists to a crossover audience, Tlie soundtrack Ic ' Fast
. Furious" — the fourth installment in the series featuring
ist tars and Vin Diesel's biceps — was revved up by Latin
rtists like Pitbull and Don Omar alongside the production
ervices of the Neptunes. (The previous installment in the
;ries. "Tok>-o Drift." feaUired a N*E*R*D track. "She Wants
) Move.") "Pharrell pulled in major favors." Nelson says with
Uugh. "As with all of the "Fasf movies, music was one of
le elements that 1 really do think propelled the movie." "Fast
: Furious" went on totally il55 million at the domestic box
ffice, according to Box Office Mojo. The "Fast & Furious"
oundtrack has sold 45.000 copies, according to Nielsen
oundScan. while Omar's "Virtual Diva" from the sound-
•ack has tallied 90,000 digital downloads.

MUSIC SUPERVISOR:
ANDREA VON FOERSTER

Executive: Fox Music president Robert Kraft /// Song: "You
Make My Dreams" /// Songwriters: Sara Allen, Daryl Hall, John
Oates /// Movie: "(500) Days of Summer"
Movies shouldn't be afraid of song-and-dance numbers.
After successfully wooing Zooey Deschanel's character.
Joseph Gordon-Levitt's Tom — assisted by animated birds
straight out of "Snow White" — bursts into song, and his en-
thusiasm causes the denizens of downtown Los Angeles to
dance alongside him. "The song 'You Make My Dreams' by
Hall & Oates was actually written into the '(500) Days of
Summer' script and everyone loved it, but the original idea
was to have Daryl Halt and |ohn Oates sing it on camera."
Von Foerster says. "When Halt & Oates didn't want to do an
on-Cimcra, wc started looking for groups who had a song
that was equally infectious and performed by a group who
would do an on-cainera performance. Nothing ever fully
worked out for our shooting schedule and price range, and
we ended up ditching the on-camera idea in favor of keep-
ing our perfect song . . . and that dance sequence has be-
come a favorite moment in the film."

MUSIC

SUPERVISOR:
ARYCALAMAR

Executive: Executive producer Alan
Ball /// Song: "Dig" /// Songwriters: Alan Ball, Bruno Coon ///
Show: "True Blood"

Melding plot with music is a sure way for songs to resonate
with viewers. In the fourth episode of the second season of
HBO's vampire tale "True Blood," a hip-hop track is played
in the background of a party and then repeated over the end
credits. It was listed on HBO's Web site as "Dig" by the band
Headbone, but fans of the show started clamoring for the
song when they couldn't find the track anywhere online for
purchase or streaming. Here's the secret: "I had a Tone-Loc
song as a placeholder, and then when we were deciding the
final cut, Alan (Ball] said. 'I'll write and record something to
play in the background." " Calamar says. Written with the
show's music editor. Bruno Coon, the tune wound up being
a "fun, dirty little hip-hop song," Calamar says. When the
show was in its final playback for producers before going to
air, the track was slipped over the end credits as a joke for
Ball. He loved it and kept it in. "The next day the blogs and
the Internet went crazy, because it wasn't listed anywhere —
Headbone was our music editor's band." Calamar says. "We
were bombarded with requests, but we kept hush-hush about
it." Tliey're silent no more: The track will be on the show's
upcoming second-season soundtrack.

EXECUTIVES: DARREN
HIGMAN, EXECUTIVE VP OF
MUSIC, WARNER BROS.: DOUG

FRANK^PRESiDENT OF Music

OPERAtlONS, WARNER BROS.

Song: "Desolation Row" /// Sortgwriten Bob Dylan /// Rim:

"Watchmen"

Smart musical decisions can help make fan boys even more ob-
sessed about genre movies. The key audience for comic book
films isn't the one that sits in the theater It's the one that reads
about the film ahead of time on the Internet. Bad prerelease
word-of-mouth can kill a genre film . and among fan boys, every
decision from casting to the colors used in the ad campaign is
scrutinized. For the music of "Watchmen." Warner Bros, did it
right, enlisting My Chemical Romance for a cover of Bob Dylan's
"Desolation Row" in a crucial scene. "My Chemical Romance's
Gerard Way is a big graphic novel fan — he has his own series.

Who watches the Watchmen?
MY CHEMICAL ROMANCE

'L'liibreib ALddetny.' " Higriian says. "And he's d big ">Xfltch-
men' fan. For him and [directorl Zack Snyder, it was a mutual
love of graphic novels that brought them together" And it's that
passim for the source material. Higman says, that resonated
with &ns on the Internet. (And Dylan's work is mentioned in
the graphic novel on which the film is based.) "Watchmen"
earned $107 million at the domestic box office, according to Box
Office Mojo, and the digital version of "Desolation Row" has
sbtd 77,000 copies, according to Nielsen SoundScan.

COMPOSER:
BEAR MCCREARY

Album: "Battlestar Galactica: Season
4" /// Show: "Battlestar Galactica"
A smartly marketed score can have
just as much impact as a well-placed song. For the past 18
months. Bear McCreary has been performing selections
from his "Battlestar Galactica" scores at clubs and ven-
ues, and show fans have turned out in droves. "A lot of
people associate the music with the specific scenes and
character and have said, 'If I close my eyes. 1 can relive
the whole season,' ' McCreary says. "For others, it's an
emotional rather than a narrative connection — these
melodies conjure up an emotional connection to 'Bat-
tlestar.' " An emotional connection to a sci-fi show? Def-
initely. "Bear McCreary's music was an integral part of
the reinvention of 'Battlestar Galactica.' Its complexity,
depth and breadth helped elevate the series beyond a sim-
ple 'space opera.' ' says Mark Stern, SyFy Channel exec-
utive VP of original programming and Universal Cable
Productions co-head of original content. McCreary's shows
reached their peak this year at Comic-Con in San Diego
and became a buzz-generating showcase. "The set was
twice as long, and we had almost the entire cast of the
show," he says. "The fan response was incredible. It was
a delightfully surreal experience."

OCTOBER 31. 2009 • WAv..(iillbo;it[l titz • 23

Close Harmony

HOW FOX AND COLUMBIA USED 'GLEE' TO REWRITE THE ^
SCRIPT ON TV MUSIC • BY MONICA HERRERA

When Tony Soprano finally — all right, possibly — got whacked to the sounds of Jour-
ney's "Don't Stop Believin' " in June 2007, America had mixed reactions. But the
show's viewers all agreed that TV's greatest mafia boss and music's shiniest power
ballad were linked for life, seared into pop culture consciousness. • If someone had
predicted that two years later, a prime-time comedy about a high school choir would
revive Journey's biggest hit yet again, they would have been laughed off the lot. • But
here we are in 2009, and "Glee" — a new prime-time comedy on Fox about singing and
dancing social outcasts — daft jocks, pregnant cheerleaders and divas in training —
has done just that. The show's pilot episode, which premiered May 19, not only in-
troduced viewers to Rachel Berry (Lea Michele), Finn Hudson (Cory Monteith),
Mercedes Jones (Amber Riley) and the rest of the show's choir gang, but also to their
recording of "Don't Stop Believin'," which replaces Steve Perry's epic yelps for Mon-
teith's boyish croon.

Then it got viewers to buy that recording on iTunes: Through
the week ending Oct. 18. the "Glee" version of the song has sold
522,000 downloads, according to Nielsen SoundScan. In the
week following its TV debut, it sold 1 77,000 downloads and en-
tered the Billboard Hot 100 at No. A — higher than Journey's
version ever charted.

Several TV shows move music fans to buy songs they hear,
but "Glee" gets them to buy new versions by the program's cast.
Columbia sells the recordings on iTunes, and the label has had
a striking amount of success.

"In all the years that I've been in the business, I've never
worked on anything quite like this," says Geoff Bywater. head
of the music department at 20th Century Fox Television. "It's
a real cultural phenomenon that you can just feel. We've got
people who are going to have great acting careers and record-
ing histories for themselves in the future."

Collectively. 20 titles by the "Glee" cast have sold 1.8 million
digital tracks, with 1.3 million of those downloads occurring

since the weekending Sept. 13, according to SoundScan.

At press time, "Glee" has aired just eight episodes and re-
leased 23 songs for purchase, with iTunes getting the music a
week in advance of other digital outlets and mobile carriers.

Eleven titles have subsequently entered the Billboard Hoi 1 00 —
from the cast version of Journey's song to their interpretations of
Rihanna's "Take a Bow." Queen's "Somebody to Love" and Avril
Lavigne's "Keep Holding On." fThe original songs geta sales boost,
loo. Downloads of the Journey track increased by 48% in the week
following the show's premiere, and " Somebody to Love" rose from
2.000 to 6.000 downloads in the week that ended Oct. 4.)

Twentieth Century Fox and Columbia Records, the net-
work's label partner for marketing and distributing the music
of "Glee," now project a minimum of 4 million digital down-
loads by Christmas.

"We knew that once the show started rolling it would be great."
says Columbia/Epic Label Group chairman Rob Stringer, who
signed Columbia's deal with Fox this spring. "But to be honest, I

didn't think it would be this big this quickly. I thought it would tak
people a moment to catch up. but the reaction has been instant.

In the next three months, the label will send plenty of proc
ucts to retail to take advantage of that momentum. The "Cle
The Music Volume 1" soundtrack is set for a Nov. 3 rekas
with a second volume slated for Dec. 8; an exclusive Christiiu
single is in the works, and a cast tour is planned for sunniK
2010. There's also the possibility of releasing solo albums t
individual cast members in the friture.

" I don't know whether our estimate of 4 million downloj l
by Christmas increases the possibility of the soundtrack don i
well or decreases it," Stringer says. "That's why I'm so keen ;
get it out. Not only will we learn from how the physical 111.1
ketplace responds, but also frt)m what happens when the albui
goes up on iTunes."

Ifs dear that digital track sales are just the start of what pron
ises to be a lucrative strategy for Fox and Columbia — and a nc
model for how the music industry can generate cash from TV show
"I'm not sure other labels saw it as dramatically as we did. Pe
pie saw the show and loved it. but because the songs were covi
versions, I thinklhey honestly didn't think tlut tlu- i>()ienti;d ft
the music was as great as we thought it was," Stringer says.

FINDING A HAPPY PLACE

Like most people. Ryan Murphy loves to sing in the showc
and the co-creator/director of "Glee" is open-minded whe
it comes to his music playlists. On "Glee." "Cabaret" sho
tunes. Celine Dion tearjerkers and Color Me Badd jams a
make the cut.

After the success of his cutting-edge FX show "Nip/Tuck
Murphy decided he wanted to channel that love of music ifil
his next project. "Everybody thinks I'm the dark prince of tc
cvision." Murphy says by phone from Bali, where he is filn
ing the movie adaptation of "Eat. Pray, Love.* "But I was at
point where I wanted to do something light. I've always bee

24 • eillBOARD • OCTOBER 3t. 2009

<'ry into music, and I wanted to show that."

In early 2008, Murphy came across an independent
crccnplay by Ian Brennan titled "Glee." The movie was
ark and not necessarily up his alley, but Murphy found
imscif liookcd on the title, a word that he defines as "ma-
cious optimism." Murphy convinced Brennan to redo
Glee" as an acerbic TV comedy, and along with co-writer
rad Faichuk, they pitched the show to Fox executives in
prints 2008.

The network quickly jumped onboard, and soon Fox began

rconiriga four-minute trailer of "Glee" for major-label ex-
ciitivcs in the hopes of securing a partner to market and
istribute the show's music. "Wc wanted to gel somebody
1 the record business onboard early," Bywater says. "As it
irTied out. there was quite a bit of competition for a show
lat hadn't even broadcast yet." The contenders were nar-
:)\\od down to four labels but Fox ultimately chose Colum-
ia, and Murphy says it was because of Stringer's conviction
ut "Glee" would succeed.

"Everyone else said. 'Oh. this could do really well,' but Rob
lid. 'I don't think you know what you have," " Murphy says,
hli' always had a plan and a passion."

Columbia has assembled a team for "Glee" to complement
If one at Fox, with counterparts in publicity. A&R. marketing
lid sales. The label now releases tlic songs it feels most strongly
)oul on iTunes up to two weeks before they air on "Glee."
/hilc the bulk of downloads are purchased in the 18-hour pe-

id followi ng a new episode, consumers are increasingly buy-

j; advance tracks as well.

"What really sells it is that wc use these songs in all of our
s," says Fox senior VP of marketing Laurel Bernard. "It's all
jining back to us as additional marketing. The show pushes
le music, and the music equally pushes the show."

^EW DIRECTIONS

he digital single sales of "Glee" serve as a promo
iteOtorm for tt»show and lUupcajmtnB soundtrack al

A "Glee" preview aired on Fox May 19
and benefited from a massive lead-in of
"American Idol" viewers during finale week. As
the show was advertised relentlessly during the summer and
the cast went on a tour of Hot Topic stores, the hype grew lead-
ing up to the Sept. 9 season premiere.

Since then, "Glee" has averaged 7.2 million viewers across
5.1 million homes, according to Nielsen, with 1.7 million of
them female viewers ages 18-34. According to Fox, "Glee" has
lowered the network's median age of viewers — an all-impor-
tant statistic for advertisers — down three years, from 44 to 41 .

Meanwhile, loyal fans (who call themselves "Gleeks") have
been treated to new versions of )azmine Sullivan's "Bust Your
Windows," Neil Diamond's "Sweet Caroline." Kanye West's
"Gold Digger" and even " Defying Gravity" from the Broadway
musical "Wicked."

"Ryan Murphy's brain is iTunes," says 23-year-old Lea Michele.
a seasoned Broadway soprano who plays the aspiring super-
star Berry. "I've never met anyone with a music vocabulary as
incredible as his . . . in the 13th episode. I go from singing a
Barbra Strei.sand song into a Rolling Stones song into a Kelly
Clarkson song," she says, clearly elated.

"If 'Glee' were just 'High School Musical' on steroids, 1
don't think it would have been as successful," Bywater says.
"What makes the show work so well is the stor)'lines, the com-
edy and the music choices, which are perfect for the 'Rock
Band' generation. There's something for almost everybody
in any given week."

Once Murphy chooses a song, music supervisor P.(. Bloom
has to clear the rights with its publishers and music producer
Adam Anders then rearranges it for the "Glee" cast. Numbers

Somebody to Love"

Taking Chances"
Alone"

Halo/Walking on Sunshine"
Bust Your Windows"

141,000
126,000

112.000
74,000
74,000
73,000
63,000
55,000
53,000

are rehearsed and choreographed if necessary, and then recorded

in the studio. The intensive process begins six to eight weeks
before an episode tapes and can end the day before.

"In '24' you would have the special effects budget — in 'Glee'
you have a music budget," Bywater says. "Music is our spe-
cial effects."

Seeking a promotional boost of their own, artists are
increasingly angling to have their songs featured on
the show. "Billy |oel has called and said. 'I love the
show. Please use my music' " Bywater says, inearly
2010, an entire episode will be devoted to the music
of Madonna.

Though "Glee" has only featured covers until
this point, Murphy plans to use some original music
in the spring. "I've had a lot of calls from songwrit-
ers, to the point where it's kind of embarrassing and
ridiculous," he says. "So we're writing an episode
called 'Original Song' where the teacher asks the kids
to write their own piece of music. Diane Warren is going
to do two big ballads, and if it works, we'll see what happens
. . but we won't do it all the time."

HOLIDAY CHEER

otc: The top-selling digital songs performed on "Glee" since Sept. 13.
parentheses are the sales of titles released before the show's Sept. 9
romiore.

Now that the show's download surges have established a weekly
rhythm. Stringer and Bywater can focus their attention on the
release of "Glee; The Music Volume 1." the first in a series of
soundtracks featuring music from the show. The l7-song set
will feature some of the most popular numbers from the sea-
son's first half. Columbia and Fox hofje to attract casual buyers
as well as the show's rabid fans.

"We think there will bo a huge population of passive buyers
walking through stores during the holidays and saying. 'Oh.
I've seen "Glee," ' and picking up the record," Bywater says. "I
think we'll see considerable sales in the Wal-Marts, Targets and
Best Buys of the world."

In addition to the soundtracks, a cover of Wham's "Last
Christmas" will be recorded by the cast, and although it
won't air on the show, the song will be released as a single
by mid-November.

As for long-term plans, a much-rumored cast tour is now in
the initial stages of planning. It will likely occur in summer
2010, and Murphy will direct the show. A deal with a concert
promoter is pending, he says, noting, "We're going to sit with
them all in a couple of weeks and feel out the best vibe."

Another less-lalked-about component of Columbia's deal
with Fox Is that the label has the option to sign members of the
"Glee" cast to solo deals. But Stringer says the label isn't rush-
ing to do this anytime soon, as it's committed to the show for
more than one season.

" "Glee' isn't even anywhere near where it will be in a month
or year's time." he says. "The show will be five times bigger
than it is now. just from word-of-mouth. so we're not in any
panic or rush to overplay things, because there's plenty of lime."

That said, it appears that one of the show's brightest stars
has at least been sitting with label executives to discuss what
r own material might sound like. "Lea has tried different
--ongs and already thought, 'Maybe i like doing rock.' " Mur-
phy says. " Her album is not going to be Broadway stuff. She'll

sit with pruiluc't-rs and curiii- up with her own concept."

As for whether any other cast members have had talks with
Columbia, Michele will only say. "1 have no idea, but all 1 know
is that as soon as Amber Riley jwho plays Mercedes] makes her
album. I'm going to l>e the first one buying it."

However popular "Glee" becomes in the near year, or two.
or three — that's as many as Murphy has mapped out so far —
it's clear the show has legs in more than one sector of the en-
tertainment business. And through its partnership with Fox,
Columbia knows that it's landed on a winning formula.

"I'd like to have 10 'Glees' — my life would be a lot easier,"
Stringer says. "So. do i want to continue to be in this busi-
ness.' Absolutely." ••••

OCTOBER 31. 2009 • www.biltboard.biz • 25

TV Party

NOW THAT THE ROOTS ARE ON TV FIVE TIMES A WEEK.

wn I THF PYpn<;iiRP trans;! flJF into ai rmm

BY MARIEL CONCEPCION PHOTOGRAPH BY BEN WATTS

For the past seven months, Questlove has been on the am. The Roots drummer, whose driver's license
reads "Ahmir Thompson," wakes up every day between 6 and 7 a.m. to catch an 8 a.m. train from his
hometown of Philadelphia and usually doesn't return home until 1 1 p.m.

That's because at tlie top of the year, the band attepted a j(
as the house band for "I-ate Night With |immy Fallon." whii
premiered in March on NBC. "My friend ["Cliappelle's Show
producer] Neal Brennan asked nie who I was thinking of for
house band, and ! said that I didn't know." Fallon says. " 'Yo
should ask the Roots.' he said. 'Tlie Roots? You think they'd d
il.^' 'No,* he said. 'But maybe they'd know someone.' "

"Back in the day, we were yoimgand fresh out of school, ha
no families and no responsibilities — the sky was the limit. Bu
fast forward, and you've got wives, kids, ballot recitals, footba
practices, first day of middle school, flu shots, and it gels hardt
every year." Thompson says. "We just wanted to be in one plac»
and the only job that can give us that comfort without us sei
inga dip monetarily was doing a residency. For us to be in on
place and make the same amount of money made a lot of sense

His harrowing commute is paying off, though. While the gi
is time-consuming, the show has an average of 1.7 million viev
ers. according to Nielsen, which means the Roots are likely gaii
ing a slew of new fans. While sales of previous albums haven
increased meaningfully, many close to the band believe th^

26 BILLBOARD OCTOBER 31. 2009

ales of its forthcoming album uill rt-tlcct its new pljtloriii.

The idea that a new fan base might be the result of the resi-
Icncy is a surprise to Thompson; he says his biggest concern
vhen he took the "Fallon" gig was that he would alienate the
group's current fans.

"We put on a whole pile of extracurricular work to fend off
'loggers and press people that were ready to say we sold out
or taking the job." Thompson says, adding that the Roots re-
nstated their jam Sessions — weekly concerts that the group
taged in 1999 and are now held at New York's Highline Ball-
oom — in February (the series ends in November) because they
vantcd to prove to themselves "(hat we weren't getting lazy. We
vere so busy thinking about the bullets we were going to be
ired that we discounted this could actually benefit us. We did-
I'l think we could get new fans; we just wanted to be in one
)lace. One thing we didn't bank on was the show being a suc-
ess and our profile raising five times more than before the
how." (At SlO per ticket, ail |am Sessions have sold out, and
nost sell out in advance.)

But the act hasn't broken the 1 million sales mark with any

of its albums since its 1993 nitt piinii — tlu- group's latest scl,
2008's "Rising Down," has sold 171.000 copies in the United
States, and its biggest seller is the 1999 "Things Fall Apart."
with 921,000, according to Nielsen SoundScan — and it plans
to release its next album, "How 1 Got Over," at the top of next
year. Will the exposure translate into album sales?

According to Roots manager Richard Nichols, that remains
to be seen. "1 don't know if the new fans are the same music
fans from before." he says. "People that watch late night are
older and more along the lines of middle Americans. So, it's
definitely a fan. but you have fans that don't buy your product
and don't come to a show."

"Fallon" music booker Jonathan Cohen says the Roots are
gaining new fans every day. especially among other artists who
perform on the show. "We've had numerous artists who were
more nervous about meeting the Roots than about their own
performance on the show." he says. "People are in awe of them,
for good reason. More people than ever are aware of what an
amazing band they are. My hope is that because of the show, a
lot of new fans will pick up the album when it comes out."

Burning the midnigtit oil: THE ROOTS on
'i_ate Niqht With Jimmy Fallon '

"It's a great opportunity for them to expand their brand
and shows their level of art is tr)'." says Chris Atlas, senior
VP of marketing at the Roots' label. Dcf |am. "They are tak-
ing their art to anollier platfonn and that's what liip-liop is
about. To me. they should be praised for continuing to ex-
pand their boundaries."

Thompson, who calls his nightly appearances a "blessing in
disguise, one-hundred fucking percent." hopes new and old
fans alike will pick up the band s new project. "We have a slew
of new fans." he says, "not to mention the creative juices that
are flowing f rom us interacting and playing with other artists
on the show." including Michael McDonald. Tom )oncs, Smokey
Robinson and Firic Idle, to list a few, In addition to music, the
Roots are responsible for creative segments on "Fallon" like
"Slow )am the News." during which Fallon and Roots MCTanq
" Black Tliought" Trotter rc-cniacl the day's events as R&B singers,
and "Frcestylin' With the Roots." for which Fallon randomly
picks members of the audience, asks them three questions
about themselves and has the Roots rap on the spot incorpo-
rating their answers.

.Although it doesn't yet have a release date, the albmn is tech-
nically finished, according to Thompson. Because the band
spends so much time working on the show, it will be the first
album since the group's debut, "Organix." thai the members
recorded together. For other releases they recorded their parts
separately and mix them together later.

"Tliis will mark the first time since then that we've written
and created songs in front of each other in the same room."
Thompson says. "That's because having this job forces you to
create music three to five hours a day.

"This is the most songwriling I've ever done In my life,'
he adds. "Since March. ! think we have about 723 jams in
the can. There is a difference between a performance if you
play witli musicians that are in synch rather than doing it
isolated and alone— there's just a different energy when we
do it this way."

Thompson, who first calls the album "the light at the end of
the tunnel," goes on to name spirituality and the recession as
two main lyrical themes, isn't worried whether the band's new-
gig leads to sales. "We're the last group making art records on
a major label for rappers. If there's a world for Bob Dylan and
)oni Mitchell — prestige artists under rock monikers — then
those same standards should apply to us as well," he says. "Hip-
hop acts should be able to put out art records without having
to worry about putting their lives on the line or not releasing
anything unless they don't sell millions."

At the very least, they're already innovators in their own ri^t
for what a modern-day TV band should be, according to Cohen.
"I can't really imagine another band being able to pull this off
so well. They arc tearing up the playbook for what a TV band
is supposed to be and coming up with something totally new,"
he says.

Thompson agrees. "To complain about what we don't have
might be a moot point, because who is on their label for 1 7 years
after the fact? Conventional wisdom says selling a million al-
bums is what keeps labels from dropping you. But we are 11
albums in and we haven't gotten dropped." he says. "People
that care, they respect the Roots. Others that don't care, they
are indifferent. But the cool thing is thai, because of the show,
they might've just discovered us." ••••

OCTOBER 31. 2009 • www.billti03rd.biz

Questions About Film & TV Music?

AS CAP Has Answers

ASCAP's Film & TV Music Members Include:

Arcade Fire (socan) - The Box

Craig Armstrong (prs) - Clash of the Titans

Carter Burwell - Where the Wild Things Are

Erran Baron Cohen (prs) - Bruno

Joiin Debney - Iron Man 2

Ramin Djawadi - Around the World in 50 Years 3D
Elliot Coldenthal - The Tempest
Marvin Hamlisch - The Informant
James Horner - Avatar

James Newton Howard - The Last Airbender -

Alberto Iglesias (sgae) - Los Abrazos Rotos

Mark Isham - Fame

Dario Marianelli (prs) - Everybody's Fine

Michael J. McEvoy(PRS) - Me and Orson Welles

Helene Muddiman (prs) - Skin

Randy Newman - The Princess and the Frog

Atli drvarsson - The Fourth Kind

John Powell - Green Zone

Alan Silvestri - A Christmas Carol

Stephen TVask - The Vampire's Assistant

Brian Tyler - Law Abiding Citizen

Gabriel Yared (sacem) - Amelia

Hans Zimmer - Sherlock Holmes

Not only is ASCAP home to the greatest televi
and film music creators in the world, we also h;
the most talented and experienced music Indus
professionals on our team.

Whether you are a composer or songwriter,
filmmaker or music supervisor,
ASCAP is there to help you.

Call the ASCAP Film & TV Music Team:

Allsha Davis - Charlyn Bernal - Sue Devine* - Jennifer Harmon - Marc Emert-Hutner*
Jeff Jernigan - Michael Kerker* - Nancy Knutsen - Shawn LeMone - Mike Todd

Los Angeles 323.883.1000 or New York 212.621.6000*

Cni

ALL GROWN UP

Juvenile returns,
humble as ever

WHAT WHAT?

Say Anything looks
outside itself

SIMON SAYS

Carly Simon on her
new album

SUPER MARIO

Singer returns with
crossover hit

MUSIC GIRL

'Gossip Girl' Meester
officially debuts

Picture Group for sales and
marketing. (He's still distrib-
uted through Warner.) He as-
sembled a team that includes
Creative Artists Agency for
booking and publicity with
Wortman Works, and over-
sees a staff of 10.

"The situation that I have
built is all about passionate
partnerships," he says. " It is
like being the captain of a pi-
rate ship, and you take along
the crew that you need for
that voyage."

Big Kenny and his crew
have already filmed videos
for every song on the album,
including one for the first
single, "Long After I'm
Gone," which was filmed on

The situation that I have
built is, . - like being
the eaptain of a pirate
ship, and you take

along the erew that you
need for that voyage.'

-BIG KENNY

that we're facing now."

Fans can preorder the
album on his Web site,
BigKenny.tv, and he's creating
his own iPhone app as well.
Cahill says they're also alert-
ing consumers through an ex-
tensive e-mai! blast campaign.
"We're hitting the various lists
that Kenny fans participate in."
he says. "We have several thou-
sand names on Big Kenny's
list. We have the Muzik Mafia
list. Warner Bros, has been
very cooperative in letting us
use the Big & Rich list, which
has grown to a very substan-
tial number."

Big &. Rich have been on
hiatus while the two of them
recorded their solo albums.

BY DEBORAH EVANS PRICE

FLOWER CHILD

Big Kenny Goes Green On New Solo Album

John Rich likes to make his

politics loud and public, writ-
ing songs in praise of John Mc-
Cain and the fiery populist
anthem "Shuttin' Detroit
Down." Bui his Big& Rich co-
founder, Big Kenny, prefers to
make his statements a little
more subtle. While his new
album, "The Quiet Times of a
Rock and Roll Farm Boy," due
Nov. 10 on Glotown/Love
Everybody/Bigger Picture,
doesn't have any scorching

tracks about saving the planet.

it contains a iiicsKagc about

the importance of conserva-
tion right in the package. Each
CD is encased in cardboard
studded with ready-to-plant
wildfiower seeds.

As with most of Big Kenny's
ideas, he sees this initiative as
part of a bigger picture. "We
call it Flower Power Packaging
because there is nothing in
here to waste. You can take this
cardboard wrapper, soak it in

water and plant it," he says. "It

has got 26 difFcrcnt varieties of

wildflowers that are my fa-
vorites. We asked people to take
pictures of their fiowers and
built a system to track where
the pictures come from. Wher-
ever the biggest flower power
glow is coming from, we are
going to go there and play a
show there for that commu-
nity. We dreamed all that up in
the University of Creativity."
The " University of Creativ-

ity" is Big Kenny's name for
his home, state-of-the-art
studio and offices. But this
"University" is no ivory tower,
and Big Kenny is eager to get
the word out about his music.
■'I feel like 1 was able to cover
myself and what I do musi-
cally through the span of

those 10 songs," he says.

"This is what I am about — my
musical influences from '70s
rock'n'roll to good old coun-
try and to where I found my
middle ground in between."

When execs at Warner
Bros, didn't like his solo
music, he managed to extri-
cate himself from "label slav-
ery" and launched his own
Glotown/Love Everybody
label, partnering with Bigger

the family farm he was raised
on in Culpepper, Va. The
opening track, "Wake Up,"
which Big Kenny co-wrote
with jon Nicholson and 3
Doors Down's Brad Arnold,
features Native American vo-
cals from the Blackfoot Con-
federacy and is accompanied

by a video that Big Kenny

shot in Canada when the
Confederacy invited him for
a special ceremony to receive
his blood name.

"Kenny is one of the most
prolific artists that I 've had the
opportunity to workwitli." says
Bob Cahill. a partner in Bigger
Picture Group. "The mes.sages
that he conveys are very posi-
tive and messages I think that
need to be heard in tough times

but the duo reunited last
summer for a tour. Cahill
says the tour provided an op-
portunity to give away the
single and alert fans to the
new music.

"Our view of the album is
that it's a complete, sequenced
piece of work — not a few sin-
gles and some fiUer," he says.

"It flows from start to finish
and contains important mes-
sages, and is meant to be
heard that way. We will mix
the best of what works from
the traditional marketingdriv-
ers with the best of new tech-
nologies and mediums to
execute a long-term strategy
on behalf of the project. It is
not about the first week, but
where we end up." ••••

OCTOBER 31. 2009 1 www.bllt^ard.biz 1 29

LATEST

I LA

LBU

BEATLES
BOOST MUSIC
GAME SALES

MTVs "The Beatles: Rock
Band," released Sept. 9,
had total sales of 595,000,
according to the NPD
Group. It was the third-
best -selling game of the
month behind "Halo 3:
ODST" and "Madden NFL
10." Activision's "Guitar
Hero 5," released Sept. 1,
ranked fourth for the
month with 499,000. On
the heels of these figures,
MTV released the first hjll-
album downloadable
content update for "The
Beatles: Rock Band" in the
form of "Abbey Road."

> LAMBERT
SINGLE LEAKS

Adam Lambert's new
single "Time for Miracles"
has leaked online, a week
ahead of its planned Oct.
27 debut. The song, which
anchors the soundtrack to
the upcoming apocalypse-
themed movie "2012," was
to premiere along with its
music video during
screenings of Michael
Jackson's "This Is It"
movie, but it hit the ITunes
Italy store during the
weekend and then landed
on YouTube. "Time for
Miracles" was produced
by Rob Cavallo, who is also
said to have collaborated
with Lambert on his debut
album, reportedly now
due Nov. 23. Lambert has
been recording material
for his solo debut with a
host of hitmakers,
including Max Martin, Pink,
Linda Perry and Lukasz
"Dr. Luke" Gottwald.

>^^U2, YOUTUBE
GO LIVE

U2 and YouTube have
teamed up to
broadcast a live stream
of the band's Los
Angeles concert this
weekend through
the video channel.
The Oct. 25 show is
taking place at the
Rose Bowl for those
paying to attend, but
is free for fans who
tune in from the 16
supported countries. This
is YouTube's second effort
at live-streaming concerts:
In August, it aired portions
of the Outside Lands
music festival: the U2
show will be the first start-
to-finish live stream. Like
other live concert streams,
portions will be archived
and available for
streaming afterward.

Reporting by Antony
Bruno and Monica Herrera.

BY MARIEL CONCEPCION

Ego Tripping

Juvenile Returns After A Three-Year Hiatus

Long before Lil Wayne was topping sales
charts, juvenile was selling albums and lay-
ing the foundation for Cash Money Records,
the label that eventually launched the tattooed
rapper to superstardom.

As part of the Hot Boy$, along with rap-
pers Turk, B.C. and Lil Wayne, juvenile re-
leased three albums and sold 1.8 million
copies in the United States, according to
Nielsen SoundScan. As a solo artist Juvenile
has released seven albums, including 2006's
"Reality Check," which debuted at No. 1 on
the Billboard 200. and sold 9.4 million copies.
He's also had a number of hit singles, like
"Slow Motion." which reached No. 1 on the
Billboard Hot 100.

Now, after a three-year hiatus, juvenile is
bringing his Southern bounce back to the main-
stream with his eighth solo album , "Cocky and
Confident." due Nov. 17 on UTP/Atlantic
Records/El. "The album is kind of like a brag-

ging thing: Just me doing my thing," says ju-
venile, born Terius Gray. "The entire album is
basically all about Juvie. I'm trying to focus on
what everybody else isn't doing right now. I
just wanted to bring my part of hip-hop back."

To do so, juvenile worked with a number of
producers from his native New Orleans, in-
cluding S-8ighty, Lu Baiz, C Smith and Mouse.
Pleasure P, Bobby Valentino, Rico Love, B.G.,
Kango Slim. Dorrough, Shawty Lo and Q
Corvette make guest appearances.

To reintroduce his sound, two singles were
released simultaneously: the braggadocio-fiUed
"Gotta Get It," which is No. 67 on Billboard's
Hot R&B/Hip-Hop Songs chart, and the up-
tempo, flirty "Hands On You."

Other tracks on the album include the bass-
heavy dub song "We Be Getting Money"; "Lis-
ten," which was produced by Juvenile and is
dedicated lo his son; and the upbeat "I'm Feel-
ing Right Right Now."

Although there isn't yet a set date. Juvenile
says a Hot BoyS reunion album is still under
discussion, adding that he and former Cash
Money head Bryan "Baby" Williams recently
had a sit-down about it and "settled our differ-
ences." (Juvenile left the label due to what he
says were "money and contractual issues."}

To promote "Cocky and Confident," El sen-
ior VP of marketing John Franck says video
blogs will be released to key urban sites lead-
ing up to the release of the album, in which Ju-
venile "tells his story, going back to Hot BoyS
and all the way to what he's been up to in the
last few years."

Three singles from the album will be sold
digitally before their retail releases, and
ringtones for all album tracks will
be available on all major mobile
carriers 10 days prior to the
album's release date.

A promo tour, which will
begin two or three weeks
before the release, is also
in the works; Franck also
hints at a national tour.
"Wc Be Getting Money,"
featuring Dorrough
and Shawty Lo. will be
released as the third
single in the coming
weeks , and an accompa-
nying video is slated to be
serviced concurrently.
Juvenile reveals that he'll release
a follow-up album in the next year
and continue to sign artists to
UTP and run his club and studio
in his hometown.

"Right now, I'm trying to
make me the biggest thing," he
says. "All guns are on me. I'll
be coming back with an album
real soon. It won't be another
two or three years before you
hear from me again . " • • • •

SOMETHING
TOTALKABOU1

Say Anything Tries
To Break Through
The Static

In a way. the story of Say Any-
thing is really a meta-story
about the music business.
The band, led by founder Max
Bemis. has a few things that
set it apart, most notably
Bemis' public struggles with
bipolar disorder and drug
addiction.

But those issues aside. Sa
Anything is almost an an;
band. It has a decent size an
committed — though n t
massive — fan base, its 20U
album. "Is a Real Boy." sol
230.000 copies: the foil.)
up. the 2007 "In Defense-
theCenre." sold 119. 000.. i.
cording to Nielsen Soiuk
Scan. It played the Van
Warped tour and toured wit
contemporaries like DasI

GLQBALPULSE

EDITED BY TOI^ FERGUSOl

»>SUN SCREEN

Synch deals aren't new as a
fast-track to publicity, but It's a
big break when one Involves
an unsigned band and Britain's
best-selling daily newspaper.

The Sun newspaper, which
has an average dally circula-
tion of 3.1 million copies (ac-
cording to the Audit Bureau of
Circulations), licensed the un-
released track "Stare Into the
Sun" for its summer TV ad
campaign from the newly
formed pop act Graffiti 6.

The deal happened when
Sony/ATV, which publishes the

Big news: GRAFFITI 6

act* s Tommy D, sent the son
to the newspaper through \.V
music supervision compar
Huge Music. The publicatio
then covered Graffiti 6 sever
times. 'The minute they foun
out we weren't signed, it
an opportunity for them to gt
behind something," lead vc
calist Jamie Scott says.

Scott adds that the expt
sure has brought major labe
to the group's door and the ai
is now focused on finishing 1
album for release in 20K
when "Stare Into the Sun"
likely to be issued as a single

MUSIC

d Confessional and Het-
>poodb\ f. And as Bemis and
onipany prepare to release
third, self-titled album Nov.
on RCA, all involved par-
t's are wondering the same
ling: How do we break out
the pack?

Plenty of bands spend their
arcers selling a few-hundred-
loiisand copies, content to
e big but not huge. But
cmis makes no bones about
anting to cross over to the
lainstrcam. "His goal is to
e big on a Blink-182, Foo
ighlers level," manager Jor-
an Kurland says.

In addition to releasing
landard versions of the
Ibum, RCA is putting out

an $89 deluxe edition, which
features vinyl, download
cards, demos, posters, a shirt
and lyric sheets. While the
price point might seem high
for a band with a young fan
base, RCA senior VP of mar-
keting Aaron Boms con-
tends that fans will see value
in getting so much product
all at once.

Say Anything also recorded
a series of acoustic concerts
for various online outlets, and
Bemis dutifully tweets and
blogs up a storm. A single, the
cheerfully tilled pop-punk an-
them "Hate Everyone." was
promoted to modern rock
radio Sept. 15, and Kurland
says progress has been slow
and steady.

"Every week we get mes-
sages that one or two more
stations have added the
song." he says. "We know that
this is a crowded time, and
we're hoping to make a big-
ger impact in the new year."

Kurland. who has been
working with Say Anything
for six months, speculates
that the band's lack of a hit
single has kept it from break-
ing through. Its highest-
sellingdigital single, a track
called "Wow, 1 Can Get
Sexual Too," was released in

2006 and has sold 237,000
downloads.

In the meantime. Horns
says RCA is focusing on li-
censing tracks from the self-
titled album, a fairly new
strategy for Say Anything.
"In the past, his songs were
so specific and pointed that
they didn't really work for
commercial use," he says.
" But the lyrics on this record
are more open to interpreta-
tion, and we've had a better
response."

Bemis says that the more
general lyrics represent his
recovery from his past men-
tal illness and drug problems.
"The songs are still very per-
sonal, but I can see more
broad themes and social is-
sues, loo," he says.

And if the album doesn't
take off, Bemis has a fallback
plan in place.

"For the past few years, I
did this thing called Song
Shop, where I did custom
songs for $150 each," he says.
"I've seen the effects of the
industry falling apart, and
these songs are something
you can't pirate. I've written
songs about a third-grade
class; I've written songs about
dogs. I figure I can always go
back to doing it." ••••

Scott, who scored a pair of

K. top 40 solo hits In 2004
nd 2005, says the licensing

venue has "let us not have
3 get Into contact with any-
ne to try and sell it. Every-
ne's come to us. The Graffiti

sound is a very synch-able
ne." —Paut Sexton

>>XX RATED

he members of the U.K. alt-
Dck act the XX may have only
jst left their teens, but the
'esh-faced quartet is already
ausingastiron both sides of
ie Atlantic.

The XX will play three New

ork shows Oct 21-23, booked
y the Windlsh Agency, be-
ar© returning stateside Nov.
to play five headlining con-
erts and a 14-date nationwide

ur with XL Recordings act

riendly Fires. The band also
as two swathes of European
ates lined up this fall, booked
y Coda.

The Universal Music Publish-
(g-signed band's debut stu-
to set, "XX," was released
,ug. 17 in the United Kingdom
n XL's Young Turks imprint
nd has sold 18.000 copies, ac-
ording to the Official Charts
o. In the States "XX" was soft-

released digitally Aug. 25 on
iTunes, entering the Billboard
200 at No. 125; a physical re-
lease followed Oct. 6. U.S. sales
stand at 14.000 copies, ac-
cording to Nielsen SoundScan
—93% of them digital. Total
worldwide sales are approx-
imately 70,000, says band
manager/Young Turks founder
Caius Pawson. who credits
being able to respond instantly
to the hype surrounding the
band as key to its success.

"None of the buzz ran too
early." he says. "As soon as there
were people talking about the
XX there was an album to hear.
You didn't have to wait six
months." —Richard Smirke

>>>FUNKY
MEDINA

Denmark's biggest hit of tlte

p>ast 12 months looks set to be-
come an international smash.

Medina's "Kun For Mig" was
released in Dennr\ark on SC En-
tertainment's Labelmade im-
print in September 2008,
spending six weeks at No. 1 on
the IFPI/Nielsen chart. Domes-
tic sales stand at 75,000
copies and a video for the
dance track has been viewed
2 million times on YouTube, SC

managing director Thomas
Berresen says.

An English-language ver-
sion, "You & I," got a U.K. re-
lease Oct. 12 through a licens-
ing deal with Parlophone/EMI
and has already been added
to playlists by BBC top 40 Net-
work Radio 1. EMI plans to
release the track globally, Ber-
resen adds. "It's been a fan-
tastic project," he says. "EMI
has been very swift in setting
everything in motion."

SC released Medina's album
"Velkommen Til Medina" Aug.
31 in Denmark, and Borresen
says it's sold 15,000 copies.

SC partners Rasmus Stabell
and Jeppe Federspiel (also
known as the production team
Providers) produced the song
and co-wrote it with Medina;

the English version was adapt-
ed by Adam Polwers and Julie
Steincke. The original is pub-
lished by Youmade Publishing
and Warner/Chappell; Sun-
shine Music Publishing and
Sony/ATV Scandinavia share in
the English-language version.

B0rresen says an English-
language album will be re-
leased in first-quarter 2010.
SC also handles Medina's
booking. —Charles Ferro

QUESTIONS

Willi CARLY SIMON

BBS

Carly Simon recorded her new album, "Never Been Gone" (Iris Records/RED, Oct. 27), at her
Martha's Vineyard compound, and she delivers intriguing twists on songs from her storied ca-
reer ("You're So Vain," "Anticipation"), as well as two new tunes. A portion of the album's pro-
ceeds will go to the Carly Simon Music Therapy Initiative, a collaboration between Simon and
the Berklee College of Music.

"Never" also helped Simon work through despair and anger over her 2008 Hear Music re-
lease, 'This Kind of Love." She's seeking unspecified damages in a lawsuit she recently filed
against Starbucks, saying the company's now-defunct music venture didn't fully promote the
album (Billboard.com, Oct. 13).

Along for Simon's restorative trip down memory lane was a host of ^mily and hiends, includ-
ing son Benjamin Taylor and his Iris Records partner Larry Ciancia, daughter Sally Taylor, god-
son John Fort^ (the former Fugees producer pardoned for a drug trafficking conviction in
2008), singer/songwriter David Saw and engineer Frank Filipetti. "It was like people were ral-
lying around me," Simon says. "They knew my disappointment."

Moving beyond disappointment, the singer is gearing up for a series of promotional appear-
ances and— unbelievably— her first overseas tour early next year, with DJ Logic in tow.

t Why did you decide to record this album?

After what happened with "This Kind of Love,"
I was devastated. It felt like carrying a child to
term and then having it die in childbirth. But
Ben and Larry said. "Let's not sit around and
waste time. You've got these incredible songs
you've written. Let's rethink some of them and
have fun." And "fun" was the operative word.
We all got together in the same room and
started rethinking my songs. When I say re-
tliinking, I don't mean in an intellectual way
I mean, we all had a couple of glasses of wine
or beer and just started having a good time.

2 Were the two new songs written specif-
ically for the album?

" No Freedom" is a lyric I wrote a few years ago.
Ben and singer/songwriter David Saw wrote a
melody to it. It had originally been a folk song,
but I woke up one morning and said. "It's got
to be in 2/4 time like [Elton John's] 'Bennie and

tlir |*-1s." " Ben did an absolutely anuizing job
on the production; it's a great song to dance to.

The album ends with "Songbird." which I
wrote in 1970 but never finished. I have hun-
dreds of songs on cassettes around the house.
I was listening to one when I heard this song
and said, "Wow." The first verse actually came
from a different song: I had obviously writ-
ten the songs around the same time. I also
remembered there was a songbird that used
to come to my landing when I lived in a little
New York apartment on 35th Street, and I'd
try to get melodies from its singing. You

couldn't do better than a bird.

3 What was it like to work again with
your godson, John Fort6?

I'm so happy John is free and able (o do his
music. He's a great poet who raps and sings
beautifully. He doesn't sound like anyone else,
which is key. He's his own man. I asked John
to work with me on "You Belong to Me" and
he's going to perform it with me on TV. It's a
hip-hop version with a little George Benson
feel in the guitar solo.

4 Did you find that your songs stand
the test of time?

There were some songs that didn't and
others for which we couldn't figure out
a new feeling or arrangement — for in-
stance, "Jesse" and "Haven't Got Time
for the Pain." And the songs we did do
weren't necessarily hits, like "It Happens
Every Day" and "Never Been Gone." I've
always loved " Never" and the decision to
make it a barroom version is one that
happened so naturally.

5 Looking back at your career, is
there anything you'd change?

Maybe I would have been a bit more
careful about who and what I was get-
ting involved with because my enthu-
siasms can sometimes be my downfall. Some
things arc both your greatest assets and your
biggest detriments. I think my great enthu-
siasm for doing things has caused me to per-
haps not dot the I's and cross the T's as well
as I should have.

6 Will you reissue "This Kind of Love"?

Anything is possible at this stage of the game.
I'm not closing the door to anything. It was the
first time in 10 years that I'd done an album of
original songs. It took almost two years to pre-
pare. Thai's why it hurt so much. My previous
album of original material, "Bedroom Tapes."
got lost in the mixup when Clive Davis left
Arista. So I bought that album back. I've got
no idea when, where or how. but the songs I
wrote for those two albums are going to gel a
second life — whether another artisl records
them or the albums are rereleased. • • • •

OCTOBER 31. 2009 I www.btllboard.biz I 31

ALBUMS

AIR

Love 2

Producers: Jean-Benoit
Dunckel. Nicolas Godin
Astralwerks
Release Date: Oct. 6
Few bands live up to their
names as well as Air, The
French electronic duo
makes gravity-defying
disco-pop that can be as
foreboding as it is frothy
(see the 2000 soundtrack
to "The Virgin Suicides").
Air's fifth studio album.
"Love 2," hinges on Joey
Waronker, a percussionist
who toured with the band
on its last outing. His deli-
cate playing helps bring all
of those potentially spacey
piano arpeggios back down
to earth, resulting in a sound
that resembles the fo-fi pop
for which Air first became
known more than the cos-
mic symphony of recent ef-
forts. Ditties like "Sing Sang
Sung" include a vibraphone,
wind chimes and tam-
bourine, while "African Vel-
vet" has horns and light-
handed syncopation from
Waronker. It's not immedi-
ately clear if the group is al-
ways being tongue-in-cheek
("Tropical Disease" is so
lounge-y and psychedelic

that it could be retrofitted
into a Roger Moore-era
James Bond flick), but one
thing is certain: Style trumps
substance in this particular
breath of Air.-KM

FIVE FOR FIGHTING

Slice

Producer: John Ondrasik
A ware/Columbia
Release Date: Oct. 13
Five for Fighting mastermind
John Ondrasik's '70s musical
influences are palpable on
the act's fifth release. "Slice."
The piano lines on "Hope" re-
call "Desperado." while "This
Dance" sounds like Don
McLean creating a mash-up
of "Lean on Me" and "Killing
Me Softly." But "Slice" isn't
completely retro. "Transfer"
is a wonderfully complex
track with Ben Folds-like har-
monies, while the first single,
"Chances." soars like early
material by Gavin DeGraw.
And Ondrasik's themes are
particularly strong. The wist-
ful title track addresses how
the Internet has fragmented
popular culture, while the up-
lifting ballad "Augie Nieto"
centers on the fitness icon's
public battle with amyo-
trophic lateral sclerosis. Al-
though Ondrasik references

JOE NICHOLS

Old Things New
Producers: Brent Rowan. Mark
Wright

Universal South
Release Date: Oct 27
it's no stretch to say that Joe Nichols is country
music's finest vocalist in at least a generation. That's
not to diminish the often stunning vocal work of his
immediate predecessors— what elevates Nichols
above his peers in terms of vocal chops is that he's a
natural singer. This was evident on his 1996 debut and
it's fully realized on his sixth album, "Old Things New."
The set's title track evokes the primal pain and loneli-
ness of George Jones during his Billy Sherrill-
produced '70s heyday, while Merle Haggard's influ-
ence is displayed on the bone-chilling "This Bed's Too
Big." Playful moments emerge on "Gimmie That Girl"
and "Cheaper Than a Shrink," the latter extolling the
painkilling virtues of good whiskey (though Nichols
has successfully battled his own demons recently).
The haunting "An Old Friend of Mine" finds the 32-
year-old Nichols reciting words of sober resolution
while communicating tortured forbearance. It looks
like his honky-tonk forefathers— Haggard. Jones,
Lefty Frizzell and Gene Watson, to name a few— were
effective tutors.— W-/

DEVENDRA BANHART
What Will We Be
Producers: Devendra Banhart.
Paul Butler
Warner Bros. Records
Release Date: Oct 27
Devendra Banhart's major-label
debut, "What Will We Be," was recorded with the same
collaborators who graced his 2007 "Smokey Rolls
Down Thunder Canyon." This time the quintet holed up
for two months In a Northern California cabin, and the
resulting collection from the idiosyncratic singer/song-
writer Is intimate, experimental, and ultimately acces-
sible. The first single, "Baby," is a breezy yet bass-
heavy love song about "learning to let in all the laugh-
ter," while "Chin Chin & Muck Muck" Is something of a
vanguard mini-review, changing acts between swing-
ing Jazz, cabaret torch and a twinkling chant. Banhart's
Venezuelan childhood peeks through with Spanish
lyrics on "Angelika" and "Brlndo," and "Rats" is a full-
fledged psychedelic-rock jam. Throughout the set,
Banhart's expressive vocals are the real pleasure point;
the artist may be known for his self-supported aura of
knowing peculiarity, but his voice carries a frankness
that— save some well-applied reverb— Is gratifylngly
free of modern affectation.— £/V

memories more than he
shares them, fans of Five for
Fighting will be satisfied by
this set.-SS

MESHELL
NDEGEOCELLO
Devil's Halo
Producers: Meshell
Ndegeocello. Chris Bruce
Mercer Street/Downtown
Release Date: Oct. 6
Though not as sprawlingly
ambitious or experimental
as the 2007 "The World Has
Made Me the Man of My
Dreams," Meshell Ndegeo-
cello's eighth release,
"Devil's Halo." neatly strad-
dles a line between challeng-
ing and accessible, with
some of the tightest and
catchiest compositions she's
yet brought forth. Listeners
might not get that from the
opening song, "Slaughter."
which moves from liquid-like
verses to crash-bang cho-
ruses with a Radiohead-style
prog vibe, but tracks like
"Mass Transit" and "Blood on
the Curb" channel melodic,
if slightly subversive, new
wave influences— and the
Pretenders' Chrissie Hynde
would pay large for the
leathery attitude of "Lola."
Ndegeocello lays jazz over-
tones atop of "White Girl."
old-school synthesizers

through "Die "young" and
brings out front-porch Am-
ericana for "Crying in Your
Beer." She also uses a big
beat and subtle dissonance
to turn Metvin Riley's "Love
You Down" into a Joni Mitch-
ell-flavored tone poem. "I
transform myself for maxi-
mum attraction," Ndegeo-
cello sings in "Mass Transit."
It works.— GG

THE GOSSIP
Music for Men
Producer: Rick Rubin
Columbia Records
Release Date: Oct 6
The androgynous face of
Gossip drummer Hannah
Blilie cops an intense stare
on the cover of this electro-
punk outfit's newest album,
"Music for Men." With a
quaffed confidence a la
Morrissey. the photo per-
sonifies the cool poise that
the Gossip has always main-
tained with its elegant glam-
synth sounds and powerful
beats, despite a raucous
reputation. It may have been
harder for the mainstream
audience to swallow the
image of Gossip front-
woman Beth Ditto, whose
onstage nudity and outsized
persona have earned her re-
spect among the gay and
lesbian community. But on

"Music for Men." the band's
devotion to being itself has
finally found it a place in the
mainstream. The dark single
"Heavy Cross" features rag-
ged guitars accompanied by
Ditto's sharp velvety voice,
while the feminist-leaning
"Love Long Distance" is sup-
ported by a swaggering
bassline. On "Dimestore Di-
amond." Ditto employs all of
her hard-edged sexiness
and manages to charm with

an appealingly intimidatin
allure.-L7W

LOU BARLOW

Goodnight Unknown
Producers: Lou Barlow.
Andrew "Mudrock" Murdoc
Merge Records
Release Date: Ocf. 6
Lou Barlow's latest releasi
"Goodnight Unknown." mcoi
porates the aggressive gu
tar, angsl-ridden lyrics nn
low-fi sensibilities of his oth<

m KINGS OF

I CONVENIENCE

X 1 Declaration of Dependence

ity^j^^J Producers: vortous

^^^^^^^H V)iq)n Rocnrds

^^^^^^ Release Date: Oct. 20

On their first album in five years, the Norwegian duo
Eirik Bee and Eriend 0ye— who record under the
name Kings of Convenience— have returned with
more atmospheric folk-pop to soothe the soul.
Percussion is nowhere to be found on the group's lat-
est release, "Declaration of Dependence," and the
pair's Simon & Garfunkel-esque harmonies are less
dynamic than they once were. But there are still plen-
ty of bright spots. Kings of Convenience's melodies
range from the brisk and obtuse— as heard on the
angular "My Ship Isn't Pretty" and the brooding
"Renegade"— to the disarmingly catchy. On the stand-
out track "Mrs. Cold," Bee and 0ye lace their beloved
bossa nova rhythms with R&B lyrics that are aimed at
an ice queen, singing, "Acting so tough/Didn't know
you had it in you to be hurt at all . . . you lost control
and you lost your tongue."— MH

32 I BILLBOARD I OCTOBER 31, 2009

IHI=BIIIRQARn

REVIEWS-

ands (Dinosaur Jr. and Se-
adoh). while maintaining
iie sweet sophistication of
2005 solo release,
Emoh." Recorded last year
etween tours with the two
forementioned acts, "Good-
ght Unknown" is layered
/ith subtle distortion and
ommanding percussion,
omblned with Barlow's con-
dent, sometimes contem-
lative vocals. The set opens
th the gritty "Sharing,"
len later takes a lighter turn
th the playful acoustic cut
Take Advantage." on which
arlow charmingly smgs,
^ove me like a pancake."
ut the album is strongest
'hen he combines elements
f folk and noise-rock, as
n the title track and the
tomping "One Machine,
ne Long Fight," where
eavy percussion builds en-
rgy behind his determined
ocais.— KS

HAFIQ HUSAYN
hafiq En' A-Free-Ka

reducer: Shafiq Husayn
tug Research
elease Date: Oct. 6
lost hip-hop artists shout out
lajor U.S. cities on their al-
ums, but Shafiq Husayn cov-
rs far more extensive terri-
)ry "Senegal. Portugal, let's
o! Mexico and Japan. Kosovo
nd Sudan, U.S. and Pak-
tan!." he sings on the song
J.N. Plan." As one-third of
le progressive hip-hop out-
t Sa-Ra and a collaborator
n Erykah Badu's album "New
merykah: Part One," Husayn
as long cultivated an ear for
ie bold and experimental,
n his latest release, "Shafiq
n' A-Free-Ka." he continues
le sonic innovation, culling
om Influences as diverse as

SINGLES

Afrobeat and drum'n'bass
and bearing traces of Timba-
land (the reggae-tinged track
"Nirvana") and Andre 3000
(the psychedelic "Major
Heavy"), When French lyrics
and an accordion appear on
the smooth "Le' Star" and
then dissolve into a cacoph-
ony of synths. it's not jarring at
all— it's just another trip into
Husayn's wonderfully open
musical mind.— MH

FAT JOE

Jealous Ones Still Envy
(J.O.S.E. 2)
Producers: various
Terror Squad/EMI
Release Date: Oct. 6
Fat Joe's lyrical flow has
never been groundbreaking,
but on his ninth studio
album, "Jealous Ones Still
Envy (J.O S.E. 2)," the Bronx-
bred rapper again proves
that he's got a knack for in-
fectious beats. Take for ex-
ample the flirty "Winding on
Me" (featuring Lil Wayne and
producer Ron Browz), with
its slow-paced, slinky pro-
duction infused with erratic
drums. On the boastful
"Aloha" (starring Pleasure P
and Rico Love). Fat Joe
brags over muffled snares
and synthesizers about be-
ing "super duper fly" and
how he "parties up at
Diddy's house." Meanwhile,
with its static piano and
drum pattern. "Congratula-
tions" can compete with any
R. Kelly step track; "Ice
Cream" (alongside cele-
brated rapper Raekwon)
gives a nod to the mesmeric
Johnson. Moll & King song
of the same title: and the
electric guitar-heavy "Joey
Don't Do It" adds an element
of rock'n'roll to the set.— MC

30 SECONDS TO
MARS

Kings and Queens (4:59)
Producers: Flood, Steve
Ullywhtte
Writer J. Leto
Publishers: Apocraphex
Music/Universal Music-Z
Tunes (ASCAP)
Virgin

With Its new single "Kings and
Queens." 30 Seconds to Mars
veers from the post-hardcore
direction of its previous two al-
bums toward a more accessible
sound. Fans might be surprised
to hear riffs that recall U2 more
than Incubus, but the song was
clearly crafted with radio in mind.
Stately drums and dramatic
strings are paired with lyrics that
take on a stark, apocalyptic tone:
"The age of man is over, a dark-
ness comes and allAhese les-
sons that we learned here have
only just begun." A chorus
chants behind singer Jared
Leto's smooth, powerful voice,
evoking the collective thrill of a
live show. Grounded by Leto's
convincing vocals, "Kings and
Queens" is epic rock at its most
affecting.— KS

THE BELLAMY
BROTHERS FEAT. THE
BACON BROTHERS

Guilty of the Crime (3:42)
Producer: David Bellamy

Writers: F. Miller. J. Williams
Publisher: not listed
Bellamy Brothers Records
Two pairs of veteran country sib-
lings come together with im-
pressive results on this tune.
"Guilty of the Crime" was fea-
tured on the Eagles' 2007 album
"Long Road out of Eden" and is
revived for an intriguing collab-
oration between Howard and
David Bellamy and Kevin and
Michael Bacon. The song is now
featured on the Bellamy Broth-
ers' "Anthology, Volume I" and
its new production is skillfully
understated, focusing on what
feels like an effortless blend of
the duos' voices. Their solid
vocal delivery is what gives
"Guilty of ttie Crime" its main ap-
peal. Though country is its most
obvious radio home, the song
has a chemistry that could ap-
peal to multiple formats.— 0£P

ANGEL TAYLOR

Like You Do (3:15)
Producer: Mikal Blue
Writers: various
Publishers: various
Aware/Columbia
Up-and-comer Angel Taylor's
new single sounds like Colble
Caillat for a reason. The song
was produced by Mikal Blue
and co-written by Blue and
Jason Reeves, who first
patented breezy, sentimental
pop with their work on Cail-

DITED BY MITCHELL PETERS
ALBUMS) AND MONICA
ERRERA (SINGLES)

ONTRIBUTORS: Mariel

^nccpcion, Gary Graff. Monica

rera. Wade Jessen, Sarah
acRory. Kerri Mason. Michael
enachem. Evie Nagy. Deborah
/ans Price, Benjamin Sheehan.
3lly Staskel. Lavinia Jones
'right

RITICS' CHOICE *: A new

lease, regardless of chart
3tcntial, highly recommended
musical merit.

PICK »: A new release predicted
to hit the top half of the chart in
the corresponding format-
All albums commercially
available in the United States are
eligible- Send album review
copies to Mitchell Peters at
Billboard. 5055 Wilshire Blvd.,
Seventh Floor, Los Angeles, CA
90036 and singles review copies
to Monica Herrera at Billboard,
770 Broadway. Seventh Floor,
New York. N.Y 10003. or to the
writers in the appropriate
bureaus.

NORAH JONES

Chasing Pirates (2:40)
Producer: Jacquire King
Writer: N- Jones
Publishers: Muthajones Music
odmin. by EMI Blackwood Music
(BMt)

EMI/Blue Note

Due Nov. 17, Norah Jones' fourth studio album, "The Fall,"
will incorporate more rhythm and guitar, but it won't be a
180-degree transformation. In fact, both of these ele-
ments are introduced with subtlety and care on the
album's first single. "Chasing Pirates" floats along with
Jonos' hroathy. •;on<:tial voraU ovor n «troam of guitar

effects and a new wave-esque groove, courtesy of pro-
ducer Jacquire King (Kings of Leon. Tom Waits). The
lyrics are somewhat obscure but still manage to achieve
a winning simplicity, as Jones sings of her preoccupied
dream state: "Well the man in there swings, while the sil-
liest thing's floppin' around in my brain/And I try not to
dream but them possible schemes swim around, wanna
drown me in synch." While her jazzy, piano-driven hits
have always been rich in songwriting and arrangement,
Jones' experimentation with tempo and Instrumentation
on her new material is a welcome one.— MM

TIMBALAND FEATURING
SOSHY

Morning After Dark (4:05)
Producers: Timba/and. Jermone
"Jroc" Harmon
Writers: various
Publishers: various
Mosley/lnterscope

Timbaland is nearing the release of the second install-
ment in his "Shock Value" series, and from the sounds
of the first single, "Morning After Dark," the producer
is back in stride. Much like the material on his first set,
the song heaves with massive sub-bass and weighty
kick drums. "You talk about taking it slow/I'm talking
about taking it wild/Don't wanna be too upfront,
no/Baby you know it's my style," Timbaland flirta-
tiously harmonizes over a galactic-sounding, double-
speed piano and thumping beats. "When the cats
come out, the bats come out to play," he croons on
the catchy hook, which features his new label signee,
SoShy. While comparisons to the 2007 cut "Return
the Favor" are undeniable— lacking shock value on
that end— this club banger will send Shockwaves
through your speakers nonetheless.— MC

lat's breakthrough srrvgle, "Bub-
bly." What Taylor offers, though,
is a slightly sassier tone, as the
20-year-old singer/songwriter
takes zestful jabs at the object
of her blossoming affection,
"Boy you know it's bad when
you do that, but you don't care,"
Taylor sings, "Holding out ex-

actly what I want, but you won't
share/And I've never had a taste
before/But now you've got me
wanting more." Set to a fairly
generic, foot-tapping beat, the
lyrics are stnklng in their asser-
tion of conflicted desire— they
may not be edgy, but at least
they feel honest.— SM

OCTOBER 31, 2009 I www.billboard.biz I 33

BY MARIEL CONCEPCION

From 'Break Up'
To Breaking
Records

Mario Earns His Second-Biggest Chart
Hit Since *Let Me Love You'

The last time Mario saw the pinnacle of Bill-
board's Hot R&B/htip-Hop Songs chart was in
2005. That's when "Let Me Love You" — from his
2004 second album. "Turning Point" — reached
No. 1 . Four years and two albums later, the Bal-
timore crooner finds himself dose to reclaim-
ing that zenith.

Tliis week, "Break Up" logs its 11th week at
No. 2 on the tally. Featuring Sean Garrett and
Gucci Mane, it's the lead single from Mario's
fourth album. "D.N. A." Debuting this week at
No. 9 on the Billboard 200 and No. 2 on Top
R&B/Hip-Hop Albums, the J Records/RCA
Music Group set was released Oct. 13. "Break
Up" also gives Mario his fourth top five R&B hit,
joining predecessors ']ust a Friend," which
reached No. 4 in 2002, and the Ne-Yo-penned
'Let Me Love You" and "Crying Out for Me."
which peaked at No. 5 in 2008.

" 'Break Up' was originally created for some-
one else, but 1 beat it out of Sean [whoco-wTote
and co-produced the track] until he evenmally
gave it to me," Mario jokes. "A lot of this album
is about letting females know that 1 know what

it is they go through sometimes in reta
tionships. So this song was like a conversa
tion that I had to have with my fans."

Picking up where the singer's 2007 album
"Go" left off. "D.N.A." finds an introspective and
maturing Mario shedding even more light on
heart-related matters. "This is a very important
album for me — a lot of it was about finding my-
self and figuring out the makeup of who I am
now as opposed to who 1 was when I started." he
says. "Throughout the recording process, I
learned so much about myself Thus the songs
became more in-depth — digging out much more
of myself. The fans know who I've been up to
this point, but now I want them to know who the
changed Mario is."

In addition to "Break Up." the album's track
list includes the wistful " Don't Walk Away," writ-
ten with songwriter/producer C. "Tricky" Stew-
art; the melancholic "Depression"; and
"Something I Did Wrong." which Mario de-
scribes as reminiscent of Michael Jackson's
"Human Nature' and "Ooh Baby" and is "the
sexiest song on the album."

A changed man:
MARIO

Currently making its ascent on Hot R&B
H i p-Hop Songs is the second single. "Thinkii
.'Xboul You." Produced by the Runners an-
Rico Love, the song is No. 53 this week. I:
addition. Mario guests on another sultr
track that's climbing up the chart: Hurr
cane Chris" "Headboard." The song, whic
W also features Plies, is No. 71 on the list.
' Now hitting the road in support of"D.N.A.,
Mario is co-head!ininga " 106 & Park" tour wit
I'rey Songz. With a lineup that includes Garret
and Day 26, the tour is the first of a recently ar
nounced partnership between Live Nation an
BET. It kicked off Sept. 29 at the House of Blue
in Los Angeles and wraps Nov. 25 in Las Vega;
Mario will also perform at the Powerhouse '0
concert presented by New York radio static
WWPR (Power 105.1). The Oct. 27 lineup ir
dudes Chris Brown. the-Dream and Keri Hi
son. A live mixtafje by Mario — recorded with
live band — is also in the works.

Selling 32.000 copies its first week, accordin
to Nielsen SoundScan. "D.N.A." didn't receiv
the same warm welcome that greeted "Brea
Up.' However. Mario remains confident of th
album's long-term success.

"1 can't say why 1 don't get my just due. bi
it only makes me hungrier." he says. "I wantt
continue challenging myself and making ir
credible music that will connect with fan
around the world. I plan to keep creating a di:
tinctive lane for myself 'D.N.A..' with the hel
of 'Break Up,' does just that." ••■

GIVHvfG
A HOOT

FLIGHT PLAN

Consumers continue to wise up to Owl Ctty. The single "Fireflies" posts Its 12th straight
gain, while the "Ocean Eyes" album enjoys its ninth weekly sates gain and best week yet.

"FIREFLIES" TRACK RANK

"OCEAN EYES" ALBUM RANK

Owl City's "Fireflies" continues to light up Billboard's sales and airplay
charts. The electronic pop/rock song from the act, which consists solely of
singer/songwriter Adam Young, takes the runner-up spot this week on the
Hot Digital Songs chart with sales of 156, 000 copies (up 13%). The title has
sold 681,000 digital downloads, according to Nielsen SoundScan. ^ The
song's 9-7 rise on the Billboard Hot 100 is also fueled by its continued radio
airplay. On Adult Top 40, "Fireflies" bounds 37-26 with Greatest Gainer
honors (up 288 plays, a 100% improvement over last week). On Mainstream
Top 40, the track rises 20-15. The song soars 61-42 on Hot 100 Airplay with
an all-format audience of 27 million (up 35%). H On the Billboard 200, Owl
City's debut Universal Republic album, "Ocean Eyes," jumps 32-20 (21,000
copies, up 14%), surpassing the previous peak (No. 27) it achieved in its
debut week in August. The set has sold 155,000 copies to date, according
to SoundScan. — Gory Trust

34 I BILLBOARD 1 OCTOBER 31, 2009

■■---■■■■■I

mm tim vam vmi nam wti m

Cni

Sophisticated
pop:
LEIGHTON
MEESTER

BY MONICA HERRERA

Balancing Act

eighton Meester
ihifts From *Gossip
irr To Pop Woman

ossip Gir!" actress Leighton
ccstcr hasn't yet released her Uni-
■rsal Republic debut. But it appears

the TV star is well on her way to si-
lencing naysayers about her fledgling
singing career.

Meester released her first single —
a retro dance-pop track titled "Some-
body to Love" — to digital retailers
Oct. 14 after premiering it on Ryan

Seacrest's KIIS-FM Los Angeles
morning show. Featuring R&B
singer Robin Thicke. the song is al-
ready off to a solid start with 102
spins at top 40 radio and 7,000 dig-
ital tracks sold through the week
ending Oct. 18, according to
Nielsen SoundScan.

"1 have a crazy, strange life and I
work a lot, so the song is about me
not getting any," Meester says. "1 like
that it's electronic but still lyrically
driven. It's a very sexy track, and
Robin really brought something dif-
ferent to it.'

"Somebody to Love" follows
"Good Girls Go Bad. " Mcestcr's col-
laboration with Cobra Starship that
reached No. 7 on the Billboard Hot
100 during the summer. Universal
Republic believes these two songs
should assuage anyone who raised
an eyebrow when the label an-
nounced her signing in April.

"There was some skepticism,
but now there's not," says Univer-
sal Republic executive VP of A&R
Tom Mackay. "As the Cobra record
went up the chart, we got better and
better material from songwriters.
That song immediately validated
the project."

Mackay also notes that the vision
for Meester's album was clear from
the start. "She wanted to make a so-
phisticated pop record that could work
in the clubs and in the international

market. And this first single is noth-
ing else if not sophisticated pop."

Although it isn't yet finished,
Meester's debut album is tentatively
slated for late 2009 or early 2010.
She's spent most of the year juggling
studio sessions with taping two fea-
ture films and the CW network's
"Gossip Girl." About 25 songs have
been completed, however, and col-
laborators include producer Mike
Caren on "Somebody to Love," Stu-
art Price on "I Feel Everything" and
j.R. Rotem on "Lights Out." Meester
also plans to showcase her vocals on
more downtempo tracks like "Your
Lies Are the Truth."

Universal Republic and CW are
also discussing how to promote
Meester's album on "Gossip Girl."
with short-term ideas ranging from
a synch placement of "Somebody to
Love" to an exclusive premiere of its
music video. "We would be foolish
not to utilize the show." Mackay says.

Meanwhile. Meester remains fo-
cused on channeling her singing
idols — from Madonna and Debbie
Harry to Santigold and Lykke Li — and
taking the time to gel her solo mate-
rial just right. " I never wanted to pay
attention to the business side of act-
ing, and it's the same with music,"
she says. "I love being creative. As 1
come up with more stuff, I keep top-
ping myself. . .and this is the perfect
time for me to do it." • - •■

\LEXANDRA THE GREAT

5 the winner of the 2008 edition of "The X Fac-
•r," Alexandra Burke was no stranger to pulling
jt big performances on the popular ITVl show,
jt her Oct. 11 return to the program as reigning
lamp may prove to be her biggest yet.
It was the same episode In which Robbie
'illlams world-premiered his comeback single,
lodles." But It was Burke's spectacular routine for
r energetic second single, "Bad Boys" (Syco)—
aturing guest rapper Flo RIda and dozens of
ale dancers— that caught everyone's attention.

It was a world-class, Incredible performance,"
ys Burke's co-manager Richard Griffiths, dlrec-
r of Modest Management. "The response we've
id from around the world has been 'Oh, my God,
Is girl Is the real thing.' "

"Bad Boys" crashed onto th« U.K. singtos chart

No. 1 the following week, selling 187,000 first-
eek copies— more than double Williams' sales,
xording to the Official Charts Co. It became the
stest-selling single since Burke's cover of
Ksnard Cohen's "Hallelujah" sold 311,000 copies

a week last December. "Hallelujah" has now
}ld 1.2 million copies, according to the OCC.

"It was strange and very scary," Burke says of
?r return to the show that catapulted her from
North London council estate to stardom. "I
anted to do something out of my comfort zone
td make a big impact."

Burke's debut album, "Overcome"
(Oct. 19), was also heading for the
No. 1 slot at press time. Described by
Griffiths as "a big, uptempo, mod-
ern giris' record," the album was de-
veloped by Simon Cowell's Syco and
Epic Records U.S., with Roc Nation
partner Jay Brown assisting with
A&R. Ne-Yo guests on ttie slick
R&B track "Good Night,
Good Morning"; featured
writer/producers Include
RedOne and Stargate.

Dave Shack, the Lon-
don-based VP of inter-
national for Sony Music

U.K., says Sony is follow-
ing the international
rollout template that
proved so successful
for fellow "X Factor"

Big impact:
ALEXANDRA
BURKE

alumna Leona Lewis' 2007 debut,
"Spirit" (Syco). "Overcome" is due in
January in Europe and in spring 2010 In
the United States.

Burke will appear Dec. 7 at tfw Royal
Variety Performance In Blackpool,
which ITVl will televise at a
later date. She wilt stay busy
I' doing U.K. prorrxjtion until

early December wtien her
U.S. promo work begins.

"I have to crawl be-
fore I can walk and
walk before I run,"
Burke says. "It's going
to Involve a lot of
hard work. But i
would love to have
Leona's [U.S.]
success."
—Mark Sutherland

A HIGHER
CALLING

Pedro Fernandez will always be re-
membered as the cuter-than-cute
child singer/actor who sang "La de la
Mochila Azul" and captivated an en-
tire continent as he pined for the "girl
with the blue backpack."

No longer little Pedrlto, Fernandez
Is all grown up now: a seasoned mari-
achl singer who has established him-
self as one of Mexico's foremost vo-
calists in the genre. But Fernandez's
new album, "Amarte a la Antigua,"
may catapult him to higher heights
thanks to its tie-in with the Mexican
soap opera In which the singer also
stars, "Hasta que el DInero nos Sep-
are." Released Sept. 8 in Mexico, the
album has spent six weeks on that
country's Amprofon sales chart. It
currently holds the No. 9 position
aided by the first single, which Is also
the soap opera's theme song.

The rollout is being handled differ-
ently In the United States, however.
"Amarte" was released Oct. 20 by
Fonovlsa, although the soap opera
won't begin airing stateside until early
next year. The soap opera's success
In Mexico prompted the label to rush
the album's release while also tailor-
ing it for the U.S. market. Because
mariachi doesn't receive significant
airplay In the States, three banda
tracks were added to the album. In-
cluding the single "Nl Con Otro
Coraz6n." It enters the regional Mex-
ican airplay chart this week at No. 32.

Once "Hasta que el DInero nos Se-
pare" begins airing stateside in Fet>-
ruary, ttie label will launch the album's
title track, also featured In the soap.
Because Fernandez Is still filming the
soap In Mexico, the album's domestic
release Is t>eing promoted by a four-
week TV campaign in which Fernan-
dez Invites fans to download his music
on their cell phones.

Fonovlsa president Gustavo Lo-
pez promises the real action will
begin once the soap opera begins
airing stateside. "This will be the big
surprise album of 2010," Lopez says,
citing the success of the soap cou-
pled with Fernandez's increasing
traction on radio In the States and
in Mexico. "All these things are blow-
ing up together." —Leila Cobo

www.btllboard.biz I 35

Billboard connect with the music industry's most important decision maker

HELP WANTED

DEPARTMENT OF MUSIC AND
PERFORMING ARTS PROFESSIONS

Two Faculty Positions Beginning September 2010

ETPLACE

HELP WANTED

MUSIC BUSINESS

-Clinical Assistant Professor, Non-Tenure Track

JAZZ STUDIES

-Music Assistant Professor. Non-Tenure Track

NYU SWInhardt'5 Department of Music and Performing Arts Professions was
established in 1925. Today. 1.500 students majoring in renowned music and
performing arts programs ars guided by 300 Faculty. Steinhardt Music and
Performing Arts Professions has functioned as NVU's "school" of music and
developed mto a maior research and performance center In music performance,
music composition, music tecfinology. music business, film scoring, performing
arts therapies, and the performing arts-m-education (music, dance, and drama).
Our rich and varied expertise and interests bring performance majors and
composers together with choreographers, directors, actors, dancers, educators,
librettists, and filmmakers in collaborative projects often reviewed by the New
York media. Faculty sit on leading journal editorial boards and publish some
of the most significant performing arts research on the scene today, Coupled
with leading faculty and advanced music technology studios and internationally
recognised programs, our Department and the Steinhardt School offer an
unparalleled environment for artistic, professional, and scholarly challenge and
growth The Department website may be viewed at: httpi/Atsinhardt.nyu.
edu/music/

NYU's dynamic Global Network University includes NYU Abu Dhabi and
international programs and academic centers around the world. NYU
Steinhardt faculty may be afforded the opportunity for variable term work at
these global study and research sites.

Complete faculty position descriptions and applications can be found on our
website at: ht(p://it»lnhardt.nyu.»du/r»culty_posltlons/

NYUSteinhardt

steinhardt School of Culture, Education, and Human Development

Assistant or Associate Professor in Music Industry

The Department of Music at Northeastern University invites applications for a tenure-track
Assistant Professor or Associate Professor in the field of IVIusic Industry to begin fall 201 0. The
successful candidate will have a background in music business/entertainment, commitment to
entrepreneurial and interdisciplinary thinking, and possess a wide range of professional skills
and interests. Applicants will be able to demonstrate an established and ongoing research
profile and a strong track record of teaching at the university level. All candidates will teach
existing courses and develop new courses at the undergraduate level in areas such as (but
not limited to): new media and communications, music technology, e-business, management,
history of popular music, concert promotion, music publishing, international music business,
artist management (including touring), and national and international licensing. Qualifications
include a doctoral degree or equivalent terminal degree.

To ensure full consideration, applications should be received by November 30, 2009.
Applicants should submit a cover letter and curriculum vitae online. To apply, please visit the
College of Arts and Sciences website, http://www. northeastern.edu/cas/. and click on Faculty
F^sitions. In addition, applicants must have at least three confidential letters of reference sen!
directly to: Hilary Poriss, Chair, f^usic Industry Faculty Search, 351 Ryder Hall, Boston, (VIA
021 15. No other materials should be sent directly to Professor Poriss.

BUSINESS OPPORTUNITIES

Hello my name is ALVIN W. IRVING and I recorded a
song called SEXSOLISIOUS I DID IT to buy my mother
a house and I won't stop until I do. I am also a member
of many charities like ASPCA AND THE RED CROSS
AND MARCH OF DIIVIES AND JERRY LEWIS IVIDA
AND CITY HARVEST so please dear people I beg you
to help me get my mother that house this Christmas
please go to itunes, amazon.com and cd baby.net
and buy one of my songs. I really want to make my
mother happy this Christmas so if you can help please
do and from my heart GOD BLESS YOU AND YOUR
FAIyllLY'S en/lngn@aol.com 347-843-7781

SONGS FOR SALE

LOOKING FOR LYRICS FOR A GREAT
COUNTRY OR HIP-HOP SONG?
Check out a poem cdHed "IT USED TO BE MADE IN AMERICA" See it online
at www.itusedlobemadetnamenca com - To talk to the author and make an
offer, call Robert Barrows at R.M. Barrows Advertising.
650-344-1951 - www.barrows.com

MASTERING

TALENT

tangerlneMASTERING.com

Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

POPULAR NVC CABLE TV SHOW
BOOKING NEW ARTISTSA3R0UPS
FOR TV TAPING. SATURDAY, December
5th al 5pm GREAT EXPOSURE! SPEAK
TO: RON 718-220-3594 ESTABLISHED
NEW JERSEY BASED

REAL ESTATE

New Luxury LA
Apartments

Ovrm-: Trader joF.'s Market,
8,500 SQFT Health Spa, CEUiBRm-

TraIMLR OXSTTE, /NHN/n PoOL,

Starjisc S2,S00

T-SHIRTS

W W% .P.\L\ZZO\X'LSTtt OOD.CO.M

Cau.: (888) 482-9084

MANAGEMENT
WANTED _

Established New Jersey based
"kid-friendly" rock band Is seek-
ing a booking agent/manager.
Booking experience and/or
experience in the kid's music
industry a plus. StarFish will
release their second CD later
this year and their debut disc
was Cookie Magazine's "Album
of the Month" for May 2009.
For more information go to
WW w.sonicbids. com/starfish.
Please send resume ar^d

cover letter to
whlrldrecordsagmail.com

Worldwide Distributors of Licensed:
ROCK & NOVELTY T-SHIRTS,
STICKERS, PATCHES, FLAGS &. MORE!

Check out our website catalog:

www.baeksiage-fashioti.eom

or call for a free price lisl/flyer (dealers only):

800-644-ROCK

(outside the U.S. - 928-443-0100)

MUSIC
MERCHANDISE

BUY DIRECT AND SAVE!

While other people aie raising theic prices, we
aie slasnirtg ours. CO^. LP's. Books, Cassettes
as low as 50 cents. Your cttoice trom tlH most
flxtensrve listings availabie

For dee catalog call (609) 890-6000.
Fax (609) 690-0247 or write
Scorpio MiMic, Inc.
P.O.Box A Tmiton. N J. 08691-0020
•mall: BcorpiomuB<9aol.com

36 I BILLBOARD I OCTOBER 31, 2009

CAU us TODAY AND ASK

ABOUT THE
BILLBOARD CUSSIFIEDS
INTRODUCTORY OFFER FOR
NEW ADVERTISERS!
1 -800-223-7524 or
jserretteldbiUboard.com

Cni

THE

BO)r

<V WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

dy Gaga's "Paparazzi" aamt

reatest Galner/Alrplay

rs on the Billboard Hot 100

fourth straight w*ek. It's the

ime a song by a solo female

chleved that feat since

nce's "Irreplaceable"

d the award for four straight

s In November and

mber 2006.

the "Twilight Saga: New
" set bows at No. 2 on the
lard 200, the album and
). 1-peaklng predecessor
the first soundtracks from
Btrlcal release and (ts
bI to reach the chart's top
losltlons.

w scaling Hot Country
s at guests on Jimmy
e'i "Sara Smile/' Daryl Half
ohn Oates return to the
>ard200(No. 69) for the
Ime since 2O04. The duo's
toxed set contains 74

Including the pair's 16
30 top 10s, six of which
ed No. 1.

Buble's Big; 'New Moon' Rises; Christmas Is Here

After Michael Bubid nabbed his sec-
ond No. 1 aibum on the Billboard 200
last week with "Crazy Love," with just
three days' worth of sales, the set's first
full week in stores keeps the title in the
penthouse with 203,000 copies sold
(up 55%).'niis marks ihc singer's sec-
ond-best sales week. His best came

Over The
Counter

KEITH
CAULFIELD

when "Call Me Irresponsible" started
with 21 3.000 in 2007.

Part of Buble's big gain this week
could have come from his Oct. 1 3
performance on NBC's "Today."

It's the first time the Warner Bros,
label has achieved back-to-back weeks
at No. 1 since Metalllca's " Death Mag-
netic" spent three straight weeks atop
the list in September and October 2008.

Because "Crazy" notches a second

week atop the tally, it blocks the "Twi-
light Saga; New Moon" soundtrack
from the top slot; that set bows at No.
2 with 115,000 copies. The Summit/
Chop Shop/Atlantic album was pushed
up from its original Tues-
day. Oct. 20, release date
to Friday. Oct. 16. to com-
bat leaks.

With Bubleand "New
Moon" at Nos. 1 and 2.
WEA Distribution has
the top two albums on
the tally for the first
time since Oct. 25,2008.
That was when T.l.'s
"Paper Trail" (Grand Hustle/Atlantic)
was in its second week at No. 1 and
"Death Magnetic" was No. 2 in its
fifth chart week.

BOO! Nevermind that this issue is
dated Oct- 31 — Christmas is the big
holiday on the charts.

Five new holiday sets enter the Bill-
board 200. led by Bob Dylan's "Christ-
mas in the Heart" at No. 23 with 20.000
copies sold. On Top Holiday Albums
(see page 40) , Dylan earns his first No.
1 on the tally as "Heart" vaults 21-1
after street-date violations placed it on
the list a week early.

Close behind Dylan on the Holiday
list is David Archuleta's "Christ-

mas From the Heart" at No. 2 with
17.000 copies.

A year ago this week, the top-sell-
ing holiday effort was the "Night-
mare Revisited" soundtrack sequel
to "The Nightmare Be-
fore Christmas" with
12.000 sold. The sec-
ond best seller was Yo-
Yo Ma's "Songs of Joy
& Peace" with slightly
less than 12.000.

■I

STUFFED TURKEY:

After glancing at the list
of big album releases
due Nov. 17 and Nov. 24, our jaw
dropped at the number of block-
buster titles squeezed into the two-
week frame.

First, Nov. 17 heralds "American
Idol" winner Kris Allen's debut; Norah
Jones* fourth studio album, "The Fall";
Leona Lewis* second set. "Echo";
John Mayer's "Battle Studies": and
Casting Crowns' "Until the Whole
World Hears."

The following week is when the
fioodgates burst open with debut al-
bums from "Britain's Got Talent" con-
testant Susan Boyle and "American
Idol" runner-up Adam Lambert, as
well as Rlhanna's "Rated R," Tlmba-
land's "Shock Value 2" and SO Cent's

"Before I Self Destruct."

Nov. 17 is also the street date for a
new live set from Paul McCartney and
hits packages from Fall Out Boy and
Janet Jacltson. There are others in
the pipeline as well.

It's understandable that albums by
so many marquee names are due from
mid-November through the end of the
year. In 2008, the final five weeks of
the year — from Thanksgiving week for-
ward— accounted for 16.5% of the
year's album sales (70.6 million out of
428.4 million).

The share was even larger in the year
prior. The final six weeks of 2007 —
Turkey Day arrived earlier — made up
19.7% of the year's album sales (98.7
million out of 500.5 million).

When pairing those stats with the
fact that consumers are scrutinizing
how they spend their hard-earned cash,
it's not surprising that there's a little
something for everyone when it comes
to new albums this holiday season.

Still, it's too bad that some of these
major album releases couldn't have
been delivered sooner — especially
those that would have sold well re-
gardless of release date. We're not pre-
tending that we know that any of the
fourth quarter's biggies could have
been sent to stores sooner — it's just
wishful thinking. ••••

l^larket Watch A Weekly National Music Sales Report
Weekly Unit Sales Year-To-Date

For wMk •ndng Oct 18. 2009 Ftgum m
CompAKl tf<xn a rwtiontf Mrrc* ol 1*1*1 itew anS ra

DKITU
USUHS'

mm
mi(«s

ItiKWeeli

5.849.000

1.384.000

19.188.000

Last Week

6.278.000

1.422.000

19.336 000

Change

-6.8%

-2.7%

-0.8%

TtisWeALxtViar

6.537.000

1.173.000

18.286,000

Change

-10.5%

1S.0%

4.9%

Weekly Album Sales (Minion umts)

mmt I

OUIKE 1

OVERALL UNIT SALES

YEAR-TO

DATE SALES BY ALBUM CATEGORY

Albums

318.328.000

275.559.000

-13.4% (uRiil

181.627.000

149.626.000

-176%

Digital Tracks

851,050,000

942,106,000

136.701.000

125.933,000

-79%

Store Singles
TobI

1,363.000
1.170,741,000 1

1.469.000
,219,134,000

4.1%

98.237.000

94.351.000

-4,0%

403,433.000

369.769.600

-8.3%

to one album

30
25

2008

20M

.8M

ALBUM SALES

•08 ,

'09 I

CURRENT ALBUM SALES

•08

'091

149.6 million

275.6 million

CATALOG ALBUM SALES
■08^^^^^^^jj|g.7 million |

JFMAMJ JASOND

SALES BY ALBUM FORMAT

CD 265,932.000 213.735.000

DIsitsI 50.895.000 59.824.000

Vinyl 1.391.000 1.951.000

Otter 110.000 48.000

-19,6%
17,5%
40.3%
-564%

NiaMan SoundSc*n counii at cu>r*nt only witniri Itvi tint 16 monthi of wi
•iDum I relMia (U montfis for cl«vca( and iazi albumi) Tiltoa IhoT «tAy In Uw
lap hall ol Ow B>m>oarcl 200. tto<ivev«r. ramain ai current TiTiei oUtor than IB
montm ar* ca«aU9 DMC> r-«tBlog i« a (ub»*i of catalog tm tiil»t mit mor* rhan
M monthi

:hart

BEAT

th the coronation of "You
ig With Me" atop the Adult
smporary chart, Taylor

becomes the first artist to
two former No. 1s on Hot
try Songs to the top of the

lly in the Nielsen BDS era.
■s "Love Story" led Hot
try Songs last November
he AC list beginning in

"Belong" crownvd Mot

try Songs in August.

:er Britney Spears topped
lilboard Hot 100 last week
'3," from her forthcoming
Singles Collection, ' Chart
readers have been noting

songs first made available
•tt-of sets that scaled the
. Browse the list— which
les hits from Air Supply to
lovi— In the latest edition of

Beat's "Ask Billboard."

1^ Read Chart Beat
I' every week at
r b)llboard.conV'clMrtb««t

Go to www.blllboard.biz for complete chart data I 37^[grjg|

|5 ARTIST

So U^biXT ( iJiiUflEP D<$TnieiIllttO LAGtL <PI>tCE >

Title

1 ii

> DIIKQSI MICHAEL BUBLE

BSSLLlinHH i\HfpHiK HDmi^«An^tEnglUlS Il89)t4i

Crajcy Love

, SOUNDTRACK

|i.Ht1CStMItjU(U9>]

The Twilight Saga: New Moon

The Blueprint 3

■

Q BARBRA STREISAND

Love Is The Answer

■

(

Qj MILEY CYRUS

The Time Ot Our Lives (EP)

■

19 THE BLACK EYED PEAS

The E.N.D.

■J

Q TAYLOR SWIFT

Fearless

■:■

H THE FLAMING LIPS

Embryonic

■

n MARIO

O.NJL

n MARIAN CAREY

mm KLA>iD':t:!::fl':.jy.-,ii99Bi

femoirs Ot An Impertaci Angel

!■ KISS

Sonic Boom

Q TOBY KEITH

American Rtde

■

n BREAKING BENJAMIN

Dear Agony

■

ZAC BROWN BAND

U ■■ ...1 .r :i.rL-.[ Ml Ml i^i-.ii«i**IiMtIiC H6SJrAC(l3 93i

The Foundaikjn

■■

H WHITNEY HOUSTON

1 Look To You

•■

n PAR AM ORE

Brand New Eyes

n ALICE IN CHAINS
II . ' r*Mf

Black G'rves Way To Blue

■

g KINGS OF LEON

Only By The Nighl

■I

Ifl LADY GAGA

iil ' L if,'£HSCaPE OneDS-.** f1!BB'.

The Fame

■■

M OWL CITY

III ... - . ..ogsi

Oceen Eyes

■

■1

g PEARL JAM

Backspacer

■

R MIRANDA LAMBERT

U . 1 " ^ ' ' ... ' i>;<ib4.'SUI>i1!MI

Revolution

■

g BOB DYLAN

Chrfslmas in The Heart

■

■■ HARRY CONNICK, JR.

Your Songs

■

.14

Q BEBE & CECE WINANS

Sim

■

Q SELENA GOMEZ & THE SCENE

Kiss And Tell

H DRAKE

So Far Gone (EP)

F»

^ ROSANNE CASH

■ ■ .-;!Sei

The Usi

■

DEAD BY SUNRISE

■ laW)

Out 01 Ashes

]

DAVID ARCHULETA

Christmas From The Heart

fj-^ LUKE BRYAN

Doin' My Thing

■

H THREE DAYS GRACE

Ute Starts Now

■

g^^usE

The fleslslance

■

U FIVE FOR FIGHTING

Slice

n KAREN 0 AND THE KIOS

Where The Wild Things Are (Soundlrach)

g LADY ANTEBELLUM

Lady Antebellum

■■

g SOUNDTRACK

Hannah Montana: The Movie

>■

n MADONNA

Cetebration

■

H TREY SONGZ

wm ■ ■'-■A'UGiMm

Ready

■

Q JASON ALDEAN

Wide Open

■

n VARIOUS ARTrSTS

WOW HHS 2010

■

□

Funhouse

■i

g MAXWELL

BLACKsummers night

•■

g COLBIE CAILLAT

Breakthrough

■

g LYNYRD SKYNYHD

God & Guns

■

g VARIOUS ARTISTS

NOW 31

H SKILLET

llfl >,..■:i■^l I'i,. iri «Hlil. jil'^.'.-.i.i - tJ ab.

Awake

H KID CUDI

Ifl r<:^ji.' .IN c :i'3o iiii]vc<tsAL wuiamomK'uVRG

(iiMi 4 On TTt« Moon: The End Of Day

H DETHKLOK

Ifl '. .. luiAi swiyi (USD

MelalDcalypie: Dethalbum II (Soundtrach)

■

g DAUGHTRY

Leave This Town

■

THE BILLBOARD 200 ARTIST INDEX

BULITOSPIU 38

uiunCHWS i:

EMVtOMCKUIA X
MQtWA 131
mEAWTUFBIMDlS

M 139

SAROhESS 117
IMEBtAIUS ,K
JOSHUABai W
MVDNCE 40
THE BUCK OlDffAS •
nfSSIHCMU. I«

acA'JMi f m sajp m

son IW GBLS 90
yRANOMEW 113
3RDMK] BEILAIflM B
BROOMS inilM !>3

xmimmo u 115

ItWWVWI 31

COKULUT U
lUIUWCAnEY 10

wwincAnLU s;

FtaSMMCASH SB
KEHWCHCSIfY 87
CHEWUf . .95
CHCKEWOOI . IW

Th( art's firfl
aBum since ?t}M
stam mtlitS.OOO
wM. The srt'f first
single. "(haiKes."
buHcls at Ho. 17 on
trteAdulI lofi 40
(Halt; it's iti^

gmill'ssiit'i :..|: . .

S5 ARTIST

lis ■J. -.il,- * t,-.MflfR OtblRlBUIWaiAUl IPfllCC.

Tiiln

1 \

Q N1CKELBACK

Dark Horse

■

Q PETE VOHN « SCARLETT JOHANSSON g.^^^

n BROOKS & DUNN

#1i ... Artd Then Some

n THE AVETT BROTHERS

n GEOHQE STRAIT

u ■■■■■

SUGARLAND

Gold And Green

»)i FIVE FINGER DEATH PUNCH
11

W\ EMINEM

SB) Relapse

Pl TAYLOR SWIFT

Ijy !.-,V.-HHFri-«.,-,ii>tl *

layiof owin

■

PI BEVONCE

1 Am...SashA Fierce

n MONSTERS OF FOLK

puionaiers vr roiK

n BRANDI CARLILE

Give Up The GhosI

€^

m SOUNDTRACK

Twilight

W% BACKSTREET BOYS

This Is Us

n SHINEOOWN

The Sound 01 Madness

n CHRIS YOUNG

The Man 1 Want To Be

n FRED HAMMOND

y-,...,... .

Love Unstoppable

Crash Love

aa-

PI DARIUS RUCKER

Learn To Live

Y' HEBA

Keep On Loving You

n FOREIGNER

Can't Slow Down

g DAVID CROWDER BAND

Church Music

7»

n KEITH URBAN

u , ,, ,,|

Defying Gravity

Hj VARIOUS ARTISTS

NOW That's What 1 Call Country Vol. 2

m..

114

n RASCAL FLATTS

Unstoppable

■

•n

n MAYDAY PARADE

Anywhere But Here

10>

M SOUNDTRACK

Disney; Phlneas And Ferb

KEVON EDMONDS

Who Knew

■5

■V RELIENT K

Fof set And Not Slow Down

■

n PHOENIX

laJ Lv-.'.iiii Mv r^ifssmi 111 Hi

Wolfgang Anwdeus Phoenix

m SUGARLAND

Love On The Inside

A ROCKET TO THE MOON

On Your Side

M REGINA SPEKTOR

Far

•4

Q RASCAL FLATTS

Grealesi Hits Volume 1

Q LIL- BOOSIE

SuperBad: The Return Of Booste Bad Az2

M DAVID GRAY

Draw The Line

pl KENNY CHESNEV

Greatest Hits II

g PITBULL

RebeluTlon

g OUtYlHALL JOMNOITES DoWM^Want

BsWhaiNtou Are: Th« Music a Oaryl Hall JohnOaies

g BOYS LIKE GIRLS

Love Drunk

g SHERWOOD

n THE BEATLES

The Beatles In Stereo

»3

g CHRIS TOMLIN q,^^ ,^ yj^^ Highest: Christmas Songs Of Worship

100

g KELLY CLARKSON

AM 1 Ever Wanted

g CHEVELLE

Scl-Fi Crimes

g TOKIO HOTEL

Humanoid

1^ GREEN DAY

21st Century Breakdown

BUILT TO SPILL

There Is No Enemy

v-^J DAVE MATTHEWS BAND

Big Whiskey And The GrooGrux King

400

n TIESTO

Kaleidoscope

mzomsA IBS

KEUrtlMISON .94
COIDPIW 171

KILOWHIMD 11I.1M

fiftWE V

BOsmUN . n

wiirrcomcK,Jft 2*
QUVCMMKRaAM} 7i
BILD CUnRMGTtm 134

CtAO ev SUKRS* Z9
MIMOOK . Ai

fWJOE 1T7
fa Wt

YGABRaA 11) fAEOtWUUOND
CKISIfKt «ILAH IIB KATEBOf ED

sanAOOMUtrif

fMfORFOhinC )-

iHEFLMMhOUPS t
JOHhFOGERTV.THESlif

ROGERANOERS IN

CCUFOflO 17^
fOflEOKR
MCMAa (fWMTI &

SP&WMtw) 16;

?M£fRAV \72 [!«m.HWi lOMNQWES

xin HUON lei

HOUVWOOIKIWI 107

imiTwvwLfsiaii IS TDevam

UICK^ JACKSON

\Kt-l
JfflfVIH

NDCUOl
HUBVKDS
MNBSVLCOH
SfMIKNCSTW

..t4> KOniMOnHIKS 103 PHTTVLDVCUSS .

12. 20D U>CV GAGA

48 UnUNMLUIBtni

, . .147 lETOVA

..IS LH.IMVIC .

t-IS LUMO

n lOSlOHEUrBCrrS

38 I Go to www.billboard.blz for complete chart data

Data for week of OCTOBER 31. 2009 i CHARTS LEGEND on Page •

.SB.

109 -

FEE

■ ; 1 1^ iONV MUSIC (17 98i

Hope Rising

103

SOUNDTRACK

Hannah Montana 3

KOTTONMOUTH KINGS

Hidden Stash 420

>EW

BOWLING FOR SOUP

Sorry For Partyin'

!06

101

JASON MRAZ

i .. ii.H- ttaasi

We Sing. We Dance. We Steal Things.

'Oe

■.o:

BRAD PAISLEY

. . ■ , 1 ■ SMN I139BI

Amerlcan Saturday Night

12-!

109

HOLLYWOOD UNDEAD

Swan Songs

106

THEORY OF A DEADMAN

Scars & Souvenirs

VARIOUS ARTISTS

Now That's What 1 Call Club Hits

FA90L0US

Loso's Way (Soundtrack)

RODRIGO Y GABRIELA

11;1 1

RAEKWON

Only Buill 4 Cuban Unx... Pt. 11

BRAND NEW

i'HiJL.tiA3iiiJiiti uaC'INlEHSCOPE 0I3357,i">(i* (13 98)

Daisy

107

JUSTIN MOORE

Justin Moore

153

ZAC BROWN BAND The Foiindalion

ijHOWIt'BIQGEH PfCIUHtAllANlIC fX'*& 111 Wt]

•

SOUNDTRACK

Fame

■EW

BARONESS

fiiiAfiii iii ?\\

Blue Record

°MHrir**iiMM!^!h^," Ghostdini: Wizard 01 Poetry In Emerald Cily

115

□

DEMI LOVATO

MC lLVTWOOO 003*91 |I8 98,1

Here We Go Again

112

□

JEREMIH

UICK SCHUlTZOEf JAU OlSMSMDjMG |12 98|

Jeremih

127

124

ROB THOMAS

!Mf-.LfM SUBUi'AG (IB 98)'»'

Cradlesong

:ia

□

THE FRAY

The Fray

THE BRIAN SETZER ORCHESTRA

Songs From Lonely Avenue

LOS LONELY BOYS

in:,, i ■ . \ IBAtHC |6 98l

1969 (EP)

147

128

CAGE THE ELEPHANT

OSP'JIVE »'it,^rt .i(. 1 1 "' -Hill

Cage The Elephant

■

NEIL DIAMOND

COLUMBl* S688a,'50ti» Vmrc o 1 Oni

A Cherry Cherry Christmas

MARK KNOPFLER

^■('■'I'b; -::ijj:»;.A*HiwtH Bfws (i(i9e>

Get Lucky

133

117

□

LIL WAYNE

Tha Carter III

•EW

SNOOP DOGGY DOGG

D[;t- m\: '1 .'.I !■. ■..■..■.-L iieSSi

Death Row: The Lost Sessions Vol. 1

120

101

SUGARLAND

Metr.uRV tjJsn.'iLLE UI3I9I El'IWDM 114 9a CQ.'OVDi ♦

LIVE On The Inside

132

1«

AVENTURA

PH-MliiM 1 XU\ ^OHra'SONV MUSIC LATIN M-t 961

The Last

III

l&IANO iNllRStWt lli;630"''G* (13 88) *

No Line On The Horizon

126

104

KJON

(iFm.'P iitjti/fflSAl RfPtWirC ODIBMlMflG (13 98)

1 Get Around

122

111

BILLY CURRINGTON

U-lKUHi tlASHVILU OOSSSa uMGN IU.9B]

Little Bit Of Everything

121

106

□

LMFAO

PAnrv ROCKmL l *l*'CHtHflVTREE.'mn:RSCOPi: 012932;IG*

110 98. Party Rock

3«

JOURNEY

mm'* t'_.Of, E> |M 98 CD'DVDi ♦

Revelation

134

112

□

SICK PUPPIES

Tri-Polar

125

106

CHRISETTE MICHELE

DE- JAM 1' i *

Epiphany

THE AVETT BROTHERS

The Second Gleam (EP)

11 '3

BUILDING 429

Building 429

•,i2

11*>

30H!3

■, ■ ■ 1^1 (1398)

Want

105

lis

MEGADETH

Endgame

136

12?

□

JAMEV JOHNSON

v:Rr.,3. ■,■.(... ; - i ■ ,-■ ■, vi ^fj',

That Lonesome Song

□

LOVE AND THEFT

LARCH AGnn Hrl.^li'. lYRIf STfiffl (11 qiil

World Wide Open

BLESSTHEFALL

ir ■■.Rl' 'V, ;

Witness

145

133

□

JONAS BROTHERS

Lines. Vines And Trying Times

125

KIDZ BOP KIDS

Kldz Bop 16

SEAN KINGSTON

■ !.i :-UNVMUS« (11 Wi

Tomorrow

119

SOUNDTRACK

. ■ :.i ■, . i.riE 4.-SIR((lMLIN( 'l«IEflSC0Pt OI3337.'>&*

„, More Than A Game

139

110

NEW BOYZ

:,"ij:Ti.,ViVii,M ;:iH?5. AARNEH BROS i t J 9B|

Skinny Jeanz And A Mic

Consumers who buy
the S1.000 detuie
version of ttiis
album receive a
personallied song
writtefl and retord-
ed by Bowling lor
Soup that Indudes
their name In its
lyric.

This best -ci
Is (tie ad '.
chart and cj^iearalB
tt)e 25th aiinivmai*
of the group's first
Christmas set.
"Hannheim
Sleamroll«r
Christmas," in 1984.

Her Doris Day
tritiule aiM bows at
No. S on lop Jau
Albums. The set
received media
attention trom the
Mew York Times.
Vanity Fair and

This set gattters
highlights trom
Diamond's 1992
"Christmas Albiim"
(Ko. 8] and its No.
5]-peakirg 1994
sequel, along with
newly recorded
songs like the titk
track and a cover ol
Adam Sandter's
"The Chanukah
Song."

Thlsallwiiiwlil lot
99 cents 0(t. 18 In
tnuion's HP!
sloie, piompthig an
omall S98% gitn
tor Itie set and an
822% increase in
dcmnM sales.

§1

2 WEEKS
AGO

SB ARTIST Tille
iS ' <-'mM & NUMBEA / DIS1RI8UTING LABEL IPRia)

■

IBS

141

S , .„.., . L r,EPu.uc ..3j,2.».s The Boy Who Knew Too Much

■

9Q ARTISTS pj g E.ciass Preseni: Uve From The 305

■

1S4

131

107

M ..«0.»«USIC „.»Ca™o,* -^'a^' NYC

■

113

□ Hatabreed

■

190

182

180

□ . KelliePickler

158

157

102

• ; ' """""JS ARTISTS Silky Soul Musfc... An An«ar Tribute To Maa Feat. (=rankie Beverly

■

168

161

□ "'^""'^.^^...o.,,,,., Appeal TO Reason

■

ISO

151

115

UNCLE KRACKER^^^^^^ Happy Hour

■

158

136

1^ KERI HILSON ,„ , uj„,,h
t^" ,.n«,2<m:mmm, In A Perfect World...

■

laz

150

186

MICHAEL FRANTI O, SPEARHEAD ^

108

137

H ''"r.':?''^'-^^,. Soul 11

164

15«

129

1® SOUNDTRACK q, p,^^.

■

MANNHEIM STEAMROLLER chrislmas: 261h Anniversary Collecllon

■

188

154

135

i IMOGEN HEAP nil™

Mi V,., 1 . , • BMciiMi Ellipse

tor)

123

n STEEL PANTHER Th« <!i..i
tl . .: ."..'m-mK,nm stool

■

184

139

□ CHICKENFOOT Chlckenfool

174

■

101

122

■

171

15J

H ,1, Viva La VIda or Death And All His Friends

-■

116

131

P""'"" . Joy

■

™E SUMMER SET ^o,, ^Ik. Thl.

174

165

137

. . GLORIANA ri„,i,n.

iW.;! i" II ' ■ ,\ASHviLUls«7i0fOTii(i!sai uioriana

■

152

120

□ .".H.-'lw The Definitive Collection

■

166

149

fl VARIOUS ARTISTS |^o„ ,„

Ulifl liNIMIHSAL fMI MlialC.JOMflA OtIfiH.UMI (IB 981 i^wir j«

B ™ °f.o.r.n ,1.9., °™'» S'"' Envy (J.O.S.E. 2|

■

186

£1 t.«urti Musni.MLANiic simr.AG iifl 981 ♦ Paper Trail

D S™Je ^r,?. , ,16 «, Through The Country

■

ISO

160

121

^ JOHN FOGERTYTHE BLUE RIDGE RANGERS p^j^j ^g^^^

■

181

130

Q VARIOUS ARTISTS llic MounLiun 103 7 FMr Uve From The Mountam Muse Lounge VWume 15

■

182

191

164

□ ^^^^"^^J^lfi«s Nothing Bu, The Best

183

109

B|^,",M'^,^°""!?„„r9„ Hello Love

■

184

165

118

□ „„„,.„,„ „3 «, « "o™ "I'"

■

185

173

109

M INGRID MICHAELSON Evervbodv

< . IIIIIVtRSAlMOtOWI(013717.LWRG|13 98| tvo.yuuuy

IBS

144

113

P SOUNDTRACK „^,p „

■

187

Bl« ^'^'^"^^^ ARTISTS Songs 4 Worship SO: 50 Greatest Praise And Worship Songs

■

KATY PERRY One 01 The Boys

188

Q THE MOUNTAIN GOATS ^he Ute 01 The World To Come

■

180

126

P THE RAVEC5NETTES ,„ q, co„„o1

■

HP NEEDTOBREATHE The Outsiders

■

182

196

163

T.«"STA Category F5

■

183

181

162

F« MARY MARY c„..„h

■ 1 ■ -K-^ONvmsiciiimi® TheSound

WISIN&YANDEL^^^^^^ ^ La Revoluclon

K-onrr

iMimrr

.. ^Ei-A" You Deliver Me

187

180

138

fJJ THE USED

SK.f ; '.iRSBOS |IB98CIM)VDI • MriwotR

■

NELLIE MCKAY ^ Normal As Blueberry Pie: A Tribute To Doris Day

■

188

200

n KARI JOBE „,„ ,„^,
U uiiuJ!iMsciNyMu»ciiJMi i^arlJODe

■

200

199

190

0"^-^'" .■.:.„ „v,„„„ asBiggestHlts

-■

KMLL . ii
nJAVPARAOt 7D

IS MCKAY 1% NEWSOrZ

jWHH 142 NICKELBACK

MICHAflSON IBS
eCTTEUICHEL£ 136

PARAUOrtE
iSl PEARL JAM
150 KATVPtRRV
.SI PHILUPS. CniUG & OlAH

15? KWEWOMCMKIOS 35 PHOfNIX

MSTlRSOffOLK B' OWIOTY

mNMOORC 114

MXHtWGCkUS IB9 ______

KWMFUU m BRADPAISUY

, 2Q KilUl PICiatft
WTBULl

?l RAEKW0(4
t88 RASCAL fUTTS

THE RAVEmniES
169 niBA . . .
1 72 HEUtMT K .
an RISE AGAINST

AflOCKEITOTMtMOON

REQHASPMTOfl

m STEtL PANTHER
GEORGE STRAIT
123 BAH8RllSTRttSAN0,

Sfl DARIUS RUCKER

SETZER

190 QRCWSTRA .
70 SHEHVroOO
79 SHINEDOWN
159 StCKPUPPfS

FRANK SWATHA 152

,62 SKEIJTONWnCH tSI jff MH.'l-^.TWr
« SKR.LET 47 OSNEV. PHMEASANO
SNOOP DOOGYOOGG 129 KK

,63 HAHNW UO»n.vflA J 102
167 HMWAH UONTAJV
.55 THE fHOVIE 37

MOf^e THAN A GiAM 149 THRO DAV

91 SUQARIANO 56.81. 130 THE TMILJQHI SAGA NEW ROS THOMAS

THE SUMMER SET 173 MOON
nmW SWIFT 7.59 TWUGHT

2 THREE QAYS GRACE

-63 Tl

1S6 ntsTo too

TOnOHDTa 96
ib* CWGTOUUN 33.IS3
TREVSOHGI JM

156 U?
,121 UMCL£ KHACKEH
32 KEdH UR8AN

NOW THArS WHAT ICAU
iVT-r-TTTl'.-.T'iVl CLUB HITS IM

llWWWTS20tO . , 4!

DJ KMLED S. E-CIASS NOW THArS WHAT 1 CALL
P«SCNTLI« FROM THE COUNTRY VOl 2 7*
305 153 SILKY SOUL mum: AN

THE MOUilUlN 1 03 7 FU AU-STAR IHIBU TE 10
UWEFROUTHE MATE FEATURfftG
MOUNTAM MUSIC UXME FRANKlE KVERLY ISa
V0UJMEt5 161 SONGS 4 WORSHIP 50 50

NOW 30 17B GfttAIEST PRAISE AND

WORSHP SONGS tS7

WSIN&VANOEL 1D-I

JOHIWSSON 52
CHRIS YOUNG 56

ita for week of OCTOBER 31, 2009 For chart reprints call 646.654.4633

Go to www.biliboard.biz for complete chart data

BillUard

EXCLUSIVE CHART!
FROM BILLBOARD

^TOP INDEPENDENT

[ii

5£ ARTIST

3tS MPHiM & NUMBER; DISIRIBVTIH6 LABEL |PRtCE

BIkiss

Ei&9M!;r> 7OOB01 n{)4SSCD/DV0»®

Tillo
Sonic Boom

, . PEARL JAM

Backspacer

^ H BEBE & CECE WINANS

Slill

. WM JASON ALDEAN

^ SROKt^ saw 7637 <ie9B>

Widf Opfln

•

. H DETHKLOK Metatocatypsr Delhalbum II (Soundlracli)

* ^1 'WlLLlAWi. L^lHEtl 6C<IPB.|ADUlI SWIM] 113 981

Q ■ MONSTERS OF FOLK

" .-.H(.'/,H. \- lU- ll.i^fll

Monsters 01 Folk

H PHOENIX Wolfgang Amadeus Pho«nix

in H DAVID GRAY

Draw The Line

[inyBI SHERWOOD

mamm m-- ■■■■f •■vaonzwj

7 .oBi TIESTO

Kaleidoscope

HBBMI KOTTONMOUTH KINGS

Hidden Sush 420

. RODRIGO Y GABRIELA

11.11

12 ^ SOUNDTRACK

Fame

BARONESS

Blue Record

SipB LOS LONELY BOYS

lllllH 1 -'. .V'lllh l\ TRAItIC <:r^ 9Hl

1969 lEPi

■y, o~ CAGE THE ELEPHANT

Cage The Elephant

SNOOP DOGGY DOGG Dealti How

The Losi Sfissions W. I

HQ JOURNEY

Revelation

■

BK'^^M THE AVETT BROTHERS

The Second Gleam (EP)

. 2 BLESSTHEFALL

Witness

SKELETONWITCH

Breattiing The Fiie

^^■"VARIOUS ARTISTS DJ Khaled & E-Class Present Live Fiom The 30S

^'hatebreed

Hatebreed

2^ ^ VARIOUS ARTISTS ScNd Mj»c . J^M-SUrTnt)u(e To Maxfeit Rai^

M^l MANNHEIM STEAMROLLER Chrislrrtas: 25lh Annivef^ry Colleclion

,„ CHICKENFOOT

^ . ■ f>f I139BI

Chickentool

•

16 6 ,„

Joy

THE SUMMER SET

Love like This

24 COLT FORD Ride Through The CduhIfv

,0 - VflfilOUSAflTlSIS "k !.'..i f.i/ 'ujTfMlJrtFfDmrhflAitrtarMusclowVttrif '5

^ All -p/T" i"( M1IF.D.111."-:". ii^gsi

,4 H THE MOUNTAIN GOATS The Lite 01 The World To Como

18 1 RAVEONETTES

In And Oul Of Control

^ ^Ithe black CROWES Before The Frost ...Until The Freeze

32 ■ INSANE CLOWN POSSE

Bang' Powl Boom!

NICK SWARDSON

Seriously, Wtw Fatted'

^^M^ VICKIE WINANS

Mow 1 Got Over

THE FALL OF TROY

In The Unlikely Event

2fi m MACK 10

Soil wniic

23 ^ ACE FREHLEY

Anoma'v

30 ^ SILVERSUN PICKUPS

Swoon

» H PASSION PIT

1 t;l M- ■■!-!!.■ 38)

Manners

2^ ^ MARQUES HOUSTON

Mr Houston

B THE XX XX

^ ^1 YrMiiJCi TURKS tea" iu^bi

43 IV ''^"^^ '-^^

Nottiing Personal

GRI2ZLY BEAR

Veckatimcsl

g THIRD EYE BLIND

Ursa Mator

RAY LAUONTAGNE

Gossip In The Gram

,j g ARCTIC MONKEYS

1*-

m GIRLS

e^r^TASV TnASHCAM umlRUE PANTHER SOUMOS (

Alburn

4 981

H YO LA TENQO

Popular Songs

Following tiK (kl. 16 U.S. ogcning ol "Where Itie Wild Ihlngs Are,"
its wndtrait (led ty Kjien 0. pKlutedl le'enleRllllDlgU/UkHB
al No. 6 with 9.0(10 downloacb (up 199%) and vaults (HI tht Nnboaiij
200 10 No. !S Willi 15.000 sold and an omall mnxe. Dit fflm
bowed alOD the U.S. and Canada bo> ofliies In Its Dn) weekend,
lakng In $i2.7 million.

TOP DIGITAL'

ii
O

ARTIST Title S| g

Uf^l^iM OlSTRIBUTINGtABa gj g

Kl SOUNDTRACK The Twilight Saga: New Moon y j

HEM 1 ii'-f AILAIOIC .'AS 1

• 2

MICHAEL BUBLE

Crazy Love

' ■

22 19

THE BLACK EYED PEAS

The E ND.

■ l.lr't IGA

JAY-Z

flOC NAtlLjrt AG *

The Blueprint 3

3 H

^ i

OWL CITY

■,r;i-i-.c_ KEfl.ihL.C UMHU

Ocean Eyes

20 1

MMRTtlV

KAREN 0 AND THE KIDS Where TTie WW Thrgs Are (SoundlraiAl

35 H

NEW

THE FLAMING LIPS

Embryonic

a H

NEW

FIVE FOR FIGHTING

Slice

34 H

NEW

DEAD BY SUNRISE

Out Of Ashes

29 H

BREAKING BENJAMIN

Dear Agony

13 H

i-i 53

KINGS OF LEON

Only By The Night

IS H

5 3

PARAMORE

Brand New Eyes

le ■

SHERWOOD

91 m

LADY GAGA The Fame
-|;l4M|(Vf KOm.vf CHEtiRinHEE irMEBSCOPE IGA

MARIO

ON.A.

9 ■

MUSE

The Resistance

33 H

DAVID ARCHULETA

Christmas From Tt»e Heart

w in

PEARL JAM

Backspacer

21 H

■E-MTIT

TAYLOR SWIFT

'■. "n.'.r ♦

Fearless

7 ■

■E-ERTIT

THE AVETT BROTHERS

The Second Gleam (EP)

139 H

Bt-Ennrr

PETE YORN & SCARLETT JOHANSSON Break Up

S2 H

13 3

ALICE IN CHAINS

Black Gives Way To Blue

17 m

REGINA SPEKTOR

Far

«3 1

J4 5

KID CUOl Man On The Moon. The End 01 Day

■ 'IJ ij u u uriWtHb*L MOIOWH .UMRG'f

49 1

THREE DAYS GRACE

Lite suits Now

32 H

9 TOP INTERNET

THIS

ARTIST

WhW OI'jVRlB'llINC ..Vf'i.

Tille

n 2

KImICHAEL BUBLE

BOB DYLAN

rosanne cash

Tlw Ltsi

2t ■

2 3

BARBRA STREISAND

Love Is The Answer

4 Hj

TMC FLAMING LIPS

Enibtyonic

g ■

DAVID ARCHULETA

Chnslmas From The Hean

>0 1

SOUNDTRACK

M 1. lULAHIIC b\9i7

The Twilight Saga: New Moon

2 H

» 4

HARRY CONNICK. JR.

■ '".1

Your Songs

24 H

i 5

MARK KNOPFLER

Get Lucky

127 ■

4 2

TOBY KEITH

■ Hi NASHVILIE 027

American Ride

12 ■

JAY-Z

'..■■:iir( s:i:.fi!.6'AG *

The Blueprinl 3

3 H

NEIL DIAMOND

■■ -iiii.'" .1 ■■ '-fm MUSIC

A Cherry Cherry Christmas

126 ■

ALICE IN CHAINS

■ . ir;)i

Black Gives Way To Blue

17 ■

ciA^-iHAu .mzm DowiavnjMnBi'Ma^'reTtehBcaDvyUArrCiis

1 L ■ .' :-. ■! -^my MU5IC

•9 ■

WHITNEY HOUSTON

ARISIA '003j HUG

1 Look To You

IS H

MUSE

■■■ '.' . '. ( ! 11 iSCHlibf BUM •

The Resistance

» 1

KOTTONMOUTH KINGS

Hidden Stash -420

103 H

VARIOUS ARTISTS Playing For Change: Songs Around Tlie Wnrid

FIVE FOR FIGHTING

Slice

34 ■

23 e

THEY MIGHT BE GIANTS

Here Comes Science

6 2

BRANDI CARLlLr ~

Give Up The Ghost

62 H

13 3

MARIAH CAREY Memotrs 01 An Imperlecl Angel

10 ■

A ROCKET TO THE MOON On Your Side

■!> -i.\Mf. ^:M:■ ir

82 ■

25 ' r

THE BEATLES

Ahbey Road

-■

BARONESS

Blue Record

117|

Go to www.billboard.bjz for complete chart data

AOL

A i

y/IDEO

AOL 9* 1

Hi iiss

.^^.^^g Tile w«eh's mDst-Btieamfld vidao« on AOl
ARIISI lIMPfilMT/ueEL) j

Kl WHITE HORSE

BBS TUnOfl SWtfT IBIO MACWNf.'UNIVeRSAl REPueuc)

LOVE STORY

lAnOfl SWtfl li< 1. M

C-IN{'

TELL ME SOIMETHING 1 DON'T KNOW

SUENA GOMEZ ilU^IJR & T|E|

OUR SONG

lAYLOn SWI" i , .,1

1. -'ifit UMVLRSAl HtfUBLIC)

IF 1 DIDN T HAVE YOU

MITCHEL WDSSO & EMILY OSMCNT |,VALI DISNEVI

PICTURE TO BURN

IflVLOfl SWIFT , >,:m.-iIJEi

TEARDROPS ON MY GUITAR

lAnofi swin 1' 'i.'.' "itji.

SINGLE LADIES (PUT A RING ON IT)

BEYOHCE .M, I .-.riF-.l 7- i,-OlllWH..V

CRUSH

DAVID ARCHULnA lt9

IIVE JlLi

ONCE UPON A DREAM

EMIH OSMENT .'.il ■ l Nl > .

TIM MCGRAW

TAIIQH SWIII i: M

NEW CLASSIC

DREW SEEEEY A SaElEA G0ME2 IKAJOR A IlEl

LOVEBUG

;DH«S BHOTHEnS ■ :

FLY ON THE WALL

MllEY CYHUS ini . ■ .'. 'Mil

HOT N COLD

AAEV PERRY iL AI'lK.U.

AHOO!

ONGS .

§1

T1it«wMh'smoM4lrM(nadBOngaonVahoo!IAiri

AHIi-jt ;iK1MH(Sl-LASEi)

1 11 dvOU BELONG WITH ME

USE SOMEBODY

KINGS OF LEON ■■ ■ ■ :,

WHATCHA SAY

JASON OERULO Ht IbH IS. WAKHtH ElROS i

PARTY IN THE U.S.A.

MIltTCVHUS lHI.;,L>l\UODt

DOWN

JAY SUH FEATunNG in. WAYNE (CASH M ONE V UNI VERSA! REPUBLIC)

PAPARAZZI

lADV GAGA .■ IHEAMUrjE.'KONllVtCHERRVIRELilHIERSCOPEI

OBSESSED

MAHIAH CAREV 1". A?

n ir).iUGt

1 GOTTA FEELING

IHr BIACX EltD fEAS ■MrHSCOf[i

NEVER SAY NEVER

THE FHAI Ll1l. 1

ALREADY GONE

■EUY ClARKSON iT" "( .1 ^Mt.l

FALLIN' FOR YOU

COieiE CAILlAI M'.HMiL flfPUBUCI

GOOD GIRLS GO BAD

COBAA STAASHIP FIAT IflWION MSSTER iDECAVDANCLnjELED BV RAK1EU AILANTICF

WAKING UP IN VEGAS

R«T PIHRT iLeM-IIi:i.

SWEET DREAMS

BtYOKCE iM.,;i;C WORLO.'COLUMBIA;.

OATTLEFIELO

JOROIN SPARNSl19J(VEJLGl

□

rOP HOLIDAY ALBUMS" i

TITLE

ARTIST ilUPfllKT nfiTRIBUTINGLAHU

KICHRISTMAS IN THE HEART

BCa BOB OYLAK ' ..:'! UMfiiA SONY MUSIC)

CHRISTMAS FROM THE HEART

DAVIO AFICHIJLET* ■ I'.T »<:./

GOLD AND GREEN

sugahlaud ri ■ ■ -..i ■■ . ; l : -U'^ni

GLORY IN THE HIGHEST CHRISTMAS SONGS OF WORSHIP

CHRIS TOMLIN . ;> 11 . ' i ' i.<,-, .

THE TAYLOR SWIFT HOLIDAY COLLECTION (EP)

lAVtOR SWIFT i| :.i Mir, ; .

A CHERRY CHERRY CHRISTMAS

NEIl OlAMOhD ■ ni.'-i ii

CHRISTMAS: 25TH ANNIVERSARY COLLECTION

MANNHEIM SIEAMHOlltH .■ ■ ■ .i ; i.- .Hurif .

NOEL

JOSH enouN > u w<

fRiSf rt'iVRUEH BRriS i

ULTIMATE CHRISTMAS COLLECTION

JACKSONS '■■III ■.■.(,■

AND WINTER CAME...

IN THE SWING OF CHRISTMAS

SARIIT MAhlLOA

NOW THAT S WHAT 1 CALL A COUNTRY CHHISTM>

VAHIDUS AflllSIS I'l -.CVy t^LISIti

ALL WRAPPED UP: VOL. 2 (EP)

vahiIjus Aijiisis 'II ■i.vnoi);,

LET IT SNOW! (EP)

MICHAEL BUBLE ' 1 . I ■ i "■ ■ J \\: < F; [ir-ll;". 1

THE CHRISTMAS COLLECTION

IL Dtvc i: VI i; 1. i".i iiiiiii .1 ii w M. '-Il- .

Data for week of OCTOBER 31. 20C

mmi

■ITOAtOIV COMPILfOlt

:l>cn niclM;n
S SoundSc»n

Biiib«ard.

^^^^^

■

HEATSEEKERS ALBUMS

■1

ARTIST ^^^^^H

■g

ARTIST

Ti1»e H

<^ N IMfR ' niSIRIMTIM lABH ('RKE) ^I^^HHI

L ' i . ^ tHSTUUtlMLMELCPUCEt

tX-ad BARONESS

Blue Recoid

tTi

NEON INDIAN

Psychic Chasms ^

5KCLET0NWITCH

Brealhtng The Fire

LA ROUX

II - INtfiiSCOPS BISUIMOA llOMI

La Rou« l|

THE SUMMER SET

Love Like This

HOPE SANDOVAL A THE WARM INVENTIONS

Through Tbe Devil Softly |U

■

COLT FORD

Hkte Through The Country

Stand-up special ol

MAYER HAWTHORNE

A StrartQe Arrangement ^

■

JOSHUA BELL

■'-■.uBiwminMi

Al Home With Fflftnds

Ilie same name
Pfemiwed Oct, 11,
helping this com -

28 3

BOB SCHNEIDER

Lovely Creatures ^

THE MOUNTAfN GOATS UfeOiTUe W«id To Con»e

DON CHETO

M .■ !.-Jh|

El Klme De Usledes ' ^

THE RAVEONETTES

In And Out Ot Conltol

Raboslartsat Nc

3t 2

NDAMBI

Pink Elephant ^ J

NELLIE MCKAY Nwmal As Bluebefry Pie: A Tribute To Dons Day

2 on iDptonmtv
Uatm.

44 B

TERCERCIELO Gertt. Comun. Suenos Extraordinarto. j

NICK SWARDSON

Senoiisly. Who Faried?

n n

MATT & KlU

Grand ^

LINDA EDER

■ ■ ■ ■ ■■-^"1

Soundtrack

EDITORS

In This Light And On This Evening ' ^

LUCERO

1372 Overlon Patk

34 4

DESPISED ICON

IJay Of Mournlrtg H

RANDY HOUSER

Anything Goes

VEDERA

i;. 17981

Stages ^

THE GOSSIP

Music For Men

loB 1

GRANT-LEE PHILLIPS

Uttle Moon ^

Thrc it hot ninth cat

0 (han on

.-^

3S 3

LANDON PIGG

Th« Boy Vinio Never J

GIRLS

->J TRUC PthlHCn SOUNDS (14 Ml

Album

HNtSMkers, ine
BKKlBtam solo

49 7

SIDEWALK PROPHETS

■,| ■ .1 . ■■ iiBOS i9 96t

Th*s« Simple Truths H

AUSTRIAN DEATH MACHINE

-1 Ml

Double Brutal

Imiale In the
durt's 18-fear
history.

■'Mi

7 2

IMMORTAL

All Shall Fall ^

COLT FORD ^ Counlry Is As Country Does

18 3

ANVIL

This Is Thirteen ^

THAO WITH THE GET DOWN STAY DOWN

■ - ■ ■■ i'5?)i

Know Better Learn faster

THE TEMPER TRAP

■II" jL»S-ShOU (1?9BI

Conditions ||

LIGHTS

The Listening

Tills »l«iiv«s at

YURIDIA

Nada Es Oe Color Rosa ^

2-1

THE AIRBORNE TOXtC EVENT

■ ■ ■ ■ I'UMi; lU Mt

The Airborne Toxrc Event

GROUP 1 CREW

1^^.:',! ,■, r^;i-i JRB Mr3?5-WAHNER anas ilJHt

Ordinary Dreamers

ll-J-^iViJl GOGOL BORDELLO

Live From Aids Mundl

RO. in UH U.K.

FANFARLO

Reservoir jjM

Ubam duft. giv-

TRAILER CHOIR

OH The Hillbilly Hook (EP)

ing UK bind Us
sctondlopvtfon
llul ill. (W Hits

CAROLINA LIAR

Coming To Tarmt H

]

PEOPLE UNDER THE STAIRS

Carrtod Away

r-.

42 5

KSM

■ ! -.(FiNETiUMi

ReadBetweenTheUnM H

JAMES MCMURTHY

Live In Europe

oltlKWoilll.iugi

51)

ADELITAS WAY

AdelitasWay H

DEAD MANS BONES

Dead Mans Bones

46 4

THE BIG PINK

A Bnel History Of Love ^

4 HEATSEEKERS SONGS

REGIONAL HEATSEEKERS "1 ALBUMS

■

TITtE

UTisT iwpRihT < mmntw useu

KItIK TDK {

^Rflitim i>«s> MOHfyttCAWG) 1

LA LA LA

LMtltO -:-itv L :;(..> i lU i:h!HRVTH1E

'<IE»J.LCiP[;

■

RUNAWAY

init HMD rHEn ic^fi'iL'A'Joni

NOBODY

WUNOtH CMLl .JVP;

RED LIGHT

U«VIU ■l»IL iVi;.'. 'l^VI'llLLLl

KINGS AND QUEENS

M StCOMOi ID "MMOSrAL ■.TSlitH iWI

jl:

WHITE LIAR

UHUW -IMBERI 1' ■.-■AW-t

SHOTS

.MFilO FEtniMM LH, JM IPMTV MOCKIVIll

Ul'CHtRRVinEDINIinscOfd

1901

1 M IN MIAMI TRICK

BOOTS ON

qiWrwCUStfl ■'

LOVE YOUR LOVE THE MOST

[«IC CMORtH ■

CITY ON OUR KNEES

'.B

EIGHT SECOND RIDE

■

YOU RE GOING DOWN

ilCKPUI'i'lti

AIN T NO REST FOR THE WICKED

(.»n6 IMf HfHHMT

JARS

tllf«lLl .

5 STAR CHICK

roGOtii 1. ,!■

SAVIOR

HtSf HUHST !■ ■ u

CLOSE TO YOU

itH! i C'l'.E WI^U$ .il4t:.UJk.AC0|

■

FALLING DOWN

SflfM imu » THE scat .■Ir'N^VAlom

MEET ME ON THE EQUINOX

D(«W CW FCR CUHF !■ ■■ ■ ■■ ■

ESCLAVO DE SUS BESOS

SU VENENO

AVENIUKt !!',

DOLLHOUSE
pwscauneMM i.i^jruL,

Blue Record

Baroness

Blue Record

Baroness

Ride Through The Country

Cott Ford

SOUTH CENTRAL

Breathing the Fire

Skefetonwitch

PROGRESS REPORT

A Rocket to the Moon, "On Your Side"

Ttie rock quartet's major-label full-length debut begins with
6.000 copies sold and jets in at No, 82 on the Billboard 200. The
act is on tour with Boys Like Girls, Cobra Starship and the Maine
through the end of November

Blue Record

Baroness

MID ATLANTIC

Terccr Clek>

Ovnra Comun. Sunnox £at/aar

Cott Ford

flMt nvQugA The Country

Baron— a

aiMnecortf

SiMp Canyon Ranger*

Oaepfri r^raSriade

Colt Ford

CouMry It As Country £hMf

jHI NoelSchaJrIs

B UnoMoEsUno

1 HMlorAeotta

■ SOTvMmenM... EllbMo

H SlwlMonwHGti
■ dWMtMngrhtnre

1 fSnOMrtanPw*

■ Joshua Ball

WEST NORTH CENTRALI

UlwAStorm
ThaEndOrr/ieSepMniKV

CarollrMLtar

ComUgToTuns

Skeletormiich

BrMlfting The Fm

Nick Swardson

5..TM.[.Mi iV- Furled?

Mason Jennings
eiooOCMan

BaronaM

Obe Record

TVaNer Choir

Off The MKbUy Nook (EP)

WhMaUM

lb LoM My Ufa

The Mountain Goats

The Lita Orrrw Htartd Tb Coma

Randy Houser

4/Iy*hing (Joim

ato for week of OCTOBER 31. 2009 For cfurt reprints call 646.654.4633

Go to www.billboard.biz for complete chart data

Cni

UnPlAT SALf 1 tUI
■OHiniMO n COMPILED

100 ^>"i^'«'

niclscn ntclst;!

BDS SoundSf

^THE BILLBOARD HOT 100'

giS iq TITLE

|£S 2i h5 S8 ^WOOUCt" iSONGWniKR]

EH''

JBSSk "

Artist E 2|

WHATCHA SAY

Jason DeRulo

-; :H50K I ntSPOUlf I

PARTY IN THE U.S.A.

RUN THIS TOWN

Britney Spears

I PAPARAZZI Lady Gaoa

FIREFLIES

Owl City

I GOTTA FEELING

,■. 4D*MS A PINfD* J 'JOWsi'.S FEBiJUSOtf 0 tUtTIA

I MEET ME HALFWAY

GREATEST
MINER/OIGITU

The Black Eyed Peas
Tin Black Eyed P«as

YOU BELONG WITH ME Taylor Switi

O BIG MiCmNf llhl'.E=.f.J <-\\ .

SWEET DREAMS S«yonce

- •'irjWl£S.jaSCM(fFERWVIIL<L«SRlCOU]VE| O MUSIC AQKOi'CIXlWBIA

EMPIRE STATE OF MIND Jay-Z + AllCta Ktys

10
U

9
24

USE SOMEBODY Kings Ol Leon

- ■'Tfl': .1 i ; K ■. : .'A I foiiowniyFOiitmi.iifoiiowiiu ©-liM/..

■

REPLAY lyw

-ii'Mi .. ;.U . ilMliiKN:«:01S«lUJ»in(III"L«l[)l«IIM0MAS:i SlrnfeiKM'I'l ■(.'■■

FOREVER Drake Featuring Kanye West. Lil Wjyne If. Em ncm
^ 1 ^ JMJU!^ ACAAHAMMWESvDCMTlfl.MIMIIIEnS> 9 HAHVO MiSOKZOKC i :

Tie

OBSESSED Mariah Carpy

■ ! \i.-rl C iTmm tWCAREIIIWSHX * SIlWAHI 90O '^L..-..' h l.'l

. WHO SAYS John Mayer

M.> < 1 h. ."IROAtl )J linfn> • COIUMI*

BREAK UP Mario Featuring Gucci Mane & Sean Garrett

ir .ili'.lliiEtlSCMWfORDaDAVISl © l r-vl

—

pis'

COWBOY CASANOVA Carrie Underwood

■■ 1.. II V. .JL W tllJlWOa B JMJtSl 9 I^.Aft'HA t.lM'.'H.L

ALREADY GONE Kelly Clarkson

. ' - ' II. H lEOnmi • 19 UTA'RVV

i®

SEXY CHICK Oavtd Quefla Featuring Akon

.i..i"E5p;D«jtT'«.iCS«iD«tSGtumFDni.sm.*ini*wi © otiM,'AsnwwiR>!S.CAmo>.

NEED YOU NOW Udy AnMMlUfn

l:.UUiCillAYWIX)D.Ci.£UE>H£COITiaEAn| • CAPITOl NASWIUE

»>
18

ONE TIME Justin Biaber

1 SUNIOMC COinHH"EHf«V!i © ISL»'<D'm.»l*S

SAY HEY (1 LOVE YOU) Michael Frantl & Spearhead Feat Cherine Ar>derson

■ 1 .... U IRANIi i; ^UUfllii © UOU tlOO «A)i-*1111 i.KVfL.n Itl'iJHUL

FALLIN' FOR YOU Cdbie Cmllal
■ ■■■ ■ : -luai.HnowEisi e>

TOES Z.i: B-'-^.'.n B-i^i.T

- 1 ■ . .VI. : ■iflftErtEJNOPKlllS.SMUlUBS) O MOW OBWH -1

1 CAN TRANSFORM YA Chrla Brawn Featuring Lil Wayne & Swizz Beaiz
i ■■ ;;cAHJBtW*l.OC«iI(Ht © .

LOVE DRUNK Boys Like Girls

HOTEL ROOM SERVICE PttbuH
' ..jMWiiOKjaii ■MMuiMiMUJiwc..jiHib«uM •MKKugwn^

THROW IT IN THE BAG FabolouB Featuring Tta-Oream

-i. ' i. ■ ■. : 1 StEWSRllMSH) ©© OtSENt S'OtUI. BEf JAtl'IOJUC.

EVACUATE THE DANCEFLOOR CMCaOa

-.1.- M. r,Mi--tLrEBi 90 ^OBD"*^

SHE WOLF Shakira

E»

GETTIN YOU HOME (THE BLACK DRESS SONG) Cfir.s Young

42
32

■tb

■n

ONLY YOU CAN LOVE ME THIS WAY Kcdh Ufbar>
uoou uiMLS CO BAD CoOm StariMp Feolurtng Leiyhlon Mee^ter

■

SUCCESSFUL Drake Fwrturing TV^y Sonri/ i iji w.i/n.;

■- ■ ■ ■■.ivEi<soN.DCMiitii> •»DufiiGi«masHMC'jL' ■■ ■

BE ON YOU Flo RIda Foalumig No Yo

"iH' W 5 ERIkSEN TEHEHMMSEN* O r-Ot Bnv JTl JhV

l»

DROP IT LOW Ester Dean Featuring Chris Brown

" 1 .'. ■ ■ ■. "ir.-.i ^.r-~'A't- <l HiRuEV UiiMKIONi J SIlFiMllSE HilFR'irrirf

3S
9

KNOCK YOU DOWN Ken Hllson Featuring Kanye West & Ne-Yo

■ - ■ -1.. ■. ■ -1 (.1 J^iii i « WEST' © UCIHifv .■[..■if 1 ■ :-

GOOD MORNING Chamlllionjitc

. " .. . ■ -1 -■ .! l-..;^.- PfiTY « CWMLilIAH- I.NIUIF:-.W KH'I.?. .

BEST 1 EVER HAD Dralte

AMERICAN RIDE Toby Keith

■■■ ■■ M .1 ".■.H=MISH| fil yiOW OM SASm'.IlLE

l«

t«

■19

WASTED Gucci Mane Featunng Piles Or OJ Oa Jutceman

fi; ir,i IS flPAVIS A WiSHIhStDKi • MI.'A>.SO li:-V -f/tfNtR Mt^r v

BIG GREEN TRACTOR Jason Aldean

., -f IIP,- r. 1 V iR=f-, « Efll:l..i^i1Dft

•

i«

1 KNOW YOU WANT ME (CALLE OCHO) Pitbull

-■y. :.- ■, f;,o,ri ^. i '.N.-ji lusn f. 5EP (PHi'^E S flOSCJ h 'ASAHO PCOhJU* » C PERC i O I'lT"

BOOM BOOM POW The Black Eyed Peas
'itL't ■■ itKiij^iuh J L.;:'MUi ©rtiLLi*'-''.

NEVER SAY NEVER The Frjy

. . i| 'MAyjMNliliiLADEt e

•

21 GUNS Groen Day

!!■ -fiMSIfiCWG.IiBEENM'l © mFPF.'F.E

•

NO SURPRISE Daughlry

1 [.■(.L.jUl^YC «RMG£fi R WcSTStW&.E PU.i O to F^fi BMr,

DO 1 Luke Bryan

1 ■ n-i'JF. 1 HRViK C "EUfVO "AVA-OOpi O CtPWr^ Si.HV.ih

WELCOME TO THE FUTURE Brad Paisley

©AHt=-iS»W. .I»

ONE LESS LONELY GIRL Jusltn Bieber

1 ■ ' ■ r; I- SMW lE LEWIS S UllMAMMAO S PKAMiilON H SH-J © '^1 il). Vu

IMMA STAR (EVERYWHERE WE ARE) Jeremlh

■

IS)

I'M ALIVE Kenny Chesney With Dave Matthews

- V.iW.H f :Hf I* i:-H Fit.'! 1 11 3IU0N W lAMBUNINOi © UNA

TIK TOK Ke$ha

JO lUKi S Blanco IK SEIEin.LGOTnV*LD.I.LEVIN| © lAS^MOXEY.nCA'RWa

"7^

Ttt« ionq n lh« llrst
to rvtum to No. I
siKf T.L's "Uw
Your Ule" (l«atur-
ing Rthanna) iHt Itw
top tor a third stint
in Detemlwr ZOOS.

While alrpiav con-
tinue (0 iHllkj It i
rapid (tip [49-2S on
flot W AirptaY, up
US), second-weeli
digttal ule dip bi
leultlng In i
tall (rom No. 1.

The sinoer Mom
ItB bttt drtui with
tti« opening ilngle
tiom his new aSmt
"Bitt1eStui)i«."
ilutO<l. n. Illtsls
at No. 10 on Hoi
Digital S«ngi
002,000 copies

A discounted single
sold it ttw teen
(loltihg ctiain
Justice prompts a
Ko.t debut on Hot
Singles S^les
(30,000 sold) and
m inaugural Hot
100 apiManim lor
the South Korean
pop quintet.

Hiis pieview of tiis
sixlti sltidlo album,
due In early !QIO,
stwuid take i nice
tump next Ksue
sinie fint-weeli
digital sales wdl
aftetl its ranking.

ii la

:£
ii

90 -

66 74

65 65

71 -

61 64

70 67

!7 6;

63 S4

59 58

69 70

64 56

75 75

74 66

68 72

o
®

^3
ESI

73 77

52 85
99 96

S3 91

79 79

MS -

58 -

87 90

58 94

84 80

81 73

67 60

log

54 -

100 -

89 86

10O

97 -

■■■ iii.'CtW |50V!iW((IHH>

KEEP HOLDING ON

Artist

N LAAl.

Glee Cast

HAVEN T MET YOU YET

Michael Bubfe

DOESN T MEAN ANVTHIHQ

■ .1'.; " .■■•!■ > -aOlWHii JR I

BODY LANGUAGE

ij UASOH jn DC TNCMASjE fttJHllkWI IE H.I»)G6b.S I

STARSTRUKK

LOL :•)
GOD IN ME

Trey Songz Featuring Gucci Mar>e A Soulja Boy Tell em

•-;iiH : - /.t- H p avis i ©j-.m Bonnsr —

IT S MY LIFE CONFESSIONS PART II

1 ^flj

I li B UlES C SMITH H BlACKlEDOE)

Wonder Girls

MAMA'S SONG

^ -Jmuim M f-HEDlRIASIN.L LAMD)

Carrie Underwood

I WILL NOT BOW

RED LIGHT

ij SIMGIEIOK M PfinCE D lUnOSKT)

CONSIDER ME GONE

I WANNA MAKE YOU CLOSE YOUR EVES

I fiEREtL.RNEft.ltUMIUIN IJONEii.K SlimENSOS M CQDPtlti

Five For FighUnc]

HALO WALKING ON SUNSHINE
ALiTfHE RIGHT MOVES

Glc« Cast
© 'I ■ I -.'HM
OneRepu&iic

^iiiH '1 BQlKM f. DE<IKEYC MOHGAH.U HO&IRiil

KINGS AND QUEENS

YOU RE A JERK

" '-I . ■ .'. TMOMJIS t H MHUMm Vt tOUMSt
WHEELS

New Boyi 0

I WANT TO KNOW WHAT LOVE IS

HELL OF A LIFE

BREAK

a OAYS CRACCB SIOCHi

Three Days Gra

REGRET Le1t>ya FMlurtng LuOaci

^^ 'i- - .■ '( STEPHEWSOH.J VALEWIWE t iXKnttl lltWT.5H J fRWWEai,C MIDfltSl © CAi

TIE ME DOWN

New Boyz FeaUirtrtg Ray j

WHITE UAR

Miranda Lambert

L.NEOLLCWIl. JFOLLOWILi. W 'OLL&W'Ui

Brooks a Dunr> Featuring Billy Gibbons

BETWEEN THE BULLETS

PEAS PUSH TOWARD ANOTHER NO. 1

llie Black tyed f'eas coiUd continue tlieir Billboard Hot hot streak as "Meet
Me Haliw'ay" jumps 17-9. Tlie follow-up track to successive liouble-digii-week
No. Is takes Greatest Gainer/Distal honors, more than doubling its downloads
(I27.(K)0 sold) and rising 17-5 on Hot Digital Songs. Sales wfrc buoyctl by the
iratk's iTunt's vidt-o premiere and its inclusion in the latest TV spot for Diri*cTV.
shown frequently during the Major Lcagtic Baseball playoffs on TBS and Fox.
On the Billboard 200. the impact is also fell, where tlie album "The E.N.D." shoots up the tally with Pace-
setter honors, vaulting 23-6 with 40,000 sold (up 56%). — Silvio Pictroluongo

42 I Go to wwMr.billboard.biz for complete chart data

Data for week of OCTOBER 31, 2009 i CHARTS LEGEND on Page '

PLAY

IITOniDST

ulSoma

nwriLtorr

risen
s

i)idM.-n
SoundScjn

Billb«ard|^Q J *

^ HOT 100 AIRPLAY

IS 3iss

TITLE

ARTItr VPmKt PROMOIin lAIELI

TITLE

ftRrni iiMPHmr / mowoiKM LWti)

TITLE

ARIIIT (lUPfllMI / PnOUOIIDII LABEL)

KIpoww

WASTED

GUCCI hUNE fCU niEt iUtJftr;SO ICEViWIAHEfl UQS |

REPLAY

lYU IIWilSMONEY'WlUGAWlGHISRfPRlSEj

RUN THIS TOWN

JAV I IIICJUIH* 1 «»NTE WfSI Il 'i ■ ', ifi: 'i

NO SURPRISE

GOOD GIRLS GO BAD
miimtrfmmmmmceMKffKEivmgajnm

YOU BELONG WITH ME

liYLOfI r*lFT ir.ii:

?ir

BEST 1 EVER HAD

FIFTEEN

nnm nwr .;fiiG macximei

i ■»

USE SOMEBODY

■ iNGs 0 Ltaw ■

AMERICAN RIDE

TOBY Kim . ,'. 11 . '(J 1 1 !

\**

NUMBER ONE

H RELtY FEAT KEM WSDM illVE'JlGl

PAPARAZZI

HOTEL ROOM SERVICE

PiTBUii \y- ..1 . 'ii

!•

RUNAWAY

lim AMO IHEEI JunOLWOOOl

SWEET DREAMS

aiTDhCl -■ !!■ >.

A
w

LOVE DRUNK

BOTS LIKE Dims .. ■■■I

BOOM BOOM POW

THE BLACK ETED PEAS 1 AU'lllTERSCOPE)

WHA'CHA SAY

JASOHWBUID ■ !■■ . AAHNLH SHOS 1

.©

NEED YOU NOW

IIDY ANIEWLIUM i ■■ ■ J.L|

BONFIRE

CHAIG MDAQAN i-'('ii

J 19

1 GOTTA FEELING

THE 8l.*;i E1ED Pf*S '• - ■

BE ON YOU

FlDMIHfUI BE-tQ LI..' ..MMICt

1 INVENTED SEX

IWT SOItty FUI ORAM iK j B'JO". ATLANIIi:,i

ID 9

PARTY IN THE U.S.A.

MiiErc'BUS - .'V./jn

DOESNT MEAN ANYTHING
•UCUllttTS iMG- . 'ir,':-i

■©

CONSIDER ME GONE

nEM.-.i:--:.:KiL'.'M.MV/

OBSESSED

1 CAN TRANSFORM YA

CHMS BROWNFta III WATME I SWUI BWI I.

DROP IT LOW

d
v

FOREVER

1 KNOW YOU WANT ME (DUXE OCHO)

pntuu i -Hf..

SHE WOLF

SHAKIU 1 " K'JSIC LATWiT^C)

BREAK UP

MJiniD FTAI GUCCI MUl I tfU DUMEn (i'^MGl

GOD IN ME

HMT HAin f Eitr RKHM MEMO |MV BtDChCOtUUMA)

•>

LOL

nrr soiGZ FW GLm MM 1 saui lOr SK atXMAJurri

EMPIRE STATE OF MIND

NEVER SAY NEVER

IHEFfWY Fi'll .

REGRET

inOYAFfAI lUMCHiS ■■■-riTr.i

12 16

THROW IT IN THE BAG

F»*a0UiFl*t n«-0«£MI|i:tytir5HHM0£fa«M«Jl*C(

SAY HEY (1 LOVE YOU)

t WANNA MAKE YOO CLOSE YOUR EYES

oitflKEBtmEY ■ ■i.-i:-HviLLii

ALREADY GONE

DO 1

IIHIRTU iCAPIIOl h*.5K.i.^E,

RED LIGHT

DAKin tm ■ -'.'.H.' --,

MEET ME HALFWAY

IW XI-KM EfrO P£*S - ■ II'-

EVACUATE THE OANCEFLOOR

CUCADA li^oeBINSI

21 GUNS

GHEIM DAT

ONLY YOU CAN LOVE ME THIS WAY

UITHUHMN 1 ' i; '<.'. <.:; n i

FIREFLIES

om cirr iuNr.iF>s*i republic*

HONKY TONK STOMP

MOCKS t nuKN f [AT »IILY GIBIOM lAilfitA HAvH'

FALLIN- FOR YOU

COLil[ tJUlL*! IMVERSAL HEPUBLICi

SEXY CHICK

DAVID eUETIA FUI AKQII r'iI.U AStUl.WER<(K'C«^

IMMA STAR (EVERYWHERE WE ARE)

JIRIMIM ■ ■ 1 ■! ..M LJJMI.I

TOES

I'M ALIVE

MHNr CHESarr mih oave NuniEws tsxAi

SOUTHERN VOICE

!!M HCUIAW '

19 11

GETTW VOU HOME (THE BLACK DRESS SO

cxms touw it(';« 'iS.^'.iuf ;

UNDER

piusurepimianik::

ALL 1 ASK FOR ANYMORE

TRACE AM«S - ' " Htinf,

13 29

KNOCK YOU DOWN

ONETIME
jinmrnfii :isl.iwi[>.iv>:»

CHECK MY BRAIN

AUCf IN CIAIKS . ■ ■■■I'llO.I

WELCOME TO THE FUTURE

BIG GREEN TRACTOR

JASDH AIDUH 'HF;IK;N B(}VIi

BABY BY ME

W UNI f£AI KE TO ■ ■ ^-l-HkUTHWERSCOPE)

COWBOY CASANOVA

CAflRIf LIKDfftWOOO 11 ARISI* MA^If-AlE)

PAPERS

UIWH IL*-'.C( JLGl

SMILE

UNCLE I'lACHtH ■■■■-'NTtCi

SUCCESSFUL

SMALL TOWN USA
jusriN MDOHE I'.'tinnv.

SOUNDS LIKE LIFE TO ME

OARRTL WHRtf T .v.'. -HDLlSi

BMTMTWUnuiVl'

BAD HABITS

MAXtffiU U.II JMHUi

BOOTS ON

RARDY HOimH !■ :■■ ilHi

■ ►;H0T digital SONG!

TITLE

UTIIT llUPniKT pnotNIICM lABtlt

TITLE

AHTIIT ii'.ii-'F M nr.LMLtHaMlABCl.)

TITLE

AHIItT iMFfUM PROWOIIEW LASEl)

ONE LESS LONELY GIRL

JUSrifctliBfR il/'J.

■13

SMILE

UKCLE IIIUCHEH i^OP HL^MICi

FIREFLIES

w<n cm M, . ■

1 CAN TRANSFORM YA

CHnn BWahFtAT III WAYNE 4 SWOI HAI7 M..I.O'

ALL THE RIGHT MOVES

MtWEnJULJC ■'.M-y.iil't.

PARTY IN THE U.S.A.

MiiiT cnus ■ -I

KEEP HOLDING ON

OlEf CAST -i"i» iirjii.Ji

SINGLE LADtES (PUT A RING ON fJ)

BEYORCt I.' .IC .'M-iHLbLOLJMHt*(

■

WHATCHA SAY

JASOh DLflUlO ■ -(ClOtTS WAIWIfR BftOS )

SHE WOLF

SHAHMU 1 :^<V Mll$e UTIkXPIC)

•

u STARSTRUKK

' - ( ■ H'l.^'AILMillCflRPl

•

MEET ME HALFWAY

THE BLACK Er£3 PUS ' -UbM^OPtl

■

LOVE DRUNK

BOTS LIKE einLtiCOlUiniAi

•

UPRISING

PAUSE :< ■■ ii-piRHEB RflOF. i

„ DOWN

" ^ J«St»'TWUl*l'« ':A^li<«YUWIWS«.HEPljeUn

TIK TOK

HWIl i-.f.?: MC^EV'ft!:A.'RMG|

■a

FOREVER

CMRISBnOWHiIivULGi

RUN THIS TOWN

iKt t RI'UHKil ( ><UrE MSI (ROC MTtCIMi

•

EVACUATE THE DANCE FLOOR

CASCAM -

HELL OF A LIFE

^ „ PAPARAZZI

HOTEL ROOM SERVICE

pmuii ■■ ■■ 1 .Hi'..rjri;vj nHiii

THROW IT IN THE BAG

FilWLOUiFWTHEWBXI.rMiP -TTrfl^riT Wir-M",,

REPLAY

TM .-'Mf 15 MUNIY'fieiUG* it{IOHrS.'HtPfllSf 1

, NO AIR

OIH MSr !rii cil ilMfi;Ai

POKER FACE

{js!twnk---»x H.fa*jfii>m^-mi.vm>-.'f-

WHO SAYS
jOHKHmn T'11'.Mfiui

GOOD GIRLS GO BAD
am (MM ^^amws^Bi^-'jrm.^y^r "

■

FIRE BURNING

SCAR RIMSSTON e:i.lXiA Htl&MTS EPIC i

1 GOTTA FEELING

ntf BIACK ETfD PWI ■ -itiH-f-.Hf .

TOES

jjtc MWN MM> *m sn swu: wwn ^~\f\=

BE ON YOU

FlO WBAftAT HE -TO rnc* BO Ali AHTlCi

EMPIRE STATE OF MIND

MY I . *LIC1A Km i«OC MMIIWJ

DROP IT LOW

, I'M GOING IN

ME q J an I <«K sr W Hlf ne' HRA v-M

FOREVER

rrS MY UFE / CONFESSIONS fWtT n

out cAiri'Oi.ciiJMei^i

HATE ON ME

GlEtCAIT !]>. r:;n,MfllA|

SEXY BITCH

OAvn Gutm Fui akoh iciMAsrnAiwwswna i

HEY, SOUL SISTER

TUW Srti-.i r-;ii,U[,'i|

NEW DIVIDE

LIHNINPAni '.MCHiNf SMCrf-'WASma BHD', i

■

ONE TIME

WtriNllflfN .i>.i .VNH injUOl

HAVENT MET YOU YET
•MHAfi BUMf .11 ' n-;.' 'ii:;':.

YOU RE A JERK

N(W BOY/ ■ '■■Jill *'.,vijM'W*wWI bHo;, .

•

SWEET DREAMS

«(ru»n Ml .■. li , 1 ',ixu»*»i«l

FALLING FOR YOU

,j ICE CREAM PAINT JOB

NEED YOU NOW

UOY MTiBtuUM ■ r.'-;m'n Lfi

21 GUNS
GMEHDAT R-'~^l£E<

•

«7

GETTIN' YOU HOME

C0W30Y CASANOVA

Ciwnn iiHUEflwoc-n 'ivii i ■ .

, MAMA'S SONG

1 KNOW YOU WANT ME (CAUJE OCHO)

niBUlL ' :'.

SAY HEY (1 LOVE YOU)

FACE DROP

SEAN HmCStOM ;■ :i .v -11 1 WilS.lWCt

, KINGS AND QUEENS

J» ilCUmUS to MARS IVJ.||ii(.i vlc.<,'lLM^ih.in

YOU BELONG WITH ME

FUNHOUSE

BATTLEFIELD
jonaiM tnuut . ■ wv- .:

, GOOD MOHNING

CMlnLIMUMt . 4 -:.JU. HETUUCl

BODY LANGUAGE

JIS^I Ui:CAItIHEr IlAI T PAIR (HOUYWOOO)

. DO 1

lUlE MTIAN 1 .■.i iTlil »iASK.'J;,i 1

OBSESSED

MkRUIH CtREV 1 U'.

IMMA STAR {EVERYWHBEWEMIQ

JEREWH.' 1 iAUiVJUGt

YOUNG FOREVER

JAT-r . MR HUmOH il'Ti'. M'MSi

USE SOMEBODY

KINGS 0- lEON i I HyG(

HALO WALKING ON SUNSHINE

omcAST

NEVER SAY NEVER

•

BREAK UP

M*IIICI'.*T GUCCI MmftS[iUr«MIKTT<J.RMCl

BOOM BOOM POW

1M( MAC1 EYIH PEAS .-. HW.lKTililirilCE

, VANILLA TWILIGHT

OWt Ci" ■ ■. .. im ■

ALREADY GONE

BIG GREEN TRACTOR

JASONAIDfAN i.i' ■. ' H*.

•

^ SUCCESSFUL

ltd for week of OCTOBER 31. 2009 i For chart reprints call 646.6S4.4633

Go to www.billboard.biz for complete chart data

ALBUM CHARTS

Sa<«t data cofnpilsd From a comprvhsirw oool o( U.S. musK
mcrchtinU by Nietecn SoundScan. Sai*t data For RAB/hip-hop
ratail cturts is comciM by Nielsen SoundScxn front a nMlonal
tubtct of coro tioTM Itwt specialize in ttwce genres.
# Albums with the gr«at»n sales ga'm this weeti.

Iwrwre Included, thii award Indicates the tlitt
with the chort't largett unit Increase.
Where Included, lha award indicatn IttD tIHa with
the chart's biggest percentage growth.

PRICING/CONFIGURATtON/AVAIL ABILITY
COi^CMMtle pHces are tuggeited iM or eqi^atont prices, which
M protected ttom wftoHlilB prices. U aRer price IndicttM atoum
only imliWi on DualDlie. CD/DVD after price indkaiet CD/DVO
oa(nbOontVMMll»l&OuilNs<cavMLabto. > CCVt>VDcombo
awaHaUei * Indcam vinyl LP k available. Prkmg and vinyl LP avail-
abMty an not Inctuded on all charts. EX after catalog number Indi-
cates tIDe a eiclush« to one account or has lenited dMr^tlon.

SONG CHARTS

RADIO AIRPLAY CHARTS

Hot IOC Airplay. Rock Songs, Hot Country Songs, Hot Rap
Songs, Chnstian Songs. Hot Latin Songs artd Latm Airplay charts
are complied from a natiortal sample of dau supplied by Nieben
Broadcast Data Syiterrw. Charts are ronlwd by number of gross
Irrrprassioru. computed by croeweftrenclng exact timet of air-
play wnh ArtiHron ■Mvner chrts. HirinsDwn Top 40, Adult
ConteriworwK Adult Ibp 4a AIMmMhM; TMpte A, Active Rock.
Heritage flock. MilMlwam R«B/H(>-Hop. Rhyllmic. Adult RAS.
Hot Chmlian AC Songs, Hot GcMpel Songs, Hot Dance Airplay,
ar>d Smooth Jan Songs ar« rar^ked by total detecUoni.
0 Sor>gs showlr^g art IrKrease In audler>ce (or delecllona)
over Ihe previous week, regardless of chart movement.

IWTtere inckxled. tftls award Irtdlcates the Utle
with the chart's largest airplay increase.

RECURRENT RULES

Sorfgs ore removed from the BIIBMard Hoi lOO and Hot too
Airplay charts slmultaneouity after 20 weeks on the Billboard
Hot 100 and if ranking below No. 50. Sor^s are removed from
Hot R*B/Hip-Hoc Songs after 20 weeks If rankwig below No
50 Sor>9s are removed from Hot Country Sortgi after 20 weeks
It rankirtg below No )0 in delecttons or audience, provided that
(F>ey are not still gaining ertougfi audience po<nti to bullet or If
they rank t>elow No. TO and post a itMrd consecutive week of
audience declirte. regardless of total chart weeks. Songs are
renxived from Mainitroam Top 40. Roch Songs, Atternatrve,
Aaive Rock. Mainstream R»e/Hip-f*op. Rhythmic, Hot Latin
Songs and Latin Airplay cfiarts after 20 w«eks if ranking twiow
No. 20. DeKendtng songs are removed from Adult
Contemporary ar>d Adult Top 40 after 20 weeks if ranking
below No. 15. after 26 weeks if ranking below No. 10. or after S2
weeks if ranking t>eiow No. 5 Descending songs are removed
from the Triple A, Heritage Rock, Adult R&B, Christian Songs.
Hoi Chnttlan AC Sor>gs, Chnstwi CHR, Hot Gospel Songs, Hot
Dance Airplay arKt Srnooth Jazi Songs charts after 20 weeks
and If ranking below **o. 15.

CONFIGURATIONS

O CD single available O Digital Download available. O DVD
single available. O Vinyl MaAl-Single available. O Vinyl single
available. O CD Haii-Slngle available. Conrigurations are not
Included on all tlr>gles charts.

HOT DANCE CLUB SONGS

Compiled from a natkmal sample of ivpans from club DJs.

9 Tttlei with tfw greatest ckti play InciMta the prwious twek.

POn ThBs award intfcaws tfie tWc awenty below the top 20 and on

AWARD CERT. LEVELS

ALBUM CHARTS

• Recording industry Assn. Of America (RIAA) certification for
net shipment of SOO.OOO albums (Gold). ■ RtAA certification for
net shipment of T million uniu CPIatlnumX ^ RIAA certtficatkm
tor net shipment of TO million units (OtanondV Nunwral wtttiin
Platinum or Olamood symbol indlcMH afeunn imAI-platlnum
level. For boxed sets, and ckxjble aBiums with a rumirtg tln«e of
)00 minutes or more, ttie RtAA multiplies shipments by the num-
ber of disc* and/br tapes. Certification for net »hipmer«s o*
100,000 units (Oro). : Cerlincatlon o' 200,000 units (Platmol,

I Certtricaiion ol 400XX)0 umts (MultF-Platlnox

SINGLES CHARTS

• RIAA cartA^alMn hir 500,000 paid downkudi (GokJ).

■ RIAA certacaOon tor 1 mlMon paid downloads CMaUnum).
Nwnaral wW*i pMftwm symbol Indkates song's muHvMlnum level.
I _ ' RIAA certVlcatlon tor net Mfsmenl of 500,000 singles (Gokl).

of 25,0(

MUSIC VIDEO SALES CHARTS

• RIAA gold certthcalKMi for net sMpmom
video SM>gl*s. RIAA gold csfttricatlon fo
50,000 units for shortform or kmgtorm videos ■ RIAA p
certification for rwt shipment of 50,000 units for video Urtgles.
□ RIAA platinum certiricallon for »«l« of lOO.OOO units lor
Shortform or longtorm videos. Numeral within plalinjm symlml
Indicates song's multiplatinum level.

DVD SALE5/VHS SALES/VIDEO RENTALS

• RIAA gold eertWcatlon tor rwt shipmerK of 50 AOO units or r mA-
■on In sales at ajggerted i«lall price- ■ RIAA plaWum cartiflcalion
tor Sites of nCOOO units or S3 mNlKm In sales at suggested retal
prtOK C> RMA sold cwtMcHlon tor a nwMmum sale of 125.000 v>Ks
or a dolar wlume of SS mMtoii a) rctafl tor theatricaly releaaed pro-

r of at M 2SA00 w«i m SI mMim al
" " " ».C«

" Billb>»ard ^ ^

ACTIVE ROCK

i
i

h^NgREAM

§1 is

TITLE

KIOOWN

PARTY IN THE U.S.A.

wiCT cinut :ii 1 (Vii i"'i

USE SOMEBODY

PAPARAZZI

UWVQMil ■ . .L ftttnSMl'tl

WHATCHA SAY

i»

YOU BELONG WITH ME

UVLOH ^WTM .1' '^'.1 i',' l.'4IVbHf>Ai RtPUBLIC'i

SWEET DREAMS

HflONCf 1'/ L .IMBI*I

1 GOTTA FEELING

mHuciKTiBrus ■', Li':.i;aPti

RUN THIS TOWN

M l. RDUNIU 1 tANTE WtSI (HOC HkVaHt

LOVE DRUNK

MVS LIU GIRLS <;OLUMRIAi

OBSESSED

ALREADY GONE

mir ciAfl>;sr,N - ■■Mi,i

MEET ME HALFWAY

■H! HACK STED i^S ll.-:'-;hL-:!FSi

H5|3 1

mi.'ii» miMTtruitttJivE/JU) 1

FIREFLIES

OWLCilT \u: flif-JULiCi

1S
14

12
U

ONE TIME

JUSTIN ; iFlFT ■

GOOD GIHLS GO SAD

"BATTLEFIELD ~ "

JDftaiN iPKMi 1 - .

KNOCK YOU DOWN

REPLAY

I'd; 1 ; .iHISREVKIitl

FALLIN FOR VOU

SAY HEY (1 LOVE YOU)

BE ON YOU

27 8

EVACUATE THE DANCEFLOOR

STARSTRUKK

FUNHOUSE

HOTEL ROOM SERVICE

PITBUIL '■

1©

SEXY CHICK

BEST 1 EVER HAD

fJHAU ■ " .'. 'Jiifiiy.UHtVtRSH ItOIOViM

FACE DROP

%tlM lINGSIilM . i.L . i< iblU^.IPICl

BODY LANGUAGE

.■ilS( MCMRiKtr Fi*i 1 r*m i'iotL'*KiO(

DROP IT LOW

THROW IT IN THE BAG

HAPPY

LIOKXIFWIS ...

IF YOU ONLY KNEW

DOLLHOUSE

MIDNIGHT ROMEO

PUSHPUY 1 ^1

LA LA LA

mm n;.::'. t.riC*-A'«t.l»M'CHERRVTRE£.«TDISKIPt)
HOW YOU LOVE ME HOW
HEY MOKDlT ' LlUBU)

TIK TOK

•■Tte b tt" bf NthMl iKfcUR tHturing the Jitkuns soars onto the
AMI CNtmponrr ilrpliv (hart i« No. 19, tt\ti the song's first w«eli

Ilx Jaduont return to Itie tally lor the lint tJme slna 1970,
wtwn-bned as the tatkion S-Ihe group notched its sole previous
entry, the No. Zl-peaking "I'll Be Ihefe,"

The ttfc King o( Poji ends a 15-yfcat, sevefi-motiih and two-WMk
*na ton Uw chart. His last ctiarled title, the No. 7-[>«aliing "Ton
ArMMok," wrapped a
2Hmftnn«tbeNar(li

sewrtti solo nHte to sore

a top 20 Adult Coirlemp-

orary sotig in e«h decade

sto»tbe70s,)o(niDgErk

aiftMi,[lMMn,X«inv

Uv^PadNiCxtMT.

RadSlemrtandJMes

laytot.

9 JA^SON

NTEMPORARY

.3 ^* Sg

3s ss

O 2 14

1 32

3 23

i 3(>

S 39

8 7

9 52

11 19

13 5

12 26

16 M

19 20

18 11

21 5

26 3

?A ?

30 3

29 2

» 10

HYOU BELONG WITH ME I

THE CLIMB

HER DIAMONDS

YOU FOUND ME

IH;IJ:Wiii F

FALLIN* FOR YOU
DQlBIt CiAUI (WmitBSIU. KfMlX)
PLEASE DONT LEAVE HE

HAVEN T MET VOO YET

MItttALL tUflLf 'ErSISt)

LOVE STORY

TAYLCi'i SWIf ■ I-'.', t. ■■iflSAl REPUBllCj

NO SURPRISE

USE SOMEBODY

SECOND CHANCE

BEAUTIFUL WORLD (WE'RE ALL HERQ

IW WK""-' • 1 '■■

THIS IS IT ~

MICIUEL JM.-. 'IM'I Ml JfiUSOWS {>

BATTLEFIELD

ALREADY GONE

2 SAY HEY (I LOVE YOU)

ii iiii

1 1 25

TITLE

Axmi . 1- -iiiMOtiCHI UIML}
QUSE SOMEBODY

YOU BELONG WITH ME

NO SURPRISE

CAUliMIKF ■

FALLIN FOR VOU

Camit tAIUAt ■', .--ISA. Btl'JBLlCl

1 GOTTA FEEUNQ

6
7

15
24

SAY HEY (1 LOVE YOU)
NEVER SAY NEVER

ALREADY QONE

KEUT UARKWH |IQ nC>kP:UG[

PLEASE DONT LEAVE ME

21 GUNS

CWtH Ml

SMILE

UNCLE HHACJliR ■ ■! JbS AILAHIIC t

HER DIAMONDS

HM IMOMAS .Ml .' M *IL*NTC|

SOMEDAY

nra ii-nkAs ■ 'i ■ l- aiuntx.;

9
23

WE WEREN T BORN TO FOLLOW

BUN JO^I Vf - - ■ iJMlii

WAKING UP IN VEGAS
A»iY rtmi .

HEY. SOUL SISTER

CHANCES

FIVE FORflGHTIHG iJ./,'hn[ COlLiMSI*.

PARTY IN THE U.SJK.

NEVER GONNA BE ALONE

MAYBE

wumm^imJtM ■ ■■■■ .-(.ui.ikmrsji: uotOMi

BATTLEFIELD

WHO SAYS

NEW DIVIDE

iMihfwa MOfWAflNfS BROS 1

1 WANNA

■-^ BU AMcHICAM F1£JECTSiDC<lH3t;^.1>0C'limft$Cdl

BE THERE

HOWK UT itPCI

^ ROCK SONGS

li iiis

1 1 ID

ARTIST v^iiNT/pflaMonoiiiua)
1KB CHECK MY BRAIN

2 4

FOO FIGHIIBi .iV 1 ■ .1 HMI.i

3 17

4 10

1 WILL NOT BOW

nFUAHIHG ULNJAWIN

7 7

TliWl U*YS l.HALi

e 11

UPRISING

MUte'"iLII.U ^'WARMER lftOS.1

9 13

THE FIXER

9 9

iirrou (1{HR)N0CRKIFIWHn'YDUTD)IWMn'YDUTD

mum

1 20

YOU'RE GOING DOWN

SIC« f\imii ■"■Ml jr: M1Ii;.i

10 9

OVERCOME

CFtfEO .■.i:.;mip.

1 1

Si 20

NEW DIVIDE

imKJN PAfti: 1 tiAMlR BROS 1

H 19

SAVIOR

p.H j.-.i. ^|■■,^ . -.. .-ipf)

12 20

USE SOMEBODY

13 20

PANIC SWITCH
uuERSiw nc»\ii-s ■: ■'i^inmbi

lEi

» e

Ir TUU WPILT Knew

IMNEDOm iA'lANIICi

10:

17 S

MEDICATE

ESI

a 2s

SOUND OF MADNESS

19 20

DUnrl II 1 U 1 nc UnUUNU

19 20

■J ATI A U

HUMS or LEON >' "Mi.-i

24 2

KINGS AND 0UEEN5

30StcoRDi ri; ii.ti- ■ ■

23 IS

IGNORANCE

21 19

WHISKEY HANGOVER

20 20

AIN'T NO REST FOR THE WICKED

C»MTHEEltPM*MT ,;.JH,i

27 9

UnAWL SAUK In

tlAL'd LLlI,-, . .1 M HHOi 1

20 9

MEET ME ON THE EQUINOX

CfAtH CAB FOR CUni CMG- SHC-f AILANTCi

25 20

21 GUNS

CAifEN OAF

J|2 20

CHAMPAGNE

CAVO . li,

IS!

n 15

1901

PHOEIIK . II ' . .N(ilL)

HARD TO SEE

FIVE FIKDl DEATH nJKH FRO^^-ICI PUM

31 9

BACK AGAINST THE WALL
QtflTiiituniAN; 1 lULJLGi

30 20

NO YOU GIRLS

FMU FUOIIUilO 1 MiixJ tl^l

1 GET OFF

HAUSTORM lAFLAHIICl

■©

AGAIN

FUtUF ■".•A :iCi:jKf.'H«I{RSCOPtl

EAST JESUS NOWHERE

RRIFh DAY irfpn -.f 1

36 9

FUGITIVE

UTOOfUV "■■ ■-;>■■ r.; ,','iT[-Aii.

36 -l

INVINCIBLE

30 5

MONSTER

SI.NIFT .-. ,■ ■: -Mt.rin

1 LL GO CRAZY IF 1 DONT 60 CRAZY TONIGHT

Ul '.I . -.■ -L

WHY 1 AM

CAVE FAATTHEWS BAND <:.'<MA RASS-'RCA'^tKl

SNUFF

UtPKKOY mOADnUNWIMMn

42 ID

FIREFLIES

JUST BREATHE

3S IS

SHE S A GENIUS

IE- . 1 ■ • ,■. -HE SEVFN.CAWTOt)

47 6

MAYBE

KMIIKMil>ai'L=>it, .1 'M..>.iiMftMA HOUnni

o s

BLOOD ON MY HANDS

IWOSfD ■Ht'-'lt^t ■

45 11

BY THE WAY

THfORY Uf A OtADMAh mLI ^O/iELRUHWfl.flfiPt

46 9

FOREVER IN YOUR HANDS

ALL THAI MMAIHS l-iniC.'RUOR t 111

44 9

BREAKING

ANBERIIU < -tt'l>6lV(

49 3

SLOW POtSON

IHFBPJ.EF' 'Mr.!

SUBSTITUTION

SIlVfRtUR ."::4.ll"> ■ ■, .fS^mOl

NoniljMl«* "(lidding Pi'jti-s ' (Imibs
Ibiai^ triple A (viewable at billboard. b[i/
dull) < Ho. 0, nnUm Ik liigM
afmHolilnlliliaiiAhnii
Mikgak l9|Bi H »• » 911 »loi

t>«1llfe|' fe MM. kMS idHKS Iw

fcali*i,HaMi."ii«.n.

.li ills

»fiHSr i. .. M-il PIKMOTOM LUai ;

1 wii 1 unT ontw
W MM' WILL nui DUVf

IC3 muM(, IIKJUMH .MOUrWOODl

CHECK MY BRAIN

CHEVIlK i 1

YOU'RE GOING DOWN
Jtftl'UmtS i.MkVm&NCHPIlOil

OVERCOME

a«uu .MNi. '-c

BREAK

IMKl OmGMCt ,JlvL'.^G)

HARD TO SEE

f IVE FINGER Of *IM nMCH <PROSf^CT MAK)

WHEELS

EDO EltHIEW -luSWEtLHCltllMbl

CRAWL BACK IN

E>EU «E tUIMlEI IWAAIIER BUS I

INVINCIBLE

WIUTM VinEilEl-UPim)

IHB3

IF YOU ONLY KNEW

SMIMEDOWII .-'.J.HFICI

MONSTER

UULEI Ai:,c;.JT 11,0 *TLAMTICI

12
19

WHISKEY HANGOVER

eocsMACK -: ^1 ;

FOREVER IN YOUR HANDS

*1L1MMH£W1MS . 1 ^ Rl.'OR 4 tit!

SOUND OF MADNESS

SHIHEECAV

17
M

9
27

ELYlEHi ..iV _i,l.'it llj^i^SiiaPti

CHAMPAGNE

OEVO .nt.^lSE

NEW DIVIDE

LIMMPMK I.'..,;!!'.; ■.. AtHMI « BROS |

'>18

BURN IT TO THE GROUND

NIEKELBIICK . i i^.<r.licRI^»P,

SNUFF

SEIPKSOT i. i i:.«UNIlER'RHC|

TALK TO ME

UJCKCMEPni 1 1 !'!K '^EVEN.

BY THE WAY

EHEORi OE t DEEOMUI ' p ^AanoNKf RRHPl

BROKEN. BEAT Ii SCARRED

METftUICE .'..'.SKER Uh^S )

THE FIXER

Pfjint MM W- iJ^EVWHfHCHI

FOREVER

HD ic.ySEIiru;.nEDi

GEROCK^

SS as TITLE

as S3 ARIiST !

2
3

' 4

.80

71,

MtOMOnON LUEU M
CHECK MY BRAIN
Aiict m CFUUW frftGIH.tAyiTCH)

BURN IT TO THE GROUND

HICmmCK )BDAWJNNE*IHRP|

NEW DIVIDE

WHEELS

FOOflChTIRS 'OiAfLLftCi-nMlai

BREAK

SOUND Of MADNESS

YOU RE GOING DOWN

WPUfPIH -.'/'I ..'"■iiM'APIlOt)

SOAP ON A ROPE

CHICAFREDOt V

SHE S A GENIUS

44 I Go to www.billboard.biz for complete chart data

Data for week of OCTOBER 31. 2009 CHARTS LEGEND on Page .

Billboard

HOT COUNTRY SONGS~

iiWI

TITLE

p(-'i; -ir,:iwfftnat IMPfWI

Arllsl
T t HIJKSefl i PROMOnOH 1

TITLE

^OnUCEft ' SMCWfllTER) |W

Artlai

IKI & NUMBER 1 PMMDnDH LASft

PI ONLY YOU CAN LOVE ME THIS WAY

MEM ■■ i 1 iiRBM fswctnoijnEiot

KaUn U(b3"

• CAflTW. N*i-1. f

THAT'S HOW COUNTRY BOYS ROLL

■i-M.'.;Fn i ■, = ■ n^:i\',ir'i ■>• n Nr.T.iNnoiWOSOHBXJWSl

Billy Curringlon

iiij

TOES

1 . r-i .Wf, i; BHDA'M 'A [^LRHtt!: .1 WIPriNj i Ml, LiiliiiO (.■.]«[

Zac Brown Band

WHY DONT WE JUST DANCE

■ ■■ ■ BRO«N|

Josh Turner

GETTIN YOU HOME (THE BLACK DRESS SONG)

Chris Young

□ l.\ million

LONG LINE OF LOSERS

Monlgomcry Gentry

WELCOME TO THE FUTURE

Brad Paisley

ImprHsitins. the
Itto males Itte

TODAY

."1 I; ALLAN I'BUINC II JIMES)

Gary Allan

0 HCA -i'

COWBOY CASANOVA

Carrie Underwood

9 19'AfllSUNUMViaE

TWANG

■■11 ... . iincHiv)

George Suait

0 " : ■.

AMERICAN RIDE

TbbyKeWi

9 SHOA OOG NilSNVHlE

lllMrtt(tiart
■«t.T( ami I'll
•nHUgttit litii

OUTSIDE MY WINDOW

Snrnh Buxto"

NEED YOU NOW

■ .1 1.' riM*rwiJOO,ClltlU>HSCOnjHAHj

Lady Antebellum

• CAFHOl NASHVULE

A LITTLE MORE COUNTRY THAN THAT

l-:F^ A'VABRlEi

Easton Ciubin
0

DO 1

U MLU'OH»«»000|

Luke Bryan

% GAPIIOl tlUHVILLE

■Muni nan II, t
dHft veehs, voij d

BEER ON THE TABLE

Josh ThomuHori

1 U ALIVE Kenny Chesney WHh Dave Matthews

• 1 ; .NtV |K CWSNEY.O iM.LON,M tUIBURT^Dl 9 -tM

tlMll to look ail th<?
way down 1 0

Gloriaiu's " How fj

DIDNT YOU KNOW HOW MUCH 1 LOVED YOU

r - IVt«Gbb.i

Kethe Pickler
15 ■ .

RUNAWAY

: "iHAU ISBllLtSXEUnH.RBLACKltlXjE)

Love And Theft

SARA SMILE Jimmy Wayne Featuring Daryl Hall & Jotin O.iies

FIFTEEN

ii$wirr>

Taylor SwfII

Do tlu Wjns)
Go'," wtiKti biilleh

COUNTRY FOLKS (LIVIN" LOUD)

The Lost Traders

BONFIRE

.1. ■ !' • ■'(■iEVCWOWI.MIWGEIHSl

Craig Morgan

KEEP ON LOVIN YOU

steel Mngnoiiii

CONSIDER ME GONE

Reba

LONG AFTER I M GONE

Big Konny

31:

RED LIGHT

David Nail

EVERYV/HERE 1 GO

Phil Vassar

Q ■. .-1,

1 (WANNA MAKE YOU CLOSE VOUR EVES

Dierks Bentley

RADIO V;AVES

Ell Young Band

9 stFi^fii.:; If. --ill "-

tii

HONKY TONK STOMP Brooks & Ounn Fulurfrn BHIy Otbbons

■- = Pirj^O'J; 4 AfllSIA NSSMVII 1 f

Blstieyieiioniiie*

19 AND CRAZY

. ' - ' ' ' .l:-.r<^ IM IR«-« jKEARHOSMUNSON « SHFPARO)

Bomshel

«:•;

ALL 1 ASK FOR ANYMORE

'ftace Adkins

eCAPlIOl «&?>(■. .. .■

song "Mti-.l))
Eone," iNlic'i
leatut?; Ira<r

LOVE LIKE CRAZY

Loe Brice

O C.IRB

SOUTHERN VOICE

1 ■ .. ■ 1 MiTtt iTBOlWLAS.BDIPItROt

Tim McGt^v
© ;

LOVE LIVES ON

■; .'.'IS u *£s.i

Maltary Hope

HISTORY IN THE MAKING

Darius Rucker

Mim. Dciti !he
Hot Sftol D^'tiut Willi

«S

STUCK

A5fi Boivers

1 JUST CALL YOU MINE

, ^'l ■ '.[.-■ M-lT'.DSTfl

Hanina McBnde

HOW FAR DO YOU WANNA GO?

■ii :■:.■!!: J STEELE.DMVRICKj

9 eMHL[i.'

38 4

[diliUMJ WHY

"tMnr™ ti MOfFftASCAl HAns |A SHAMBIIN R MAHOSl

Rascal Plana

• Lvnc STUEn

impreiiium Itif
complelp (haft has

60prM'i'-T ^iidr

SOONER OR LATER

Michelle Branch

WHITE LIAR

■ 1 .'.P.iijCRHl HEMBII

Miranda Ijimbon

THE CALL

'. ■! CC^MK 1 CAMPOJUl

Matt Kannon

9 eAMA;XtA'SIROUOAVAIU>[)US

2=1

E'GHT SECOND RIDE

Jake 0'*ien
0

HELL ON THE HEART

■ . ■ i: I'UK .1 SRUMAHi

Eric Church

9CAPrT0t KASHVa.LE

HURRY HOME

Jason Michael Carton

& J-.r i: ■ .

SKINNY DIPPIN'

Whitney Duncan

9 vtitiwn ams m\

2fl

THE TRUTH

J.i;;on Aldcan

BACKWOODS

JusDn Moore

TOP COUNTRY ALBUMS

TOP BLUEGRASS ALBUMS

■■9

3> >$

ARTIST Till. S

"--^ r-'fTNtEJllNQUBIL IPRICC) S

dEEEiSI TAYLOR SWIFT r.^., B
ECSEinialM ' 1. '.i*cjiiwomin9B( 4^ u

TOBY KEITH Amwican RMO

ZAC BROWN BAND Tt^cM^ ■

MIRANDA LAMBERT flevoliil.on

ROSANNECASH

LUKE BRYAN Doln My Tli.nfl

LADY ANTEBELLUM _ Lady Antebellum ■

SOUNDTRACK Ham* Montana: Tt. Movie ■

JASON ALDEAN Wide Open •

BROOKS* DUNN ArtT1»iSo.n,

GEORGE STRAIT ^^^^ »

' »l«w''o'^?°K.d.», QoWAndQreen 12

TAYLOR SWIFT _ Ta,,o, S«ill D

C4R1S YOUNG Th. M.n 1 Wan, To Be

•1

DARIUS RUCKER L«a,n To U.e ■

, . Koop On Loving You

KEITH URBAN ^ D.tyino Gr.vilv •

14
20

1.3
23

VARIOUS MTlSrS ^ «W1)«1>«1.IC|1C««,1« !
RASCAL FLATTS UnBopp*.. ■

SUOARLAND low On Th. In*(l. B

^■l

RASCAL FLATTS Hlu Volume 1

KENNY CHESNEY Gr.ata.IMII.il

BRAD PAISLEY ^ ^„„i^ s.lu.0., Night

JUSTIN MOORE j„,„„ „„„

ZAC BROWN BAND ^ Tl,R,rt«,„

ARTIST

ir.ii7a,.|i 4 liotBifi ■: IKTRIBti

Tille

i»e lAm imm

SUGARLAND

, LIVE On The Inside

35 2?

BILLY CURRINGTON

Utile B4t Of Everything

26 2'i

JAMEY JOHNSON

II That Lonesome Song

•

123331 LOVE AND THEFT i»i^uM.n«n

KELLIE PICKLER

Kellie Plclclof

27 19

PATTY LOVELESS

Mountain Soul II

GLORIANA

3£

COLT FORD

Ride Through The Country

ERIC CHURCH

, Carolina

2-i

TOBY KEITH

35 Biggest Hits

■

37 33

GEORGE JONES

DIERKS BENTLEY

„i Feel Thai Fire

RANDY HOUSER

Anything Goes

WILLIE NELSON

American Classic

2£

LARRY THE CABLE GUY^ ^^..^^.^ p^^^

,■ :

BIG & RICH

■j(tri».WRH 1

Greatest Hits

29 -

BILL ENGVALL

Aged And Contused

3fi ■:

ROBERT EARL KEEN ^ The Rose Hotel

^'.'^ Greatest Hrts: bmiled Edllton

VARIOUS ARTISTS

WVl Than Vt« 1 U A Cortv ChitnB

MARTINA MCBRIDE

Shine

41 -

COLT FORD

Cortry Is As Country Does

KENNY CHESNEY

. Lucky Old Sun

■te

JAKE OWEN

Easy Does ii

TRAILER CHOIR

Olt The Hillt}illy Hook (EP}

g ARTIST

,3 iWfHIMT & hjmtH OISIRIBI/TINC lAltl

Tltte
Mountain Soul II

6 2

4 5

15 28

5 56

9 51

8 7

It 60

STEVE F.1ART1N fhc Dw l*vr Songsfa Il« hw-Stng Biip 'i^

Deep In The Shade

STEEP CANYON RANGERS

THE ISAACS Ttielsaacs Nxu^AnMrnstACappelaCaledKirr

RICKY SKAGGS

Solo Snngs My Dad Loved

DAILEY & VINCENT

BratAers From DifletenI Mothers i

OLD CROW MEDICINE SHOW
STEVE IVEY

Tennessee Pusher

YONDER MOUNTAIN STRING BAND

I «0G mem'

BETWEEN THE BULLETS

URBAN MAKES 'WAY'

Ki nil Uiljaii's 'Only Vou Can Love
ir Tliis Way' tops Hot Coiiniry
Sotigs with i6.1 million impres-
sions— his llth No. 1 on that list —
placing him in a tie for ninth place
with Ctint Black- among artists with
the most thart-toppers during the
Nielsen BDS era (which bepan in )aniiary 1990). In the
current decade. Urban moves to sole ownership of fifth
place, breaking a tie with Rascal Flalts for the most No.
Is since January 2000. The new No. I is Urban's first since
he spent the first of two weeks at the summit with "Sweet
Tiling" on the March 14 chart. — V/adf Jessen

ita for we«k of OCTOBER 31, 2009 i For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data I 45

TOPR&B/HIP-HOP
ALBUMS

2" ARTIST

»S TiTu wfon o&nmim iabil
.-. HlJAY-Z

BSa UUIPMNT I HOC HAIHM SMUCAC «
MARIO

CM-*- J ■i%5: mi.

BEBE & CECE WINANS

»* I

TREY SONGZ

HtAOT : 'li. - IIJ..A1LWIIC SUmUS

DRAKE

1 © 12

Hi "

HP t8

Hi <6

■ <»

H "

Hi 21

B»

Hi »

■ »

IH "

■ «

H 3!

1 ^ 60

^1 Si

HP «

KEVON EDMONDS Vf
urn KHtw •■■ ■! ■

THE BLACK EYED PEASa

LIL BOOSIE . ^

K JON

KID CUDI
MACK in

GHOSTFACE KILLAH
LEfOVA

PITBULL
JEREMIH

.:^M DI3DgS''1[UM& I

VARIOUS ARTISTS I
BEYONCE j
FAT JOE

LEDISI i
SOU N DTRACK I
PLAYA2 CIRCLE |

FUCHT -M rut tmOfT OTfMltF Mi lllgOT'OJMG B

MARQUES HOUSTON
NEWBOYZ

TRICK DADDY ■
N-DAMBI

f MAINSTREAM
k R&B/HIP-HOP

■
1

TITLE

Unn <IMPRHT' PROMOTtOH KBtLI

KIrun this town

■Rn niHuuu ■ KMVI WOT iROC lunoK

WASTED

OlXl MM fW us n U »1KB«N <Hi«9}a¥Wmfl MSt

UNDER

FOREVER

aaAir :v. - ,\,.icnl :'<,TnEMULMmtEftSCm)

BREAK UP

Vif>--<J EE/tT GL<Ctl HJWE t KM WKH tlflW)

SUCCESSFUL

NUMBER ONE

n KEurCUT KEn)HllI0H{.1VEjLI^)

PRETTY WINGS

REGRET

inOT» FEW LUDACBH 1 1:*"!!:!! 1

EMPIRE STATE OF MIND

- And* «m M nc naiiohi

LOL

nr« Wis Fw Guto Hw i nui w TiuH sac BakSUNTC:

1 INVENTED SEX

:FiY S0M(iifE»T tJflWi 1 :.r<:m.«i,AMIiCi

I CAN TRANSFORM YA

chu.-, inn'«N n>: .ii waise & swiniun i.m jio-

PAPERS

DOESN T MEAN ANYTHING

*L.C A ll'i ■ ■ ■ Vlj.

16 IJ

GOD IN ME
' wwtUtRr f»T KUHnjt-WBVMOlUYIUXXUUIMAl

5 STAR CHICK

V3 GO'II i ■■ ■■■ -inF. ifllG)

1 M GOOD

WPU FLAT PKAHHEU WILIUMI 'M UT.'COLUMSIAl

THROW IT IN THE BAG

FABOIOUS FEAT IW DREAM .nf'jm ^mMtCGE MitUUCl

TRUST

unm COLl DUCT with MOMCA iMMMtflBWTEHSCOKl

MONEY TO BLOW

)nMui[um»')rw&i;«wu .■ ■ '■t-mmBiOLmom

BAD HABITS

HAIWilL .

SWEAT IT OUT

Ql 23

DROP IT LOW

ICE CREAM PAINT JOB

llOHWUiJGll .'i_lMi.. -.1 .

BABY BY ME

yCthTFUT hE-yO ■H.'iD- Flf TfHM»TH.lHTERSCOPEI

OBSESSED

MAHlAHCAHn ■ . I'.THOJMGl

EVERYTHING, EVERVDA>( EVBtYWHBtE

l*»DLOl;S FIAT URI WISOH 'DEGEKT STOnuDEF JAU1EUU&

1 GET IT IN

aMARiON ■ - . .1 ML'SIC'AOFmS.T U G.CAFITOLi

IQI 33

VIDEO PHONE

BFWCE V . ■ ■.■■■"51 D COLUMWAJ

THINKIN' ABOUT YOU

NABIU

THE ONE

HWy 1 B^fUE <LAt OTAU lUAinAKI'UEMtMWILOSCan^

IT KILLS ME

HELANlE FIOM i iifl L'llVERSM. WOTOVItll

FRESH

i IM a .VAC/.'iTni.E JIVE.»AmiW>

EB"

I LOOK GOOD

CHAUf BD* ■ ■i-^TJIVEiaAIttRVj

BODY

BECKY

PL'fS " h -SLIDE.' ATI Atll«:|

GOTTA GET IT

IMMA STAR (EVERYWHERE WE ARE)

IfflEWIH '■ ■ 1 ■, ■■ IT'IM,.,

BUY YOU A ROUND (UP AND DOWN)

RICK ROSS

KEYSHIA COLE

u^DL^JAMOIIW.IDMl I

JAZMINE SULLIVAN

FlAfllfSS ■

LAURA IZIBOR

T ihiE TRUTH BE inin

BETWEEN THE BULLETS

WHATCHA SAY
BREAKUP

THROW IT IN THE BAG

FABOLOUS FEAT THE-MEW .l.t^^Wi j tCRWW JIMW*BI

BE ON YOU

I LC muAFiAi. M.yo poi BOY^AlumiC)

OBSESSED

MAiilAH CABET I 5^*hgilOJMG[

SWEET DREAMS

MLTOH':! ■ ■

I EMPIRE STATE OF MIND

i JAY2 . A11CIA«YS K'JC WnOIII

HOTEL ROOM SERVICE

PITBUU

SUCCESSFUL

tm lu I Li «rv ' . '.'..'lAKTtWRwicnm

BEST I EVER HAD

IMMA STAR iEVERYV;HERE WE ARE)
PAPARAZZI

DOESNT MEAN ANYTHING

AllClAKEVS '■ ■ ■' ,

SEXY CHICK

TIE ME DOWN

WW »0»J FEAI my J i-L-HC'l

WASTED '

[)X0 WW FEfl mmUMfllJII

ONE TIME

mVM BIEBEH iSLAWOilOJBiGt

BABY BY ME
bt =tAI K-YO l:rtAO>.tftEWIH'lintB5C0Ptl
REPLAY

PARTY IN THE U.S.A.

1 WANT TO KNOW WHAT LOVE IS

CANii

'-■■'Gl _

SHAKE MY

THHEE i ll*FU> FEAI WMM iFffHOlKE MIIIOS.ClXUimt

NUMBER ONE

R mnEUI IEWHIHIllli.»>T ■■G'.

IGANGSTA LUV
nwcp Dooii lui rtinwow M.,.,'-.Tyj.wa]wnn:AiT!M,i
YOU BELONG WITH ME

lATtOH SWIFI . ■ . ■■- I ■.■ .-^lAL BiPUBtiC)

OUTTA CONTROL

BAiT tl*I PirHill . 'J'j .

LA LA LA

I MIIWET IPiUa I )

ijj. BECKY

mmm muim BATF5.^L>-w-siiot. AiLAHiK:i

In her album's SKond wMi on Tog R&B/
NIp-HoiiAibuins, Djitos sing«r/soi>gwriler
N'Danilii's "Pinli Etephanl" earns the
Pacevtter twnoi wilti a 69% intrease. rti«
se(-tfMdn9l(,"(M'(HanllyWan."
dMsSMO (up Z1S in Mdltfice) on H»t

46 I Go to www.billboard.biz for complete chart data

CALM BEFORE THE Q4 STORM

While Whitney Houston. Mariah Carey and lay-Z have
all notched No. Is. Top R&B/Hip-Hop Albums has been
relatively quiet leading into the fourth quarter. Which
isn't unusual, since labels hold back major releases un-
til the holiday shopping season. Sales volume on the
chart is down nearly 10% from last week despite top 10
debuts from Mario (No. 2) and Kevon Edmonds {No. 9).
as well as albums from Snoop Dogg (No. 22) and Df
Klialed (No. 25).

Looking ahead, Michael jackson's "This Is It," due
Oct. 26, will certainly make an impact: Rihanna and 50
Cfiii will roll into Thanksgiving with their Nov. 23 releases; and December kicks off with al-
bums from R. Kelly and Alicia Keys. — Raphael George

Kl PRETTY WINGS

MRfll MUWCU iCOlUHBlAi

BAD HABITS

lUtWEll ■'.

CANT LIVE WITHOUT YOU

Cl-JLRil! WllSnN ■ ■-' vE JlCi

1 LOOK TO YOU

THE POINT OF IT ALL

SNTMOMT KAW';ri;<( '■ ■•- 1 FJL.Mi:.Jiv^ Jiiii

■

ON THE OCEAN

K.-OH .1 ' .L'l. .

93t-

™L

BLAME IT ON ME
CmiSEm MICHEIE v'-F .Ak- ll'-lMGi

GOO IN ME

Mim lufff rtn HOW w SWM iv> euXKCOiM

M
m

CLOSE TO YOU

■U( t aCI WHIMS L'^C MALACOl

WHAT IVE BEEN WAITING FOR

■i

LAST CHANCE

CIHWM ■■■.jiiViti SROSl

DOESN T MEAN ANYTHING

msM

m-.

HEVDh lOMONDS iMlXi

mhlS

MILLION DOLLAR BILL

IN LOVE WITH ANOTHER MAN

ii'PiVjti I^IS IS IT

QiHlIIiH mmLMMsmmMMammmmm

1 WANT TO KNOW WHAT LOVE IS

WA«i«f ;An[i

COIN THRU CHANGES

DON T STAY

LAURA ;iiic>i .

4
10

YESTERDAY

roKi iftAiTciN :fat ini 1 iomi iauandC)
MY CHILD

All l OM 1 . CWij

THIS TIME

PAPERS

UWEB ..f ■ . .'j

TRUST

NnsHu caE nci mim mmu fwwCEHmwtetsca

BETTER WITH TIME

PHIMCE irtPGl

•

l«

„

T; PflDMOTKlit IMtX!
RUN THIS TOWN

; MAMMA I MMYI NISI iHIX MATXlll).

FOREVER

EMPIRE STATE OF MIND

WASTED

BEST I EVER HAD

DfiA«E r ii;r VL.^lv;^^:A5^^ MQWY liWMtRm MOW
BE ON YOU

FtORinA FEAT «-V0 BrwA'iANtlCl

HOTEL ROOM SERVICE

5 STAB CHICK

TOtOni ■ ■ "WG;

EVERY GIRL
I M GOING IN

MONEY TO BLOW

Q n

TIE ME DOWN

NfW MrtFlAI lUY J ' iimTT' ASv.irW AAH^CR SHO

WETTER (CALLING YOU DADDY)

tWIIIAEEAI fHlKASHfraN r.ti UOht> CAH^CAPITI

El"

1 LOOK GOOD

CHAUE MT . SinVi 3RD J.VI MATIiflVI

[it 18

BECKY

niES [IIG r:,M!SSLIP (t SLIH/ATLANTICi

TRICK'N

XWlACt 1 : TMf GBOUKOUP'JVtJLGl

FRESH

C Tii, 'I'jTCiHI JlVt'BAIIfBTi

BB ^

LA LA LA

LMfU i^RTr ftOCK.-M.LlUlOt£fUtVTNU<1NIER£CO'

Data for «mk of OCTOBER 31, 2009 . CHARTS LEGEND on Paga

HOT R&B/HIP-HOP SONGS

iiiiiiii

.'ft

Si
1

«□

■

■I

.■'9

).!

TITLE ArtiBt

^BOOJCtR SONQWBlTtfl) IMP«tJ(I PHOMOIlOMABt.

BECKY Piles

IMMA STAR (EVERYWHERE WE ARE) Jcrc-nih
J<'M£S.H.£CIULUl 9 W/.P bi:>'IL'.t^uL> : '

WE BE STEADY M0B8IN' Ul Wayno featuring Gucci Mjin«

OH Kevon Edmonds
10 5R « EDUOhaS.JIl^TnESetvi Q mi*;

SAY AAH Trey Songz

BETTER BELIEVE (T Ul Soosie Fealuring Young Jeozy 4 Webbie

1 "J1CH HGHAflNK .1 A JtNKIVj V» flil . .lU .i © l ■■ i.',' i\ ^ -lin i

TRY IT OUT Big Bank Bl.ick Fealurint) K.indi

il'*

HEADBOARD Hurncaiie Clin;, he.it^r r,;; M-,r ■: - =

S3
SS

£3

BUY YOU A ROUND (UP AND DOWN) Verse S.n mir d :

63
80

7»

YESTERDAY Toni Braxlon Featuring Tre, S j

»s

GANGSTA LUV Snoop Dogg Featuring The Drean
^' C* SUWUT.C C BROADUS JR ) DOGGVSiyit'PMIDKll . . .

GOTTA GET IT Juvenile
.a^.iROSi • jiy L' ,

■

1 GET CRAZY Nickl Mina) Fealuring Ul Wayne

OUAfiJU.O C*RTini VOIIN!, W3rjt<

BODY Marques Houston

■ r. i - ' .T'i«ts| e u<i:,ii A.;.-. ■

WHAT YOU DO Chr^setl* Michelo Featunnf) Ni^ Y:^

■|. ■ '■ .11 ', V "H O

&!>

LOVE COME DOWN Dirty W-rir-.

tAU HU' '

MY CHILD AN .1 M;-,,-
■f^FJtDVJ JOHS JPEMIIOCKJIUIiEU..IMMCCMIHT.KUA(tIilll O

B>
D

76
77

06
74

TIE ME DOWN N«w Boyz FMturIng finy J
' ' ' , D A THHIASl • SHOtrV'MYLUMiWitlM

TIPSY IN DIS CLUB Pretty Ricky
" 'a ^H.S !^ SMItHCMAIHISf OEANDA.iSWtMl 9 eut^UNfiiri Cir Mi.'V' in-

TROUBLE Ginuwine Featuring Bun B

■ ■ il. :") J*C«50*I I*WIIE « VIHCfSIE Ll«««,B intfVKI: 0 M"-T':i *F.UitM -iR 1

HA.T.E.U. MartahCarvy

U l^ADCVC STtWARTtHASM IHXMIEVTIMSKC.AlTtWIUir) O IttUUXIOJMG

SO GOOD DAY26

■ • y. :. " . ■_> <: HJi.Mt!. * D tL*HM.l! WCC'.ii 0 UAil bUr ' .I'jln.

SLOW DANCE Ken Milson

THIS TIME K'Jon Featuring Lee EnglarKlJr. & Augustine AUmcz

■ ■ ■'- I- liwnMlNi ® IlPlUPUlmll''*: 1- -- ■

MR. HIT DAT HOE Treal Lee & Prince Rich Fealuring WKlelrame

■
■

Si
72
18
M
l»

72
94

RELIGIOUS R. Keiry

- - ' :i«AKMS « Duom ji'i't.'iLG

NOVEMBER 18TH Drake

BIG BOI STUNTIN Voung Black

O LET S DO IT Waka Flocha Flame

GO Triple C's Featuring Rick Ross & Bitdman

i
■

LIL FREAK (UGH UGH UGH) Three 6 Matia Fealuring Webbie

II ' > . "'' '<lir.[GAHO.j HOUStON IVGniADNEV J*>>'HOr VI\T-'. C ' '•^\- '•

DONT STAY Laura Izibor

RAMPING SHOP Vybz Kartel & Spice
\ II - ® .■ 1 ■

•1

WALK Wn A DIP LouBian.i C:r>:^

fi7

JET

o
i*

98
S3

96
84

CAN T HARDLY WAIT N Damtii

d
■

FLEX DJ Mr. Rogers Featuring The Party Boyz

OH NO Chico DeBarge

ii ■ !■ ■■■ 1 'ifBAflCf J * Mill © (ir(li'' f.ir-M-

1"
B>
ii

6i 80

7B -

SO SHARP Mack 10 Featuring Jim Jones & Ul Wayne

1 riascn wmsfRTs is wm »a.€umxi< h nouxD.* otiiadvoi e "cc b^mjn

BEDROCK Voung Money

VOtMGMmEY'CA.SMMOK£V'U»rVEH-:Al MD'OWN

CAN T GET OVER YOU Joe

............ e ■ ■■

«.

ADDICTED TO MONEY Ul Scrappy Fealurmq Ludacris
L .■I-'., jj-i,* CROVItEORTlZXSHIOMSi ©■■:.- ■i-\i>.

THEY JUST DON'T KNOW Gyfi

■ ■ 1 . ; © t[H]\

IMMA ZOE Stack Dada

INDEPENDENT CHICKS Candi Redd

i ■ !ltFVIBt.Mfll.l-il-FAV?

FAKIN IT K. Michalle Featuring Mttsy Ellioil

( MlLLiAUb MICHE;.U E WIUbUIS.E DEAN.ECRAWTMDWEaiOni © Hltr COMWmE<'J[VE.<JLIi

^i^EPIPHANY (I M LEAVING)

GOIN THRU CHANGES

_aRlffiaUti

FRESH

BETWEEN THE BULLETS

JAY-Z NOTCHES 22nd TOP 10 HIT

[jy-Z's "limpire State ot Mind" rises 11-8 on Hot RK.B/Hip-Hop Songs to be-
aH| come his 22nd top 10, tying Ludacris for the most top 10s hy n rapper While

J^^T each is a far cry from equaling James Bromi. the chart's all-time leader with 58

T^Pr top lOs. they're second only to R. Kelly (i2 lop 10s) since the chart began using

Nielsen SoundScan data in December 1992. "Empire" gives |ay-Z his first pair
of back-lo-back top 10s since 2003-04. after "Run This Town" (No. 4) entered
that part of the chart in September. "Run" also rises 2-1 on Mainstream
R&B/Hip-Hop, becoming his fifth No. 1 on tlial chart but first as a lead artist. — Raphael Crarge

ta for week of OCTOBER 31. 2009

For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 47

BillbMral.

if*

3ii iiS

f "

■B

Lie

16 15

I&
W

\»

tmf

s"^

22 18

■i'

Im'

mif:

Kir

39 9

42 9

44 4

1",,

TITLE

ARTIST ]M"HIHT imOUOTION I AflCI

CITY ON OUR KNEES

TOBTMAC MH. M I \ll CMG

REVELATION SONG

PimiiPS CHAIf; 4 L'iflh

IHIHIIMI BORN AGAIN

IS^ll^li^H mm OKI rut uurr Momv ESSmiWLftG I
UNTIL THE WHOLE WORLD HEARS

CASIIHG^CHOWNS^l; : -i >T^.F^T RFUNIQH PH.

LEAD MeTo the CROSS

CHRIS AhU CDNftAO ,

MORE BEAUTIFUL YOU

THE WORDS I WOULD SAY

SIDEWALK f PHUKETS ' " ^illT, WORD CURB

THE MOTIONS

ItATTHIWWEST inV^.EUlCMC

HOLD MY HEART

TENTH AVENUE IIIWTH "EUt|IOW.'T'l6

LAY EM DOWN

NtEOTOflREATHE • H "'.liC WORD CURB

I WILL RISE

CHRIS TOMim !■ I

>^fAnRUW EUl CM6

IT S YOUR LIFE

(RANCESCA eAniSTEELI F

RVEUI WORD-CURB

WHAT FAITH CAN DO

MUTEESS II ' H ■. ^--1

THE LOST GET FOUND

flfllTT RICOEE .■. 1/ mi:

WAIT AND SEE

BRANDON HEATH '.' ImMOQE REUNlOltPLG

SING. SING. SING

CHRIS TDMLIN ■ ■ '.''■'< EMI CMb

HE IS

MARK SCHun/

ALIVE AGAIN

HAT'MAHUli ■! .-.I t'l.G

HOW HE LOVES

ElAViO LHUWElEH BAND ■ iKSEEPS SPARROW.'IMI CMS

SPEAKING LOUDER THAN

JEHEMT CAMI- . 11.' TH ^ HAIL

YOU'RE NOT SHAKEN

PHIL STACET . . '".^l^j

FOLLOW YOU

lEELAND WITH HHAHDOIt MtlTH ESSENTIAL, PIG

GLORIOUS

NtWSBOTS iM'I.L

TO QOD ALONE

AAnOM SHUIT BRASH

LET THE WATERS RISE

BIIKESCKAIR CURB

HE IS WITH YOU

MANDISA : L '.II CMO

FORGIVEN

SANCTUSREAl ■ . I .'■ EMi C>

I D NEED A SAVIOR

AMONG THE IKIHSIT I .

BEAUTIFUL ENDING

BAflLDA'(;iRL 1 1 ' i .','

WHAT 00 I KNOW OF HOLY

ADDISON ROAD ' .

SAFE

PHIL WICKHAM FEAT BART WIEEARD IFFQ

HEAVEN IS THE FACE

THERE IS A WAY

NEWWOHLnsilH '.i "i-

FROM THE INSIDE OUT

SEVENTH DAY SLUMBER EEC TOOTH A HAIL

JESUS CALUNG

S3IKIIES I'.

HEALER

KAHl JDBI IIIEDRUT

GOD OF THIS CITY

CHRIS lOMLIH F.|X';TEPS SPARROW EMI CMG

GLORY TO GOD FOREVER

GOD-SHAPED HOLE (2010)

nuui^^'}2

FOR THE FIRST TIME AGAIN

JASON GRAY i t Mil ! IF.

THE^MEANING OF UFE

HAWK NELSON I ..' IL

BLESS HIS NAME

JEREMY WDDEE .'-."ILlA. '^ISETAHD

HOSANNA
SEEAH CURB

ALIVE

F1K1ET PULE OF ROCU MYRRHTffORE^CUHS
SING

JOSH WILSON SI'AIFHOA I M> CUG

ON AND ON

CIUSEN iir'

HEARTBEAT
REMEDY DRIVE WUHD-CURB

JOY UNSPEAKABLE

)

s3
is

2X Be

2 2

ARTIST

Illlt 'UPRtNjI S fJUWBER .' nrStRtBUriNG L*fi!l

Kl VARIOUS ARTISTS

CERT. 1

"iSS"

SKILLET

\- 1 ' . 1 ■

□AVID CROWDER BAND

CHURCH MUSIC ■■';:' ' -■ i- 1 : i ' ■ ■

RE LIE NT K

Kftio Mil w! SiC'*! ym
CHRIS TOMLIN

ClOm W THE HIGHEST

FEE

HOPt niSINC \%\) PflOVlDENMMtGRIIV

BUILDING 429

tlUliniNG t74 l'.ri 4S07 trfiOVIDfNI'lKTtGRITV

THIRD DAY

RfVElATIDN i ilIIIliU 1 CIBSlTntWlDtNMNTtGWTV

PHILLIPS. CRAIG & DEAN

FEARLESS ' . ■ , lUE Nl-triUGRirf

CHRIS TOMLIN

HtllOlOVE -1 ■AKH0W?'ib9i'tMICMG

■ft '

VARIOUS ARTISTS

■

NEEDTOBREATHE

THE ffUISIDEHS >M ■'•.!!■: 51970? yiOnO CURB

MARY MARY

MSiXMi i_t»iUli'twmTOM(IKKri ■♦

■

SELAH

TOU DtliVEH ME 1 -; ■ c ■ftORO CURB

KARI JOBE

MR1J09EI-."! -i . r PROVtDfNMtirtGRITV

MICHAEL W. SMITH

ANEWHAUilJUAH' : M iMm^anHKVOfNNrECnn

MtnL YMc

10 \% 11 1 . II ■,■ iri'EGfiirv +

Ki_
P»

THOUSAND FOOT KRUTCH

WELCOME 10 THE MASOUtFWOf ■ ih \'M mHWiOXj

FRANCE5CA BATTISTELLI

MT PKPEfl HEART >LHVt)>1 U-U.' Ji tl. WOAD-CUREt

BARLOWGIRL

LDVI A Win IHOVfNI SB7MI'W0AD-CUNS

HAWK NELSON

Ll« IIFE LOUD' I i I ■ ■ ■

VARIOUS ARTISTS

WWHrtKm ■ " - -

•

TENTH AVENUE NORTH

DWHUHOOMKIWtATH-il iMC, n VvJetrMWir m (-''i

BRITT NICOLE

THE UKTGCTFOUM ^PARHQA 7i^& i.m CMG

PILLAR

cowESSKWSiivf iT^ ! :H>iw«tMa-Mr-*nE«Bry

GAITHER VOCAL BAND

REUNITED . uHGUP

MAT KEARNEY

cm Of iua & WWTl iAiVitCauWIAlffW l«.tM0M6

HILLSONG

1 c CI A ikin
LttLANU

UM IS DN THE MOVE l^iSHm lOSO&raCMDDrT'WIECniTV

■

MATTHEW WEST

SOMtlHIHG 10 SAT ■ .■.i ' f;i:' A .|li: u fVII CMG

LJiiiyill NEWSBOYS

UJLil3ii NTW HANDS V BOO ira>1«4B«CMB

eul & ijij^u cyuFHEs WITH ivcR hoiecomnj nsos

HASMAUE HOWCOMNG f^tAt liM.l,it' ■ M OM,

HILLSONG

BRANDON HEATH

WHAIFWE'. . .■:T(I-fjrKH!l"''

TRAVIS COTTRELL

JOUlUvn ifrt 'j r ■■■ i..-,MHii ♦

MARK SCHULTZ

COME ALIVE .■."■' Ill 'I

ISRAEL HOUGHTON

TWFWrtROfOMtiL- i.i'-' '.ttNI-MHatfY

TODD AGNEW

NEED 1 I.'. - i\0 25bi PH0VIDENMNIE6RIIY

MANDISA

hREEDOM ■ -.HH.i'/J (.I'.-'i'tMl CMG

DIAMOND RIO

THE HEASOW i'. i . ; i -i [is7335

LINCOLN BREWSTER

TOMYISIHEDAY.^"■ I- l-lbarflWDEm-KTHiBrv *

■

VARIOUS ARTISTS

filDHT HldMC !!■ ■. ■ 11 (WitlflT «rl£firt>

DECYFER DOWN

CRASH : i ■ ■ ur-iHTEGRinr

■

SOUNDTRACK

flR£PROOF : . 4 . PflOVinENI-tKTEGRirv

JEREMY CAMP

SPEAMNGLOIOCR THAN BIFOfCBECe^BaCM CMG •

MATT MAHER

ALIVE AtAiM ■ I'lOfePflovettn-iNTEGHiry

TERCER CIELO

anncmiiuw o^^iiNtiuc'jMS&ikscuinsiBiBUU

MATT REDMAN

M IMU NOT K MWH S8IB«mKW 12nai OK

SIDEWALK PROPHETS

THtsE sMPiE nwm mmn uma ex/wqrdxuib

RED

HammoiKt adileves hb Nghesi rank as a
lead arlisl siixe Hot Gosp«l Songs laumM
toEH y«ars ago. Up Z17 plays, "That Tti«v
Wait" takes ttie Greatest GaiiKf Itonor and
marlis ttie higlwst rank lor featured arlisl
John f. ttt.

Up 790,000 Impressloiis. the group earns
the Greatest Gainer f04 "Bom Again" with
help from guest vocalist Ixti Nosley ot
flirleaf. TMrd Oav lias had five No. is on the
Christian Songs dian, most recently mhen
"Call Hy Name" spent the first of Ii weeks
at the lop in June 2NS.

3> «s

1 25

TITLE

ARTIST IMPRWT ' PROWOTION LABEL

Kl REVELATION SONG 1

nQQPHItllPS CRAifiADEAN tJli |

n^'lVm ^■''^ ON OUR KNEES
E3CI1IM fOBTMAC- iKMMirr IMICMG |

THE WORDS 1 WOULD SAY
SIOEWALU fhCi'tins 1 : ;'((&

LEAD ME TO THE CROSS

CHHIS AND CONRAD .'l- l'

UNTIL THE WHOLE WORLD HEARS

CASTING cnowHS '-!"L" '■ r^^E t i.fitLiNiorf PIG

BORN AGAIN

THIHD OAr lEAt lACET MOSLET CSSEKTIAL PIG

MORE BEAUTIFUL YOU

JONNY niA^ :'.

LAY EM DOWN

HEEOrOBREATHE i^MK: 'M}WC.\JfiR

HOLD MY HEART

TENTH AVENUE NORTH f'F MOS «LG

THE MOTIONS

MATTHEW WEST r'l'ARnOA' EMl CMG

IT S YOUR LIFE

FHANCESCA BATTISTELU FERVENI. WDHO-CUHB

HE IS

MARK SCHULtZ ,Vi;^l)-Ct.iRB

SING. SING, SING

CHHI!i TUMllH !■ ^ tE PS. SPARROW EUl CMG

SPEAKING LOUDER THAN BEFORE

JEFIEMT CAMP I ! l IOOTH & NAIL

GLORIOUS

NtWSBDVS 1

YOU RE NOT SHAKEN

PHIL STACtr i."iii;r:j [.i,

WHAT FAITH CAN DO

KUTIISS r.Er irjriTH f. us ;

FOLLOW YOU

LEELAND WITH BRANDON HEATH ESSENTIAL PLC

ALIVE AGAIN

MATT MAHEH i '■ 1 Mlf.. ' -B

HOW HE LOVES

DAVID CROWDEH BAItl) ■■■•■■■Ii PS.'SPAHROW.'E HI CMG

WHAT DO 1 KNOW OF HOLY

ADDISON ROAD ■Ufl

HE IS WITH YOU

MAMOISA !,-''Ar.nC>'i 'IM) CUG

GLORY TO GOD FOREVER

FEE 'iJfl

HEAVEN IS THE FACE

STEVEN CURTIS CHAPMAN SPARHOW EMI CMG

JESUS CALLING
UMlits

CHRISTIAN CHR

illi ii

TITLE

ARTIST atPRIH! fROUOHQJl LABEL

KICITY ON OUR KNEES 1
Wffg TOBTMAC I'l^riHii.ti EMI cue 1

"1"'

HOLD MY HEART

nilTH AWtHUE MOHTH i ;l 11 PLC

BEAUTIFUL ENDING

tARlOWGIRl < ' < . ■■■[' CURB

HERO

SKILLET AHntlU 'l^JU

THE MEANING OF LIFE

HAWK NaSW U EC TODTH « NAIL

•

HEARTBEAT

REMEDY DRIVE /iC-RD CURB

ITS YOUR LIFE

FRANCESCA BATTISTEUI lERVEMI 'WORO-CURS

LAY EM DOWN

NEEDTOBREATHE . ■■'JIi- AORO-CURB

FROM THE INSIDE OUT

UVDrTHDAYSLUMBEH 1 lOOIHtMML

FORWARD MOTION

THOUSiMO FOOT KRUTCH TOOTH & NAIL

TAKE ME AS 1 AM

FM STATIC rODTH & IMIL

WHAT FAITH CAN DO

nraEss 1 1 ■'■'■ & nail

MY SWEET ESCAPE

RUN KIO HUH TOOTH & NAIL

MORE BEAUTIFUL YOU

JDNNY DIA: 'r

Llii£jm| UNT1.TtCWH0t£W0flU>HEARS 1
LlinniiH cAsrMGanHitsACHSTnsimMMPiG 1

ON AND ON

CHASEN ifji;

FORGIVEN

SANCTUSREAL '■•■■ l i .'. L'.ll CriG

SPEAKING LOUDER THAN BEFORE

JtHfMI C«MP r II -1 ■. fjAli

HOW HE LOVES

DAVID CROWDER BAND ^;>.51f PS SPARRfjW [Ml CMG

FORGET AND NOT SLOW DOWN

RtLltMT K i^'-IH

OUR TIME

GADW 1 cm FERVENT WORO-CURe

HEAVEN

JARS OF CUT GRAY WAITERS tSSENTIALnO

THE WAY WE ROLL
NEWSSCn INPOP

LEAD ME TO THE CROSS

tHHIS IINII CDtiHAO '

LET THE WATERS RISE
HKESCHAIR CURB

ii iiii

ARTIST

Tint iMfBim A NyMBEB DiSIfilBUllHG LA8IL
KIbEBE i CECE WINANS

2 4

3 53

FRED HAMMOND

lOVC OltSTOl'l'*UU '" ":. ^tRIIV .I334I'JIG

9 SO

MARY MARY

iHIHIUNn". "'I.' -«fSa(VMU9C*

VICKIE WINANS
HOW I i;oi oven destiny joy eiao

HE2EKIAH WALKER i LFC

SOUtID OUT ' I ■ . ■ i; 11

'"I >uu™i. ■

HilJAiiij \

liPl.Tf^W i:

7 30

HH 6 8

1^ 8 38

1^ 12 20

10 5 2

11 13 30

m 16 120

WB^ 31 11

it'u 7

18 15 28

Hi 18 70

18 11 2

; 18 17 6

aO 19 37

: St 20 54

.M 23 55

111111 21 12

PHF 27 51

lii^ 25 S7

ISRAEL HOUGHTON

m raWR Of tM rUU^tlTY UXitAHA tXM^MtlUX

J MOSS

JUST ;AMtS HUWGOSro CINTnCVERnY 479101X0

VARIOUS ARTISTS

».-D»' iDSPfl II

'.THCMGMflirvdSTi'lO

BRIAN COURTNEY WILSON

JUST LOVE I ' i-i ' ' M^'^IC ViORLO

THE CAJO FAMILY

KlUGDOM BUSINESS PT J i ^.m l,.J?0

DONNIE MCCLURKIN

Mt *1L IM lllVI M OETWIT) VFI«TY MIWAG

EARNEST PUGH

IM nW ON us r'.Ul ■\CKMM XTniWRiMllE

MARVIN SAPP

THIRSTY .1 ■ '

VARIOUS ARTISTS

GOSJ^ISKST MtHYVOMEHOHMSIUGECHFl mOTfX

YOUTHFUL PRAISE FEATURtB J J. HABSTON

RtSTING OHHISrHDHASE l.'Iil'J.L .'i. .' ' ! Lull

SMOKIE NORFUL

LIVE I'll.''. I. '.'I '.'I '.'• •■. I
JAMES FORTUNE & FIYA
THE IHWSJ0FIMT1UN .. '.l M . .1, ,', I. ! ,'. i .
VANESSA BELL ARMSTRONG

THE EM'ERIihCE ' 1 1 . ' : ' '. 1 1

VARIOUS ARTISTS

l/JlUllAHGUl'lt'r' _ :'^ .-' ''

DONALD LAWRENCE & CO
M uw ni cuwEssiOh mr. .

YOLANDA ADAMS

LECRAE

REBEl - . i' M

LEE WILLIAMS AND THE SPinmiAL QCS

1*11 OH ME Vi I' : 1'.''

BISHOP MU. S. MORTON mESENIS Tl€ FOaCFMC
CRY YOUR EUST TE*« n lli.l '■!' " I' i '

VARIOUS ARTISTS
KMitviiEixinuiiiHwivmiaci .

48 I Go to www.billboard.blz for complete chart data

Mil 1 HM^Bh A

lL:
T\i

iiii

1 23

TITLE

ARTIST IMPRIHl PROMUI'UfI LABEL

KM CLOSE TO YOU

R^SsEBE t CECE WINANS UK M^LACO

ll'l.^iVtU ^"^^

GOD IN ME

MARy MAItT i lAl KIERRA TllKI- SHEAMI VTV IIIUCA. COlUll

3
5

27
32

1 WOULDN T KNOW YOU

juKiKntEiiniLDi'.-nfH.'r AMKMi HBtntaunani

WAIT ON THE LORD

OOHNIE AlCClURKIN FEAT KAREN CLAK-SHEAm VERTTY;

■

PRAISE HIM IN ADVANCE

MARVIN SAPf . ' [;|-| .ILG

JUSTIFIED

SMOKIE HOItFul ' I t MYLES/EHI GOSPEL

RESTORED

J MOSS " i 'l LtSTRlL JIG

GOD FAVORED ME

Hi/EALtH MAliIH E LFC FEAI WAVH ItfPA tURIXBIS VEFL'IY

SOULED OUT

HE;ENIAH WALAEFl A LFC VERIFY JLG

■

BACK II EDEN

DONALO LAWRENCE A CO. UUIEF WAFER.'VERIIY JLG

ALL 1 NEED

BRIAN CDUHINEY WlLSWt SPIRIT RISIN&'MUSIC WOfl

EVERYBODY DANCE

JAMES HOBERSON r i

1 LOOK TO YOU

WHITHEY HOUSTON ARISTA mVi

RAIN ON US

EARNEST RUHR . 1 M LI AC^SWOKF LVriRLFjA'tnE

HOW 1 GOT OVER

VH:HIE WINANS FEAT TIIB BOWMAN. JH DESTINY XRF

ALREADY HERE

BRIAN COURTNEY WILSON : f'lIT T RISIFFG MllSlC WOR

BROKEN VESSEL

JEFF MAJORS FEAT lASHElL GRIEHN MUSIC ONE

FAITHFUL TO BELIEVE
BYRON CAGE l.iiS:'':' Ci lllRIC VERITY Jl G

AWESOME GOO

Tt4E BROWN SISTERS KINGtlDM

r.
23

THIS JOY

ISlCr W> EhWS iNESDm UUMI FWS lER 1WT Sff FEUEUAT N

HELP ME BELIEVE

KIRK FRANKLIN 1 l.i ' :'i: . L'i'-.'il i L'.IH'L JLU

LET THE WORD DO THE WORK

OONAIO LAWRENCE i CO FEAI BHD HAJC _' .'..'.liH'iEMlY

88 24 5

EVERY PRAYER

ISRAEL HOUGHTON FEAUHING MARY FAIRY INTELSUFYcaj

LORD DO IT FOR ME

ALVIN DARLING il.1tr.ll l.C'CF .

BER 31, 2009 I CHARTS LEGEND on Page

niel^'ji Mm vlsM4

HOT DANCE CLUB SONGS

TITLE

ARriSI i'.H iil'.I PHt!MOIUlr( LADU

LAST
WEEK

»••-

TITLE

ABTISI MJ RI'.I fROMOTlOd LABEL

KM RELEASE ME
■BaAGNESKi'.. 1 j.KVSTAR/NFM

BODY LANGUAGE

JESSt M{:CA(ITMEV FEAIUfllMC I-flUH rtDLLYWODD

MILLION DOLLAR BILL

WHiTHtT >*0W(m miiit.Hmi

WAKE UP

PAPARAZZI

LM)Y(1A«» : - "r.- rii . .-. r.v i t^- HHVIKtlNTEftSCW

SMOKE

JUS JACK Hmri PHIL GVWr FUrURMG RMllU nitta WXM

DID YOU SEE ME COMING?

PETSHOPBOTS. liiJL

SEXY PEOPLE

lOLfKE ''"I'l^ill

THIS TIME BABY

EDDIE » PRESENTS NIRI MARIS iMP

UKJ HANG ON

Um^l PUWB CURB

SEXY BITCH

[MV10 aiEiu ffATUfwe um ujm A^'iHouvm&Ctfiia

FIGHT FOR YOU

tfDBGAN l**GE 'r,',Li ^

FINE PRINT

NADIA All ' M:,r IS JIEn

1 OIDN T KNOW MY OWN STRENGTH

V.H1TNEY HOUSTON "PI' I.'. " MG

S.O.S. (LET THE MUSIC PLAY)

JOHOIN SPAPKS ' ■ I'r

PERFECT

DEPtCHt MODt T .1 . ,ri ■ t h

EVERYBODY SHAKE IT

Fiunu Rouno rumMMG SHAVM onsToncR Biitn All

EJUS

1 WANT TO KNOW WHAT LOVE IS

MUttlAH CItntT iSiAnC),l!uMG

SHE WOLF

SHAKIRA V WU&IC LAIIW tPIC'SONY MUSrC

OBSESSED

.11 cunt* ' LANDi'lOJWG

F'CK YOU

LILIALEE"* -f'll

■i2

BAD HABtTS

WOULD VE BEEN THE ONE

SOLANGE '.■ ,'. . 1 . . 1 1 . (. . i; .

MISS YOU

HON flHKOV ftfiPEE

DO WHAT U LIKE

GAD BOY HUE M I TWffih

OUTTA HERE

tSMEC DENTEHS M rMEHSCOPf

LOVE SONGS

ANJUEIE iiTAB CJ/(,

WE ALL WANNA BE PRINCE

Flux 0* "OUSfCAI Ji:iHV[RK

LOSING MY MIND

AEI KING "1 . 'Hr pVii

CELEBRATION

KEEP IT GOIN LOUDER

HUIH LAJIR EtAnjm MU SlY E tUY BEAU WOEECfNIWHKICMN

SHE AINT GOT

SAD SONG

8EAKE EEWIS " I/ '- J '

WISH U LOVE

CHJU) JACK & TIM LETTEER VS FAHfH HADES

SUPERSTAR

DAVIE) MAY FEATURING lAOISES MD0ES1D A3KXD

IMCFPI IRITIFQ

JJUOn UASaUEZ FUTUUNG MAXI J SLVIR UttLlOUUt BOf

THE REAL THING

VANESSA MIEEIAMS ECISCORD.'CMG

TONIGHT

CAfWfLL ■: I-: I ^^lsu^I;I

RIGHT HEBE

CARMEN REECE RFl, Klf

FREEWAY OF LOVE

F'EPl'tB MASIIAY 1 .'t r

STRAIGHT THROUGH MY HEART

BACKSTFIEn BOYS : v l-L.

DONT UPSET THE RHYTHM (GO BABY GO)

HniSIHES" ■.' .

BRAND NEW DAY

GEORGIE P5RGIE Mn^lC PLANT

«r

GRINGA QUIERO BAILA

BDDEU CIlAflLIE FEATURING DOSE IFULAWTOI CAtiFtlUU

FAME 2009

HATURI NAJGHTDN . i.KE^HOHt

AINT NO STOPPIN US NOW

TABOIlAh S DARItri DBONHEAU 31

WE ARE GOLDEN

MIHA ; :■, ■.eHSAL MOTOWN

MANOS AL AIRE

HlLLf FUFrflUU ri:_. UNIVERSAL MUSFC LATINO

TURN IT OUT

PUSH N PULL

TOP DANCE/

NIC ALBUMS

r 1 r t( - J •]

|H ARTIST

TITLE \UmH] A WUBIK I DBTRHUTIH6 LABEL

. ■ Rl LADY GAGA

lwHlt?lWtltlOUiH>Cll«ieWBIKOTaiip-W '

OWL CITY

OCEAN EYES LPHVERSAE REPUBLIC 013141* UURG

TIESTO

KALEIDDSCDPE MliiirL. 'REEDOM ?082ULTilA

VARIOUS ARTISTS

tT«in WW; 1 CAU OJJi WTl EHUMREA iEf%S»T lA£i:

LMFAO

WTY flOO Wir- WXXWll 1 FMI^EWSEEMTRSCfft MSEIGA

30H!3

WANT ■ n ■ 1 ■■■

„ IMOGEN HEAP

» ELLIPSE LI . . 11 1. . . . Hll..

AIR

LOVE; J. K 1 M<;i)«.AS1RALWERKS

DAVID GUETTA

ONE LOVE liUM HhEir- iETRAlWEPFS

BEYONCE

NEON INDIAN

PSYCHIC CPASMS LEFSE I.VCH

LA ROUX

unoUl 1 fKPlKRRYTREEWEBSCOI^OIMe'W

BLAKE LEWIS

HEARTBREA" OH VINYL iiyt^YBOY 1^41

SOUNDTRACK

SLUMDOG MILLIONAIRE ilt'ERSCOPE 012S0a EGA

■

DJ SKRIBBLE

TDIALCUie HIYS3 I •;'.i"l.i;jCET>tnrvEl«(gOfl1*'TH4W

ZERO r

YEAH CHOST APrir r.T.ii :; ii,

LUIS MIGUEL

NOailPYSAIANOCIC CUIBflmEIZSiWfCHLATnATflJIB

■

DEADMAU5

FOR lACA OF A BETTER NAME MALl^TRAP ?I 74,'ULTHA

FAMILY FORCE 5 Ht

FAMLY FORCE SS CIIRISTT4AS TYUXAMT TT^ V^ZTDOTTY & WlHI

„ CASCADA

EVACUATE THE OANCETEOOFI R06B1NS ^5084

BASEMENT JAXX

SCARS ■ . j.l-"

ii^^^MOBY

liiiiM WAIT Fan ME LITTLE lOIOI 94I6-'MUTE

BREATHE CAROUNA

HELLO FASCINATIOM TEARLESS 3D1?r

P^P^TONY OKUNGBOWA

MlBKi? TDTAL DANtE IBM TIIRlVEDANCE 90aOT.'THRIVE

JEFFREE STAR

BEAUTY KILEEH POPSICLE SO04 )LG

HOT DANCE

TITLE

ARTIST i:''"iM I'-UI.' II !)N LAEitL

lyiSEXY CHICK

■OS OAWCtjETTAFiATUaWAaHQlWAEiTIWMWaCtfna.

1 REMEMBER

DEADMAOS • KASKADE VIAU^,THAP AND PRESS ULTRA

EVACUATE THE DANCEFLOOR

CASCADA fl liC N;;

THE SOUND OF MISSING YOU

AMEERAH 'HitElNL'

RELEASE ME

ACHES MIL, AUn ROr.KV STAR SIU

PAPARAZZI

lAOYGAGA IT! ,M,fJ V'J '.T II ,- •! r,'-. . I1

1 WILL BE HERE

TIESTO A SNE AAV SOUNU SYSTEM M

SWEET DREAMS

BEYONCE M .', I I lUUBIA

RIGHT HERE

CARMEN REECE Hh.; LI-

LET THE FEELINGS GO
ANNAGRACE -i ip EUt i

SHAME ON ME

AEEA SAVE FEAJUnMG LAMRCFCE AEiXHiBI lYUFEAfen l\ATENJ

1 GOTTA FEELING

THE BLACA EYED PEAS I'. IE R&COPE

KISS ME BACK

AIM SOZZI ni'liiT

CELEBRATION

MADONNA .■.'. I'JEF. gRE.L

INFINITY 2008

GURU JOSH PROJECT LjLTPa

1 BELIEVE

CYBEKUnu FEATURM All TTOMntH fVr snxsmiCILY WIVTLAI

DOWN

JAY SEAN FEATumG UA VIRTM L^ UOETYilMiERSAl FfiEWC

FIGHT FOR YOU

MORGAN PAGE NETTiYFR.

BROKEN STRINGS

CAREFREE IIII/) UP

BULLETPROOF

LAROUA I'llLi 1 .iL I.HI- -I-'-i l-.:Fa5C0Pt

PARTY IN THE U.S.A.

MILEY CYRUS -n ■

NOW YOU SEE IT (SHAKE THAT ASS)
HONOREBEL FEATURINfi PITBULL A JUMP SMOAEfTS i lTRii

HANG ON

PLUMB " iFTi

SMOKE

JUS JACA WTTM PIBL (UnUfT FEATtMUNl HATTMA PARU TJOOA

READY FOR THE WEEKEND

CALVIN I4AHRIS 11TR4

la for week of OCTOBER 31, 2009 I For chart reprints call 646.654.4633

kTOP TRADITIONAL
F JAZZ ALBUMS"

wKss is
A

ARTIST tj

TIllE IMIRIST a NliT/atR l.iiI'lll'Ul UGLABtL J^,

KM MICHAEL SUBLE

Bfffcl raiPi 1 rM ' : -mimK «

BARBRA STREISAND

LODE IS THE AKSWE" ■ . .' ■

III

2 5

HARRY CONNICK, JH

YOUR SONGS

THE^RiAN SS^EB ORCHESTRA

SOhlj^ FROM t OMIY AVE HUE .1 j -i F f iri'.L ".^ ' r 1

NELLfE MCKAY

MORMK AS BLUaem ?l 1 nun ID OOH OD /°'<> 1 1

4 30

DIANA KRALL

OUItTNIfiHTS :iM';[ Gtri^iVG +

5 IB

MICHAEL BUBLE

6 25

MELODY GARDOT

MV WE AND OHLY THRILL VlHiE OIZSfiJ'.VG

S 23

FRANK SINATRA

LM 0 IX maaum ■ * -^m -mw (oxicnhvmtmm

KEITH JARRETT

FWIS TTSTUDaif-UC'l^^r'-LMtKliaASSCSWCU'

y i'

VINCE GUARALOl

Tl« DEFIHTTWI ^NCE ClUAAUM ''.M^ 3l-l6aC0W0RD

1 1 .1

FRANK SINATRA

caLTW ijmi f=w Airni ,■ - ■ - -.i:umxu:T^MtiMKAC-

10 39

15 20

FRANK SINATRA

Eon^wmiiutf m,t - -- • j*i'*,taiBm»mms

FRANK SINATRA

16 B

ROY HARGROVE BIG BAND

flUBGEMCt - ■ 1

TOP TRADITIONAL
CLASSICAL ALBUMS

TOP CONTEMPORARY
JAZZ ALBUMS

0 6

bS
11

ARTIST

TITIE IMfHt'lT 4 NUTAbEP DISTRIRIJIING LAjYEl

KMpLACIDO DOMINGO
J^Q^ iCHifwr. saAiRvic l
BEU aECKZAKIR HUSSAIK EDGAR MEYER
ntwoYHEnrnw iTKCOM(atToiHiisi:fOYni)Ei3gH

RENEE FLEMING

VEEBSMOHt-. l.A 11' ■ilTLt.'-F: .'.j I :.A.^y: S UHCEP

«'-

THE PRIESTS

THE PRIESTS i , 'tY MC'SIC

•

MITSUKO UCHIDATHE Ct£VEUM> CRCa
«0F- >w :[KFns « 3 m 1 a WB wiTSniHBiaMKnr

JOSHUA BELL

ETr J JBO HL IE IWXECJ rOrYLManaWCSIIBP

MARC-ANDRE HAMELIN

HAYDN PIANO SONATAS 11 llTPERinN GF.'IO

JOSHUA BELL

WT AO IMERXFSEASWi | - ' TLilP UASTSMEIIS

ANTONIO PAPPANO

VEPOl MESSA DA RECUIEM i l iJCSBBSl&IILJl

LUCIANO PAVAROTTI

THE DUETS ' L4S9E2i6Klll»

YUJA WANG

UtailETltEtXF1IX»»LArulT 1. ^.AlJMJSllUERSOItf

11
14

JOYCE DIOONATO

RIBSBI OARRAN. THE MUSE YfOJ CIASXS 9I51WA

T)€ aSTEnCUN MOEKS (]F STIFTICIUGQMaE

ClWITNUiCRmTRESXL | i .T:SiOT

GUSTAVO DUDAMEL

DUnAARL DISCOVlRttS J Hv- /.V:- A i.i.;.J:sa«tf

MURRAY PERAHIA

BIOL RUITTTAS1 SAS i T.'i lASSIU^ JEXt 'JCEA EMSmWRB

i^.ilii

ARTIST

TITLE lEJPRINT A NUMBER ' OtSraaUINIfi UUEL
KlCHRIS BOTTI

CEMSBOTTT*BCSTDH lLL>«AmWWI*BC(<

' 2

GEORGE BENSON

SONGS AND STORES M^Nj-tH iU3G4'CONCOnO *.

PETER WHITE

GOOD DAY PEAK J100B CONCORD

-1

NAJEE

MINQ OVER HATHR HEAOS UP 31S6

BONEY JAMES

SEND ONE YOUR LOVE CONCORD 30B1S 4^

KENNY G

SUPtfi HITS :i F.i' i.Yjji: LTJEJIlW MWAETWG eEnU»4flBff

BERNIE WILLIAMS

MOVING FORWARD - . rmvi i REiCK RinLE

Df STANLF CUUW IHO «iro( HHHH IBDIV UMIE

JAZJ IN THE GARDEN iGFU JiRU .nSS HEAtit .li

RICHARD ELLIOT

ROCA STEADY II I - Ai;EN-:i .'ni s aMIIbiMT

VANESSA WILLIAMS

THE REAL THING i | • i li

TOE RllflNGTOIIS FIATUnNG BUSS FDSIUN

MODERN ART | I M iiT'

;(

AL JARREAU

ntTFYEi-^IY (A-XHIili-LAH-iH - ,— V - -i.i-i

THE SAX PACK

THE PACK IS BACA - S'TT

PAUL HAHDCASTLE

THE CflLlECnON M r, "HYTHM 36

PAUL TAYLOR

BEIRWN PEAK lUii- JIiNliJ-ID

Atop classical
v crossover albums

- WEEK
WEEKS

' Men. I

ARTIST II

TITLE IMPRIM A VUMBER / OlSTTIiaUTING LABEL 'Jf'^
Rl JOSHUA BEU.

2 49

IL OIVO

THE PROMISE | l ■ Y.«14 IMG&SflffY MIJ3C *

a 20

DAVID GARRETT

OAvnXJUVTEn < i - 1 '.|'ii':".MVtJI:M classcsgmv

4 50

ANDREA BOCELU

INCANIO .■■ Il l DECCA »

< 2

CHARLIE BAGGETT

1 ONLY UREAM OF YOU I I I. * ir ll

6 32

SARAH BRIGHTMAN

SYlAPHQflY llVE IN VIENNA L|.i 'iIIii:KN ZIGBIiBLG®

5 9

MORMON TABERNACLE CHOIR

RNC CmSTMAS BEUS .i FYi-Yri UDERMOEOVRUZaM

7 25

PAUL POTTS

PASSIONE 1 MlilA J il I'l SOIFY MUSIC

9 30

MORMON TABERNACLE CHOIR

CEM TtaFEU'TOIBIl'REia«L<>r,<l,-;,ETIM': Ill^SIIB

11 21

ESCALA

ESCALA M ilA 4747XSONV MUSIC

12 76

JOSH GROBAN

AWAKE LIVE 1 1 i ■ I - it.YieavmtBeRiK 1*

16 40

GREGORIAN

MASTERS OF CHANT iRQmi^EY

14 2

A JOYFUL NOISE

MK(t HEBMA ncu 7i ~ >ETYauBaLs»»]«rHi6imms

15 17

NEAL E. BOYD

MY AMERICAN DREAM DECCA 0T7B97

13 43

MORMON TABERNACLE CHOIR
nwanwwRMWIin— a wiAAH WthAUiiHyioiaa

>TH JAZZ^

THIS F
WEEK I

3fe ma

TITLE

ARTIST IMPRINT / PROMOTIOtt LABEL

Kl TROPICAL RAIN 1

WW^JEBBlfJPEAK-CMG 1

left.

\-:

BRIGHT

P11ER WHITE I A' Hill

TALK OF THE TOWN

DARREN RAHtt NUGROOVE

GO FOR IT

BERNIE WILLUEHS REFORM.ROCK RIEWE

BURNIN

PAUL TAYLOR T'-'li

LIVING IN HIGH DEFINITION

WHO WILL COMFORT ME

MELOOY GARDOI . ■

■

TIJUANA DANCE

fllCKBRAUNLi ■ a . i ri AkIISTRY

MOVE ON UP

RICHARU ELLIOT i--i-| TRY

STEADY AS SHE GOES

WALTER BEASLEY -LADS UP

SWEET SUMMER NIGHTS

NAJEE 1 ; A. .

TOUCH

SONET JAMES CaNCOflD/CMG

1«

SONGBIRD

CRAIG CHAOWCO SHANACHIE

JUST FRIENDS

VANESSA WiaUMS CONCORO CMG

SLOW JAM

EDGE GROOVE l.Al AHA JAZZCAPITOL

V^RLD ALBUMS

iiis

1 6

ARTIST

TITLE lA'PRINl A NUMBER ' DISTRIBUTING UBEL

BMrodrioo y gabriela

BS9 IT 11 Hil-l'i|||liH'| llliHd'.iAlO IT-

VARIOUS ARTISTS

^JEYYK} FOR CHARGE ScnGS WnUNO TTf WOnBFtAH 31 IX t

CELTIC THUNDER

TAKE ME HOME i II 1 hUNOER OUOflTiOtCCA

CELTIC WOMAN

K GFUrUT JXJKT ESanWOUECini WIHinU MtMU

THE VERY BEST

WARM HEART Of AFRICA OWL DOT

DANIEL O DONNELL

JESSE COOK

the rumba FOUNDATION COACH HOUSE ?002/E1

CELTIC THUNDER

ACT TWO iri II mi-- 11 iii'fioe.DECCA

BEBEL GILBERTO

ALL IN ONE .1

rodrigo y gabriela

LIVE IN JAPAN A l l, III t

1 1

TINARIWEN

MOn AN CDNEVAMHS a -A 1 ALAS IE«NS4tMCMAHjKi 9)

AMY HANAIALI'I

IRIFNCIS A FAMliy • t .1

THE BASV EINSTEIN MUSIC OCX OKHESnW

BABY EINSTEIN WORLD MUSIC WALT DISNEY 003161

KOLOHE KAI

THIS IS THE LIFE i-a ALDHA lUlt

THE IRISH TENORS

CHRISTMAS "AAliH f. Hi iLlliM

Go to www.billboard.blz for complete chart data l 49

BillbMr«l.

■

TITLE

JWTIST (IMPRINT ' PROMOTION LABEL)

KM ESCLAVO DE SUS BESOS 1

BRfl Mvio eniM. ivall-universal hush: latinoi I

LOBA

SHAOHA .1 ■ ■ '. I M.hIL LAJmi

TE IRA MEJOR SIN Ml

JOAN SfBASIIAH M . ■ r.Hl pfiiUOAl

■

LOOKING FOR PARADISE

AUJAhDHO %HHl FMt ALICIA KEV$ jWARNEn lATINA)

SU VENENO

AVIHIURA WWW... M 16IIN»

LO INTENTAMOS

[SPINOZA PAZ >l« ^.':-.\ 1

Br
W

MAN05 AL AIRE

N!LIT FURTADD i.' . ' [>)ll< UNIVERSAL MUSIC LAIIHOt

RECUERDAME

LA UUINIA ESmCIOH ' ".V [,■■!■ II. L Ur,

Ml CAMA HUELE A Tl

TITO EL HAMBINO FEATUHIHG £ION ft ItNNDI . . t T [ i

SUFRE

LOS OAflErES Of LA SIERM (D1SA]

TE VES FATAL

EL TRDttO GI MfXICO (rririi'!V)SA'UIJSIVISAl

YA ES MUY TAROE

LA ARROLLAOOnA BAND* EL LIMOU MSA EDIMDNSAi

ADIOS

JtSSE & JOV ..'..'■■■■Jl -•' .,^■|N'.|

EL AMOR

TITO ELUHBINO' r^lcMii

FELIZ

UNY BAKU .SONV MUSIC LAIINi

RE^

GRACIAS A Tl

WISIN A YANDf 1 LIACHErEi

1 GOTTA FEELING

THE BLACK irtDPtAS iir* ItHSCOI't I

^<D

HAY OJITOS

IMIQCHBLE . MI.IS1C tAIINl

NO ME DEJES DE AMAR

IAA»'UESI* 1 M|

EL BORRACHO

GftUPO MONTEZ OE OURAKGO >r<ls'..

■

DERECHO DE ANTIGUEDAD

LAOflltlNAL BAHDA LI IIMOH " '■ >'. 1

Nl ROSAS Nl JUGUETES

PAULINA RUBIO IvMVE^.SAl MuS'L lATIKO)

CELOS

FANNTIU KiMVERSAi MU5IC lATINO)

COMO VOLVER A SER FELIZ

LUlStNRIOltt ■ Ti'.-i

Ml COMPLEMENTO

LOS HURACANtS n(l NORTE <IIIS«|

TU DEFECTO

LA GRANJA

[OS TIGftES DEL HORIE i :it.< . '

ll'l'iVtU ^ CALABAZA

QjnillB LA ARROIUUXMU UNOA U LIMON (OlSA) |

DEJAME ENTRAR

AL DIABLO CON TU AMISTAD

El CRAPO DE SINAIDA 'xW',).!

ERES TODO TODD

JUIION ALVAREZ <r SU NORTENO BANOA i/.'., |

ME GUSTA ME GUSTA

lOiiunniiuaiMLMisawiiLi . .' lAnc i4tiw»

LLUEVE FOR DENTHO

LUIS FOtiSI ■■! ■ . ■ Ml.

SENTIMIENTOS DE CARTON

DUEIO HI'. . : ■■

CELEBRATION
MADONNA ,■<-'^^:^ ^hus )

MARIPOSA MIA

VIVANATIVA JV 1 Ml'MSr, MUSIK)

ENCONTRE

COMJUNTO ATAROECtfl ilHSA AbLj

SENTIMIENTO

VICO C FLAIUfltNG ARCAN&EL lEMI TEKVISA^

Y AHORA QUE?

lOS (IJELEflOS DEI NORTE .W'W^'y.rx^

I-

TOCANDO FONDO

ftlCARDO ARJOMA . 1 ',.1: 1

CIAO BELLA

[K)H OMAR lUACHfTE)

BARTENDER

AlIXIS A HOO r ' 'I' WIISIC lAIIN'i

ALMA tr4 Ktl^A

lOS tNOUlETOS CIL NOflTf .:E«liLE UUSICi

Nl CON OTRO CORAZON 1

PIDMOfEHNANlXi: .hiNOVtSA)

LOS PRIMOS

lOS «I)H(«1S IIII NORIE :■' .|

■

HOTEL ROOM SERVICE
P1TBUU I.'- ■ ■■ -i-.i; Mi:-. ; HMCn

FIRE BURNING

SEAN HHGSTDN .i L. HI ...irttPIC)

■

CAMINOS DIFERENTES

HOetfllO TAFIA ■ Mr.!-. A 1,1 r.lViSAI

SOLO TU

VALIIN FEATUniKG RAQUEL IWARNER LATINAl

TENGO UNA AMANTE

VICEHIt (ERMANOEI . SCIIY MttSiC 1 ATlNi

Yundia HTTK hcf b«( f^fikJiq oa lop 1

8§

nil

o - i<-<

ir«

f%
w

Mi)

Ii?*

f»

■

"WW

ARTIST

TITLE -AiPfiiSI ' PBOMOTIW LABEll
KM AVENTURA

Bfflfl IHI LAST IDEWIIM LATIN JOBBIKOW MUSIC LATH

WISIN & YANDEL

LA HEVOLUCIOH M.-i I- r.'-. . M

LOS TIGRES DEL NORTE

LA GRAHJA • M . ■! I'-,' ijF.'i t ♦

LARRY HERNANDEZ

IbHAHCnCOHHinOS" '. ■^■J.TQUQyiSA^TOfttr.UMir

VARIOUS ARTISTS

RAdOIMTOS H DtSCOUtLAWOaHmSA f?i187 UMl i

TITO "EL BAMBINO"

EL PATRON rri't .li.- 1 iJMiE

□
O

□

NELLY FURTADO I

MPUJt ■ . - WJ5ICUTW00133IIHJMU j

ESPINOZA PAZ

ro MO y«TO i^no lo wtintamos - ; :n-.i

TL trono1>e"mexIc6~

ItlHAS CEMELAS ' , A : j ; i: ; j}.
JUAN GABRIEL

GRUPO MONTEZ DE DURANGO

IL BORRHCHO ' 1 i . I 1,1, [ |

EL TRONO DE MEXICO

MSOE LA Pmm* EN VIVO. , ,- SlflB&UMIE *. |

V^HM DON CHETO

h'^^WHif " °^ USIEDES ^ *!INQ MS?

VICENTE FERNANDEZ

mCESITO DE n i.i.'>l1 ML'SK 1*11% b3?fl? i

TERCER CIELO I

YURIDIA

HADA IS o( zoLonmunmuusKiKmiuv

LUIS FONSI

Muse lAlWUO.

VICO c

■ ABKLA I AM:

KtAN «4H0&'EMI IELEVISA

VARIOUS ARTISTS

LOS SUPtn UNO'S OII^A :?4iaMJMLE

LUIS MIGUEL

WD ZiAni A lA HOOK CUliK

MAKANO

n AMO --'..-Mt. MACHETE -16Wai,UMLE

LAURA PAUSiNI

PRIMAVtBA AHTICIPAOA WARNER LAIINA

KANY GARCIA

BOLETG OE ENIRADA .Jl';

UUS'C lATIN 47340

CONJUNTO ATARDECER

COMTIGO PAHASItMPfll iliTiA r?i:m' UMLE

TIERRA CALI

MARISELA

70 EJtiros ishdhules

NOEL SCHAJRIS

UNO NOES UNO '.'ilMC LATIN SB.TMI

HECTOR ACOSTA

CONJUNTO PRIMAVERA

»Rj«i TWIN ,i.im;ih»c4 ml [inw . . 'ii;*

■

GRUPO MANIA

SEPEG0LAMA«IA iiu- MUSIC LATIN QOIOA
DADOY YANKEE

VARIOUS ARTISTS

DUftAHGutHSE M^ S ?0M 3ISA 7g1M1/UMLE
LOSCREWKfflCCGFUSrro
AVAilZANOO EN LA VlOA

li:>OS.''DISA 7?I2S2'UULE I

VARIOUS ARTISTS

BANOA •! S Z0« . i...> "jli.D^UMLt

LA QUINTA ESTACION

SIN FRENOS " ijv '.'ii' ir i Mr-, ir-i.i

LOS INOUIETOS DEL NORTE

JOAN SEBASTIAN

llfitmTI) Al COIUJOM U .tKI 4?0&,tlAlM)A

MERCEDES SOSA

CAKTORA ' ■ ,..-;V M ,V At

LA ARROLLADORA BANDA EL IIMON

cfuccoMPwvwiAsaurmavAJi:' ,, ,, ,^ .,1 . '..-l
CONJUNTO PRIMAVERA

30 AHtVERSARID EN VIVO ' UNU'.'l&ft 3S376^aiWE
ROCIO DURCAL

DOETO • !■ ri , '1,,',.- vriJV Mv^tC UTIH

LOS TEMERARIOS. BRONCO/LOS BUKIS

ICMLKflDlfl' SUSaHUmOIEIiraai '■' ,'.111, V .

LOS INQUIETOS DEL NORTE

MANA

ARDE IL CIEIO '.V"t-!lf »■ , ilINt, l^i-

J-li 4-

PATRULLA 81

uiicccimnwAOA las ?D deluuvas a

RICARDO ARJONA

SID PISD '.Ll; ; '■Ii',.l ;i!b665

PANCHO BARRAZA

□

BANDA EL RECODO I

LAHISrORIAOElQSEXirOS til-, v; JS4UQ,UMLE |

MARIACHI HERMANOS BARGIAS f
CANTOS T ALAaAMUS [HiCOS bAHAJAS 554 VINA + 1

Litia F>op Alkuins as "Mi Es Oe (diK

tosa' debuts it No, 4, »lllng stigMiT
more ttiin 1,000 (opin. Hei pfIof Iml
was the No. 5 peak of "Habla El Corazon"
In tlieNaidi!, 2007, issue.

Onid KsU (tains Dk loo s»«t on No* Latti
SoKi as "bdm He J«s toos" rises 2-1
(13.6 nMn aidtaia IninssioiB, lip SS).
ITS lis stcoad No. I after Die 2006 'liyefi
Ne ka A Dedr spent dm weels al die
smmit. "Esdaw" also limios W-4 06 Ijlli
la«a.li«lioii.up42M.

m REGIONAL

% MEXICAN AIRPLAY

ii iiii

^ 1 27

TITLE

ARTIST i;UPH VI i'RC.MOIIOM LABELI

KIlO INTENTAMOS 1

BBS EShHUiA 1.4: ^ ASl 1

TE IRA MEJOR SIN Ml

JOAN SE&ASTIAN l.li.SART aOlOOA

SUFRE

LOS OARETES DE LA SICtfU DISA

TE VES FATAL

EL TRDND DE MEXICO lliIi.:h'IS4 T4USIVISA

YA ES MUY TAROE

LA ARROLLADORA lAND* EL UMGH DISA E DIMONSA

HAY OJITOS

INTOCABCE „.!,' inw MUSIC L*1IN

NO ME DEJES DE AMAR

LA APUESIA I I A

1 1

EL BORRACHO

GRDPn MONTE: DE DURANOO UlSA

TE PRESUMO

aUNOA El HTCDDO - In:,

DERECHO DE ANTIQUEDAO

LA ORIGINAL BANGA El LIMDN IDItOVISA

COMPRENDEME

GERMAN MONTERO 1 1 HI . ' .T UIJSIVISA

Ml COMPLEMENTO

IDS HURACANES Dft NORTE In !.A

TU DEFECTO

lOS ClUADOWi CKI lASTD DUHIMiUIIBl Pi A WMM2 U^AEDMUNH/

LA GRANJA

LDS IltiHES GEL NORTE niMiVI^A

COMO UN TATUAJE

K pa: GE la SIEHHA 1 .: MliVIONSA

ITHiVtU '-'^ CALABAZA I

[iTiyif^IH LA ARRDEEADDRA BANDA O. LMON DISA |

AL DIABLO CON TU AMISTAD

EL CHAPO OE SINALO* 11 ',

ERES TODO TODO

JULIDN ALVAREZ 1 SU NORTENO BAHIUI ASL

FUE SU AMOR

ALACRANES MUSICAL All „IL A HIMIVIS.V

SENTIMIENTOS DE CARTON

OOELO [ir.Li,li,A

MRPLAY"

^ rait

si is

1 10

TITLE

ARTIST i.MPRINT PROMOTION I ASf I )

KMSU VENENO 1

BE3 AVENTURA [ 1,1 M' ',l,„ll', |

ESCLAVO DE SUS BESOS

DAWHUAL , ,Ll l<.|,..i: ,'l MUSIC LATINO

Ml CAMA HUELE A Tl

TITO EL BAMBINO FEATURING OON B IIIWOA I.IEN1E

ABUSADORA

WISIN ■ TMDU m UACHE1E

PEPE

DOUBLE T V EL CRDN |LOS Pmi MVR

COMO VOLVER A SER FELIZ

LUIS EHHIOOE 'HI ,'0^

SI TE VAS QUE TENGO QUE HACER

ONEGA PLANET

ADICTO A TU PIEL/HOLIIING ON TO LOVE

FRMIKK HESnW AIRGO

LOBA

SHAiaiUIT'l ' JIL* MUSIC lATW

DEJAME ENTRAR

SENTIMIENTO

VICO C FEATURING AACAMGEL lUI TEIEVISA

COMO SERIA

INDID ',,1 I " i i

ASI ES LA VIDA

El KIAH DE PORFI MTRTAVENEUUSIC

RECUERDAME

LA OUINTA ESTACION HUNT MuStC LATIN

HAGAMOSLO AUNOUE DUELA

MARLON 'I,-! ": I:

CHINITA

TU PRIMERA VEZ

HICIOH ACOSTA I i LI .ttjl r.'il li

LOOKING FOR PARADISE

ALEJAHDHO SANZ FEAT ALICIA KETS I NER LAIINA

SABES BIEN QUE TE QUIERO

GRUPO RUSH M -■• J VN,\I S N

Ml MUJER

T04*0ill.>r^ -lARl

# LATIN POP ,
I AIRPLAY-

IB is is

1 1 16

TITLE

ARTIST 1 KirniSI PROMOTION LABELp

ICTloba

g^SI *"ANiRA t»^c<50NV MUSIC LATHI

ESCLAVO DE SUS BESOS

OAVmeil^BAl '.^11- ',lS(VERSAl. MUSIC LATINO

MANOS AL AIRE

Nf IIY FURTAOO '1' ; ^JAR liMvERSAl MUSIC LATINO

LOOKING FOR PARADISE

ALEJANDRO SAHZ fEAIURHiG AUCU KTTS WARNER lAII

17
13

RECUERDAME

LA QUINTA ESTACKW SOtiY MUSiC lATW

ADIOS

JESSE & JOT WARNER LAIINA

FELIZ

HANY GARCU SUriY MUSiC LATIN

, 8

SU VENENO

AVEHIUBA 1 ^-r.lll.ir.' LATIN

34
15

EL AMOR

TITO EL BAMBINO' :.i:NTt

1 GOTTA FEELING

THE BLACK EYED PEAS ir,"' ■■'■rriPf

Nl ROSAS Nl JUGUETES

PAULINA HUlia llNIVEr^;.AI Mt.l^lC LATINO

CELOS

FANNY LU llrilVIRr-AL MUSIC LATINO

CAUSA Y EFECTO

PAULINA RUBIO 1 iNIVtKSAL MUSIC LATINO

AQUI ESTOY YD

LUIS FONSI lii.'s - KVAL MuSlC LATINO

GRACIAS A Tl

WISIN S tRNDtl V. F WACHtlE

COMO VOLVER A SER FELIZ

ILIIS ENfllOllE 'iif ■>Tnp

10
8

Ml CAMA HUELE A Tl

TIKI IL BAMBINO FEATURINO ZIOM « LURKDt SIENTE

CELEBRATION

MAWIMHA ,■,.■-'1^ -■ 'IHUS

i»

MARIPOSA MIA

VIVANATIVA VI.' HW''r.h P.! . '; K

LLUEVE POR DENTRO

LUIS fONSt ..IJI'i[i(S.Vl MLji,l. lATirtO

wtn ■

LAST ■
WEEK ■
WEEKS ■

TITLE

ARTIST .IMPRINT PROMOTION LAOELl

KImI CAMA HUELE A Tl

ftmt "(L BAMBINO' FUT IKW B LEMIQl SIEI

GRACIAS A Tl

WISIN 4 YANDEL < MACHETE

BARTENDER

ALEIIS A FIDO MLiiC 1 ATIS

It'l'lfHI ESCLAVO DE SUS BESC

[FTinnil^ DRUID BtSBAi VALLUWERSAL MUSC LB

■ a

SU VENENO

AVENTURA PI-,iUI, M 1 ATIS

LOOKING FOR PARADISE

ALEJANDRO SANZ FEAT ALICIA KEYS WARNER LATINA

DEJAME ENTRAR

MAKANO 1 ■,,-,„',l,- ',lf.CnETE

SENTIMIENTO

VICO C FEATURINQ ARCBNSEL EMI IELEVISA

LOBA

SHUIRA i fir iinri' MUSIC LATIN

CIAO BELLA

HOTEL ROOM SERVICE

PilSuii ',' ■ n' il CIROUNDSJHMG

EL RITAAO NO PERDONA (PRENDI

DALiDY TASLEi , , ,-|;l!l

WATAGATAPITUSBERRY

SENSAIO DEL PATIO FEAFUHWG BLACK POINT IIBuRON

DESCONTROL
MEKIA i'.:.:

MANOS AL AIRE

NELLT FURTADO IIElSTAR UNIVERSAL MUSIC LATINO

DOWN

JAV SIAN FEAI IH WAVNE CASK MONCYLfOVIRSAL REFU

EL DOCTORADO

FONT DIZt ,'i',A

MOMENTO OUETEVI

DE LA GHETTO .ir MUB HAFlDN.'PREMIlIM LATIN

EL AMOR

TTTD EL BAMBINO' ilEMIE

FLAOUEASTE

JOAN 4 D'HEIL II 1 M^-^HIIIi S,OLU OUT

BETWEEN THE BULLETS

GRUPO MANIA MANIA

GRUPO MANIA

rile Puerto Rican mereiigue act Grupo Mania returns to the
charts with its latest set, "Se Pego La Mania," debuting at No. 3
on Top Tropical Albums (selling slightly fewer than 1 ,000 copies)
This marks the group's ninth top five debut, pushing it past )uan
Luis Guerra & 440 for the most top five debuts by a group in the
chart's 24-year history. "Se Pego" also debuts al No. 30 on Top
Latin Albums. — Rauly Ramirez

50 I Go to www.billboard.blz for complete chart data

Data for week of OCTOBER 31. 2009 l CHARTS LEGEND on Page

Billb«arJ

■

JAPAN I

GERMANY

(MHtMK'UUMIKtH MHK'

nAMncm ecTnni m. jbds

ITME OfflCIAL

U« CHIRTI Ca ) OCIMER U. ISO*

IMEMA CDMTROLI OCTOKII It. »tl

NEW

AQUA TIMEZ

TxE BEEior AauATMutcanrouoEai t^ii:

NiW

EDITORS

III rwi UUKT worn iwmwiOMTCHHWtft

MEW

XAVIER NAIOOO

ALUS KAM OEUm WENDBI NAIIXIO

AYAKA

ATMU Mnnilrr MWIWI WARNER

NEW

CHIPMUNK
1 AM CMPMiM jrrt

NEW

HELENE FISCHER
tD)KICHBMt:AP1tOl

yuzu

MADONNA

NEW

SHAKIRA

sh; wc-.f

NEW

AQUA TIMEZ

TKC BEtTDf taJATIKimC

IKW

SHAKIRA

IW won EPK

UDO JURGENS

THE IBT W junCENSiSONV MUSIC

M-FLO

PAOLO NIITINI

MEW

DEAD ev SUNRISE
OUT OF UH(S WARNER BROS

BACKSTREET BOYS

THIS 11 Ut ICO t 'ID m EOl BUQ JAMH

!•

VERA LYNN

WELL MEET IIGAW ■ rW KRT UH OF Of CCA

•

NENA

MAM MGSWMrr A PIXS INtlfrittXI'

AYAKA

irnwAt KSTCW1' no^joot <at'nKrTD) warwr

BAR BRA STREISAND

LOVE n IME (v!iW!n COLIMBIA

MARK KHOPFLER

CETlUCKT'ttRltGI)

NEW

THE PILLOWS

nOfURM 1 CO OkO ITD E0> »VEX TRt>

□ IZZEE RASCAL

TONGUE N' CHEBl QIRTEE STANK

■

NEW

EDITORS

M I« UBHT MB OH DM EIBW KnCHMUH

MADONNA

(aiBH«IW( WI«£OHW*UTlMIBEiT :MPi .

NEW

THE SATURDAYS

MADONNA

CtlEM«IOHrtJ^i.:^:noi

■0

JAY-Z

THE •LiKPIMT 1 flOC HAIlQN

PUR

WUEMCME CltPMOl

O CANADA

WEEK

ItNtr ifORTITE-LIVE) OCTOMR 10, »H

IMUERaOI.UUN08C«lf) OCIDKRlt.im

lARlAi OaOIERII, MM

HEW

REMAN LUCE

IE ClAH H3 MlflOa SAK^lAY

MICHAEL BUBLE
CHAJflOKE '-■ l-'HIif WAHNfH

NEW

MICHAEL BUBLE

MBV

PASCAL OBtSPO

A&IXnK TO rW woe WORID OF CAPWH ■

NEW

KEVIN PARENT

mVINMREHI - 1.' I.fLECt

THE BLACK EYED PEAS

THi E N 0 .:''il'f

HCW

RAMMSTEIN

IKSE ItlFWiLia U .1' '

BARBHA STREISAND

LOVl :% )HL IM^mH lOL\MmU$m-( MUSIC

BEVONCE

1 AH ..USHil FlERCI MUSIC WORLD.'C0iUVji'.l^

DANY BRILLANT

rjEKTOfllCO

THE BLACK EYED PEAS
THE 1*0, lNT;BSCJPt.iJMWtFISAl

MUSE

TMi RfSIITANCf .-.^E HEllUM aWARNEH

JOHNNY HALLVOAV

'OJH t,t ISIUIE 0( FRANCE IMt) Mi<IClJR1 '

MADONNA

CEUtMnONWAnME') BRCS.'WARNfR

DAVID GUETTA

OHi lOVf :■ .i'"<JIN

MIKA

rHtKrrwmnewnMiiucHCJSUuvcA^:^-'.''

DAVID GUCTTA

DM LOVE GUU'VWCMtMl

PEARL JAM

BACKSPMa UOMEVRENCH ISUUID

SHAKHU
WEWgUEPK

JAV-Z

mt BlUtMWI ] RK riiliaK'WARNER

PARAMORE

etUHC HEW ETES IIXIED 9V RIMLN

MUSE

TK RfSISTUKCE 'tM^.LIUU lWa.■^K''^

NEW

LE5 TR0I5 ACCORDS

KATE MILLER-HEIDKE

CUROliSEH I . I.- ISIC

DAVID QUETTA

ONE Ll>ll ii '■

THREE DAVS GRACE

lUt ST«flIS MOW . . ■ IjCiHV UUiiii:

HARRY CONNICK JR.

VARIOUS ARTISTS
HOWITtVPEfUROCI «v;iRNER

BOOM DESJARDINS

flOa IE Quote iMlr< 'TlJ:lt.-:>i.f CI

TAYLOR SWIF=T

FMRLESS ■ r,';.-tiSi

ra SPAIN

<-> BRAZIL

IFIHI NIELSEN) (KTOBEH 19. ttn

[PRDHUSICAE MIOIAI KtOHfl It. 700*

UPBD HltlSEMi OCTOMR 11. ItM

ALESSANDRA AMOROSO

aUA MinOlE (fK

FTTO & FFTIPALDIS
ANTES DEDUECUEmEOCZDRO

ROBERTO CARLOS

EUI CAIRAM nOBOini CARLO! SOKY MUSIC

MADONNA

Cat»(l»TIOII .■ ■ ■ i-Wi

HEW

SHAKIRA

LOU EPIC SONV MUSIC LATIN

ANA CAROUNA
HOTi ■:!.-'.■ ■

NOEMI

njLU MIA PEIU COLUMBIA

LUZ CASAL

LA fKtnM EMI

NEW

BELO

PRINUTEftA SCftt MUSIC

TOKIO HOTEL
HJHAROKI ISIARO

MACK>NNA

CtiEIRAnOtt WAftNCR iROS

VARIOUS ARTISTS
fUMtO UODNAL SOM LfVRf

0101 D AQOSTINO
• CWKianCA

TOKIO HOTEL

HUMAMQIO ISUW

BEYONCE

( AIL..tAtM flEna SONY MUSIC

SAHUELE BEHUHI
HAMFEtTO AmnO RCA

CHENOA

DEEAFUHDO U flfUWHWO VALE

VICTOR E LEO

•ORUUETU SOW MUSIC

NEW

SHAKIRA

(HE WDLf fa

ANTONIO OROZCO
RtMOVATIO JNI'itRSAA.

VARIOUS ARTISTS

AACWA vo; DO nwU) SOW INK

PEARL JAM

UC'tt'ACtR '-■i,.,tVHEI*[MISL»'(r

AM ARAL

lA lAHRERA OIL IDMOO EMI

EXALTA5AMBA

An VIVO HR IIHA OA HAOU (Ml

MUSE

THE KMTAHCE A&EHEUUH I WAfltfiR

MANUEL CARRASCO

INERCIA VAl t

•

PADRE FA8I0 DE HELD
EU I 0 TEMPO V IfVRE

TI2IAN0 FERRO
AlU MA ETA' CAPItOl

NELLY FURTADO

■ run NELSTAR-'UNIVERSAL MUSK LATMC

LEONARDO

(SH UGum lau eu universal

EUROPEAN
HOT 100 SINGLES

LAST
WEEK

OCTOBER It . mi

HEW

BODIES

MI8IE W1LUAMS UIPGIN

StXY CHICK

UVIO CUCnA FT UOM GIMVMIGM

1 GOTTA FEELING

l« tlLXLI crte l-IAS INTERSCOPE

PAPARAZZI

LWI MA ]lRfM(HNNKOe*fim«nSSm

NEW

BAD BOYS

AiLEUMMA BUIKEnHOIBASYCO

SHE WOLF

s>i«>inA mu>sk: laiikipic

J'AIMERAIS TELLEHENT
JENAlfE MERCJRV

CELEBRATION
MRDOHM WiLHNER ARCS

EVACUATE THE DANCEFLOOR

CASUD* .■.■.^.'.LJIIIlNAiTW

LADY MELODY
TOM FRkr.ER'CWAf'AV W

OOPSV DAISY
OflPMUM JIVE

RELEASE HE

A&KES -.-lOSFl 1 BEAT BUIfAAIW

PUSSY

FUUIMmiH WQTOfUIMVEflSA),

BREAK YOUR HEART

TA«CRW [IHWtflSAl i^-^ilBJC

IF A SONG COULD GET ME YOU

MAHIT LAASEM VTRGW

WHEN LOVE TAKES OVER

uvio <;umA n keiit aoiano guuvircin

EMPIRE STATE OF MIND
iAT-I IDCIR KETt P3C NATION

HOTEL ROOM SERVICE
PTTlUll CnOUMD

HEAVY CROSS
TW WtllPCSLLMRH

HUSH HUSH

nC PUStTCAI OOUI INTERSCOPC

EURO DIGITAL
SONGS SPOTLIGHT

(NIELSEN SOUHOtCAH

INtERMATMHIILl OCTOBERll. 2003

1 GOTTA FEEUNQ
iHt BLi.:> I'iL m\

""I

WHEN LOVE TAKES OVER
DAMD mm FT lELLY AOMJUB

SEXY BITCH

CiUin tiJITIA FT AMOM OUM VMbW

GAIVOTA

AMAIUHUE .i 'Olt ■ GIF!

■

POKER PACE

uu G«ai mEuucioMoaw'ini.iinraxH

HUSH HUSH

THE PUSnXAT DOlU FI WCai 1. MTIRSCOK

CELEBRATION

tUDOUHA .■:^:-\-. - i> :

■mm

JAI HOI (YOU ARE MY DE5TINYI
AirwjMmiwwguMjgLinwcmi.v ■

HEARTBEAT

MNE(A ^ V il.'l-'i ■■

MANOS AL AIRE

TtK pop/soul singH Messandn
Anorou's fufl-l(n<)th delxrl holds
atop Ratr Uhhrs for t second
net It's h«r sctond No. 1 this
leir following the "Slspida" EP,

its.

9 IRELAND 1

ARGENTINA 1

ICLFj OaOHNia. MM

35 IIRMACHART TRACK) OCTOBCH II. 1«M

lULIHATOP GFKl OCtOltR 11. lOM

(CAPIFI OCIOVEH II. IH«

NEW

TONTARNA k

BAD BOYS

AlEWNOfl* lUMl FI FLOmOASvCO

MAMA5E-
<1 "

NEW

MERCEDES SOSA

CDNIURA UN VUUe limUGONVHLtGIC

KIIINIt triMU JIVI JLIJ

, 1 GOTTA FEELING

PAPILLON

MFRCFDFS SOSA

1 GOTTA FEELING

IK BmCK ETfO PE« IKTFflr.i:aPF

^ BODIES

arlHB:: WIllUMl CHRl'Slil^.VlHGIK

1 OOTTA FEELING

THE ILACK ETED PUS [NtERSi:DPl

MERCEDES SOSA
CANTDIU t tt\}%K

LIP

*MY IXAMMO ir.'lHiFK

_ SHE WOLF

* SHMIRA .. ■.' Ml .': iAtlHlflC

SEXY CHICK

D*Vm &1IETIAFT UONGl.MV.qfilH

GUSTAVO CERATI
FUEHZA MTHMl SOITr MUSK

SEXY CHICK

0«VIO 6UITIA FI (AW GL'U VlflulK

^™ PARTY IN THE U.S-A

HCW

BODIES

FIOSBIE WIILIAMt > 'tH';.'llSVir.'N

■

RICAROO ARJONA
tn» WARNER

MADONNA

MELODY GARDOT

MY OWE AMO ONL/ THW.L V'.i ^

|V Mh SHAKIRA

^T"' SHE WDLF -pr

CLOUSEAU

lijjuoiiu "■.[■Ii

CUf IMnM WARNLR BROS

FABIAHA CAimO

EM LA VROU ML MIL SOKV MUSIC

LAR2 KRISTERZ

oHDUviu[:ciL.Mei*

DELORENTOS
TOUCANtlAAESOUWK.C+tEllTOS

EDITORS

M THS Liar MD ON THB EVBM i>rD»AW:

RICARDO MONTAHER

HCW

KISS

WKIC BOON t.iS^. RnJWl;TlS = P

, MADONNA

' CELtWATION ■.■.J-iri:1 E^OS

SOUNDTRACK

JUMOR CIMtORG nn CAPIIUl

LAI COIAl COMO UN (Ml

LUIS MIGUEL

LARS WINNEHBNCK

IIM :« JU UGM^ MG KM ax MCHIf " '

EDITORS

w m LIOHT AM OH WB CWIWB lUTiKtWWIt

NEW

RAMMSTEIN

IIEIE ttl FUR AILC OA MOTQH.'UN'VER&Al

MEW

MERCEDES SOSA

CHFtlSTER SJOGREN
SilHlAtERNINREIl

. CORONAS

•* WrwilSAHEI-CONMi

' 0

ANOUK

FOA BITTEn on WORSE niSD

EURO

DIGITAL SONGS

WEEK 1

[NIEltEH SOUHDSCAN

INTERNKIIONAll OCTOBER It ZOOt
BAD BOYS

AlEXANORA iURKE FI FLO nOA STCO

' 2

BODIES

ROiaif WLUUIl CHRVSAUS

HEW

FIGHT FOR THIS LOVE

CMEBTL COLE PR'TIOfl

1 GOTTA FEELING

THE BlACt ETtO PCAS IMCRSCO*^

SEXY BITCH

DAVID GUfnX FI.M;D« 1. IV Vii-:r'i

OOPSY DAISY

LHIKMUH* . • .

SHE WOLF

SHMW iOn-i lATM'EPK

EMPIRE STATE OF WIND

JAT-Z • AllCUl UTS mC NA1I0N

BREAK YOUR HEART

UIO CNUI LNIVCni.*L RfPueilC

HEW

HAVEN T MET YOU YET

MICHAU OUni 1 4'J KbfKlSt

11
12

10
9

HOTEL ROOM SERVICE
rmUllMR 3D5.POLO GRDUmiS J

FOREVER IS OVER

13
14

1 1
12

I« SATUHMTS ■ ■
PAPARAZZI

SWEET DISPOS1TON
THE TEMPfR HUT INFECTIOUS

NCW

WHO WANTS TO BE ALONE

nSTD n HELiV FWniM UUSICiL FREEDOM

EUROPEAN
ALBUMS

§£

KtOWR zi. looa

MADONNA

NCW

SHAKIRA

tm WDLF .-.C-JV MLStt HtlN'EPIC

HEW

EDITOFtS

r< tH^ leHTHOONTNtEWaKlUIDEIWMIE

MUSE

TK MIlSIAHCt '. '<(LIUMiAAHHCR

MCW

XAVIER NAIOOO

t.in i*HN Kis^m WEffiO naiooo

MARK KNOPFLER

NEW

HELENE FISCHER
^0 m >CH BH CAPITOl

: B

TOKIO HOTEL

HI!MlN(mi ISLAHO

MIKA

r>ff BOi HNO KNEW Tin MUnCISiaAMACUfO

BARBRA STREISAND
LOVE It THE ANSWER COIMHIA

DAVID GUETTA

OWE 10« . ,11- . -J

Mnv

CHIPMUNK

' MCHIPVUNK II'.'

KISS

soMic tmu- ■

UDO JURGENS

THE BEST Of .' 'MVZ

NCW

RAMMSTEIN

UEM ST FW AUE M WOTDA'VWiIERSAl

EUROPEAN

AIRPLAY

W[E>

OCTOBER It. no)

1 OOTTA FEELING

rW BLACK Era PEAI lMI<HSCO«'t

SEXY CHICK

DAVID eurm Ft auin siawirqin

BODIES

ROBBIE WIU.UUU CHRYSALIS

•1

WHEN LOVE TAKES OVER

DAW eUEHA FT KEUT NOUUIO li ltA VinGN

PAPARAZZI

%•

HOTEL ROOM SERVICE

PITBULL'.'-. "(.p.O SflOUNO

WE ARE GOLDEN
MOU . - . i'ljl

RLLLASC ML

Af.-ifi '1 . , , 1 BEAT 5r.lF *»!»

SHE WOLF

ItWMU SOtft MUSIC LATIN. EPIC

CELESRATION
HAOOWA WARNER BROS

FUNH0U8E
PINK lAFACEjAG

F"K YOU

L«LT«UfN" '..'.i -'illOPHWlE

SWEET DREAMS

■ETOMCE M; : ','. "i'"! ^ COLUMBIA

AVO TECHWOLOGY

MOW 1' " 'i ■liri

EMPIRE STATE OF MIMD
MT-I • AUCU an HOC NATION

ta for we«k ol OCTOBER 31, 2009 I For chart rvprlnts call 646.654.4633

Go to www.blllboarcl.biz for complete chart data

Cni

TFWWin),

iQQwnuw:. ENi'DsinflSffi
IfeMisc ASDiPiCS^l

COM VOIVER A SER FaiZ i&

COttlQEfl KEOMIE (fai Am 5M S Hfiic.
^Sai-fyaGmmCmnas. BMmne ' " '

■jrt!'l3,rm ML H1*M

MuEicC^ StSAOWmMusc. «3CAp.Uvmil

— -^"^ Cot., BUUncnJ
, teHThlQcuMPlfr

SADlCVjaU

fl, DMUl CW 1U MKnO ihMni A9tn« Mu9c

«u I UKKR wnnK (Sm'ATv Jkyi n
■miam^imjsumt

BAm«alnc.,*ayhM10b85

MITHBUW,™,. -„ ,

BMIT-
iBdng,

lOM[piv»Onl

toillA»:lTT:. ASCAHnnconAvt MuSicWsliino
ASCAP^Siw: Tiro <■ — . —

CRWRIRME

BW)CSM

imunMnaJUrfitMDBSong!.

_ jIId [^NmeUBMO rjnMfs^ia L><«
niit<J>Q BUUT ?•
HHn YOU KKW WW MIJCH I LXNED rOU I i

MSil MiSiC - MEB SiXUl, ASllAT'libSC (drnrg
Muse ASCARUwrninAAC - Careen. EM'SMrtis
l«i9cFUimigjM$civs(MUmntf.l^

■ (LillMPrDdUclara

HELL ON THE HEART,.

IWaJrTOS.?«(LiSMd)lllB
DMwFlOlsfmQBW-'iji

US Mm

HELL Of a LIFE !■ PiCfeMW BMlWwiei-

-<,'*IViwPmibhroCaTt-

HEY Spue aain^ue l^, nscff.m fv-j ujw

HllLHiiiy BdHi ' "itfiS^ri^.'Ui^

HISTORT W THE MAKING XbuFUlbhna

.v..'. '.-.>., .,.i.v.,.,t,*SMMM1A(rtWjw:

UMafiASCARCG Wtince Wax, A^tflCS 19

J. EM<Srnl)C•^ Ll»^ win Mc Dn Hrk.
OctiunMj!i[.LLC BMEfoOw Cocyiqrtk
BMl Wise Cn a«j! Ifrw. E«l»»tvi Seng AnJ S»-

fffk ROMSSmCE mxJh PtAishin
• iiitttnngCcip.,

lA lAUjnm FtoA AfiCW HI 00 72
Un DWa WMi« Coqi , ASCAi>^

CorbmUiiic.Sraclf^Uil^ He,

a<CantePit!l<!hiio SESK>'AakIIXIs. ASCAP)
i4.WMRBK?0
UCFKMOr

iL^ttrw-ftTOSW PuWSiro Ctrc

BWIM Wik LLC. SMim BUctaM MiAiC. tnc

SUrtE AlMait Mk - CMn

l^tTfl^Jr^^0K^■'-^'*'■^
SWEET viSmj^^jVi^ iji

SWHT rT Ovr 'XK UfliC FWAra^ASCAPM

-lEToitoiiBiB- -■■ ■ -

HOmMBlc

IflUOIv CnW HOW Mac. BWfMwiwi MflK;

jjj^jl^^,.. . ..

ONLTYOUCAMIDVI

LOMG AFUR na GOC lag LiM U£K. SADa WW

Ui&c aC.ASCAF.IMxiided^Uj

Misc aC.ASDtf,'
riusc ASCJOCSM

n^lAK CI HTH ASCWCingoni S Musk. ASUP)

innKninMiMEfGsui.

MflMjK^SA.SGKUI]
lESwvStlUliAKlK.ASC

""■ " IHS<V«,S . .

.Hiu:Cap,A£Wl,HijftfiU,a

TTfUMEJOfl SINMIUlUllaMBiat.ASCAP)U
TEHGO UNA AWWTE iSowATV Mm%

TIVES FATAL ' - -:j-ini:.SAOAWnin>J^iine

L'niTfiDdwUdc.ASCAf'/Q
:.v_ Viij.;, ASCW/AftiMustC,
TiCVJikT'tXM'f ASCtf^ RfiH 97

SfS£ia:¥F>iU bmmmt UC, tSVmok
- ' ASCAMWMalUj^Caioala

TWm n HTW Apr* MiSK K . ASCA

" ' Ita^ PSMim, ewmit NkW PUN!
^ (So^MIV Dkos Use RiHi

inhaknhra.ASM'/M
— . tuqJnwM«ichc..BliMMI

MB Mi Ihinw imi Und PWUMO. ASCtf) fSH

ic.kc.BW*slCtEBlLrtv

icllWa. ASCAPMndtrw« Hoc FWMrv
'-'Hp Ot Lhnval jrc. BMiWrnri MoiC Ctf

F4.rr U;^c Co ni/)tai«tm Jtftaimttfina
KCfi'.W tut SAUK tK , iSX'/Sam fi^iSf\»

" ' Cclnc ASCAPiWflpEdhWS.SAOMl

^i^UMni Mu9L BU«Sony>'Arv

^Akvi Em MiA ekWMrna-ani

I jiftT uiimiM men Bart

Hioola.

IU?1^ A ROUNa (UP WD DOWM) nme & ^

ft;B«r.tXl,EMlHBH64

IT«ErOHRYW(M«nNriUKBU)FeH

iLSESACMolin

Imghi OtFC^Hia >iL. ASCAPft-

"I Mclc ta^ASCAPtUocras Mu9-
SGAElim

TdlfciK.lfc, BUMwHr
..JApllUscliOSWiC
M. WOO S3

Songs, ASCAnSetwUisic

''u»(irtrn Inc. BMiUvuvMl

' - r Musk ASCAf IjUni^l

'.' riiBBnJlpMieic
• :.Ml,HLC5a.HlOO«

..EM«yia

Vt^KCapff*
■i ASCAP) It

m DOOO Hm tniK hBaKPi FUmftru

MMA STAR ..FVERT'rtHERE WE tRli -v.,

xOiuti

"«,LlC,ASCAR*hs»on»«DogfAsc ASCAPBo
IIM Dog. UC aUrtiyn BLiKtia Uhc. ASCiPl OS

i«iiiiiwwr n masw MBfcASCAtww

II K c«nm (SiMa Mute nMstMi}

^Aol

OErnH' YOU HOME (THL BLA£X DRESS S0NO|
IHuKin litfiiiiCJiuJKij, ^..-WvEM toll Muse
iiC.. A£C^,t A» Td I^Hxf Sorgi- BM|. Itt. C5 3.

— ""^^^*siSKiBc

ASCJ^Hl(Mn).(»*6

Irrru K-i,
M.HTtOW

IT DID .■, ■ -tTanBWaPiWitfroCofD

■ ..hCjWlfc^.EMIttpe-N-CjIMust

■■ . ■..■v'Ar.>: BJIi *W CSy
flPtlUSME ■; ■ '"'d-.' ■ I ■L'"i">/^S:jiv.',ri'

fTSMYLirt COHFESSIMS fAHT II :

nu ox ir4F;l Mlisi ItK qMiQM) s Mi£ii:
QBTTCMCn

MWIK-A

I WANHA IiWKE YDU CLOSE YDUH EYES ■ ■ ■ ■

I WANT TO KNOW WHAT IDVE S I SiXD^I 'Bcnj:
I WILL MOl BOW . ->■-*!. tj^C ASCAP,fl«*>ifl

HO suRPiMf isuin PR« Dew lUy Uoc.
UMm CJmal Musk SOCWSof^

^ ewiiSAni Jot itaic. BM. n>«M.

Y AWM OUR iltwsion MeWe he. S"^ "* "

5tSAC|U3f

SMMbc. ASCAH^OI Com-

WwnBtiMgilfc.ASI

Irc.ASCAP.tWAtnmjsthC-,

wi WW! ■■ iKia BMW etEbKX)] Unc,
n; BMfl,HL.r»t67
BMtM A Tl Airranai MiBca , irc- ASCAPWr FU)-
l!nn)BU)IJl6

■■. I •/!.-■ '^.■'J.nafc,ASCAP|MI0O56
KEEPONLOVIN YOU < V^GMMifU.

■■■■ •■-Xfffi.tS>P:>VmOl-

KINK AND OUEEHS Mjst Aa>PAjr»-

AjCAnTfl?ffiM.Ht«l

K AM* nSSina IicJMMmr<

filOOTSREWn

CBWHTtOfe

rtSs^^S&^I«S*toBSMS?c

A lUwWAMAna LLC. Blt^

52 I Go to www.bjllboard.biz for complete chart data

Data for w««k of OCTOBER 31, 2009 • CHARTS LEGEND on Page

Co-

EXECUTIVE

CUMTABLE

Send submissions to: exec d billboard.com

iCORO COMPANIES: RCA/Jiva Label Group promotes
II Burrs to senior VP of rock music promotion. He was VP of
ck music promotion at RCA Label Group.
EMI appoints Michael Abbattista to VP of new channel
■velopment in North America. He was VP of content and
^el relations at Liquid Digital Media, a division of Ander-
n Merchandisers.

Zavltson Music Group names Jason Morris senior creative
'ector. He previously oversaw his own company, Morris
>de Music.

Golden Music Nashville names Becky Withers promo-
•n coordinator. She was an executive assistant at RLM/Mls-
}n Management.

IBLI5HING: BMI promotes Warden Malloy to senior direc-
• of writer/publisher relations. He was director

'/FILM: NBC Local Media names Greg Scholl president of
:al media platfomis, effective Nov. Z He was president/CEO
the Orchard.

LATEO FIELDS: TTwRecordbig Academy names Chris Wllt-

? executive director of its San Francisco chapter. He founded
uth Movement Records, a nonprofit recording company.
The full-service music production company Music Collec-
e (formerly Alan Ett Music Group) appoints artist/com-
ser Alec Puro VP. He has composed musk for a number of
ns and TV shows.

The recording/management/publishing company Last
ng Entertainment names Mark DiPietro VP of creative. He
s VP of special projects at Emerge Entertainment.

-edited by Mitchell Peters

3(X)DWQRKS

5HTING CANCER DIGITALLY

e philanthropic organization Pioneers for a Cure has one
mary mission: to fight cancer with song downloads.
EarHer this year, the group launched "The Postcard Project:
e Songs That BuiU Israel." a collection of songs written by
aeli musical pioneers and performed by contemporary
ists. Tlie tracks are available for download on the group's
■b site (pioneersforaturc-org). with sales proceeds going to
inccr charity ofthc artist's choice, including the American
ig Assn.. the Breast Cancer Research Fovmdation and the
nphoma Research Foundation. Songs can be purchased in
rements of $1.99. $9.99 or $99.99. Pioneers for a Cure
les to raise $100,000 by the end of the year.
'As an artist myself. I didn't want to be in a position where
artist would feel in any way led by me to make a decision
mt their song, performance or designation for the charity,"
s Pioneers for a Cure co-founder Ricky Orbach. who also
nded the nonprofit Joodayoh. the fiscal sponsor of Pioneers
a Cure. "So 95% of the artists were extremely in%'olvcd in
king this decision. They carefully researched where their
ig would go."

n 2010, Pioneers for a Cure plans to release an album of
lerican pioneer music (blues, jazz, spiritual), with pcrform-
:es by Suzanne Vega, Bill Hvans. G.F. Smith. Ben E. King.
ji Chapin and others. The musical aspect of the organiza-
1 is overseen by musician/composer Greg Wall.
'As we move forward and begin to invite other countries."

says. "I believe thai this has the potential to become
nething global." — Mitchell Peters

2009 ASCAP LONDON AWARDS

ASCAP held Its 29th annual London Awards Oct 14 at ine Grosvervor
House Hotel The 9al^ dinner and awards presentation honored those
writer and publisher members o( PRS for Musk:— the United Kingdom's
performing rights society— whose reoertory is licensed by ASCAP and
was among its most-oerformed works in the United States m 2006-
Paul McCartney was named songwriter of the year and recognized hx
"All Vou Need Is Love.' "Come Togettwr" and "Hello Goodtsye";
Coldplay won song of the year for "Viva La Vida'. and Universal Music
Publishing Group was named publisher of Itie year. As part of ASCAP's
ongoing commitment to support emerging music creators, Scottish
electronic musioan/singer/songwriter/producer Calvin Harris received
the Vartguard Award In recognition of his gold-selling debut album. "I
Created Dtsco," and the Indie pop duo the Ting Tings wore honored
with ttie College Award for ttieir rrxiltiplatinum-selling debut album.
"Wo Started Nothing " The ev«nir>g included performar*ces by song-
writer and ASCAP president/chairman Paul Williams and soul singer
Madeline BeH e**oTos cc«j«stes* o« t-lva-j MisoN/s^ivaNMAsoNCc*"

OFrom K-ft PWt Coltlns. ASCAP senior VP of inter i i.it . >m,v Roger
GrMMway and president/chairman PmjI Wllltams

OFrom left, ASCAP seniw VP of internal <Dn<ii Roger Greenaway.
longtime Ozzy Ostwume collaborator Bob Oaisley ( Crary Tram")
and ASCAP VP of men^ership Stilt Davlne

©Composer JofaylMbot ('■Penelope," "Son of Rambow") with
ASCAP special consultant for him and TV music Nancy KfMJtsen

OFrom left ASCAP VP of membership S«An Devlnt. songwriter
Steve Booker ("Mercy"). Universal Music Publisning Group head of
Caroline Etieray and ASCAP senior VP o* domestic membership
Randy Grimmett

OFrom left: PRS for Music chairman Bib Rich, Universal Music
Publishing (Sroup president of Europe and the United Kingdom Paul
Conrtolty and ASCAP senior VP of Inter natiofioil Ro9tr GrMiiaway

Calvin Harris

chairman, CEO Martin fiandier
coogratulaies Ihe iongwnters ol Orange
factory on tlwir No I sorvg, "Down " portormod by
Jay Sean Ftom left: O'ange Factory manager Laurent
B«fter>con. Sony/AIV senior creative directo* Drttt Mof9an<Saks
Orartge Factory's Bobby Bats and J Remy, Bandier and Sony/ATV
co-president Danny Strtck. ^■2^c c^juiev

OCTOBER 31, 2009 I www.billboard.biz i 53

LEFT: Mexican superstar
Aleiandro Fernandez spoke
publicly for the first trme
about his upcoming dual
releases during the Superstar
O&A with Billboard executive
director of content and pro-
yr.imming tot L^tin music
and entertainment Leila
Cobo Backstape in the green

: CI, Ferriandez checked
'I ' (MS Billboard cover From

■ .^'^ivGrsal Mustc Latirvo
pr.-^.ident Wattw Kolm.
Fernaridez. Disa/Fonovlsa
president Owtavo Lop«z.
Cobo. Universal Music Latin
Arpenca/ltjerian Peninsula
chairman Jesus Lepex 'tivi
Fernarxlez's manager Catlos

de la Torre

EDITED BY KRISHNA TUNj

BILLBOARD REGIONAL MEXICAN MUSIC SUMMH

Billboard's fourth annual Regional Mexican Music Summ
held Oct. 7-9 at the Hyatt Regency Century Plaza in L
Angeles, was a star-studded event with an emphasis i
new business models, revenue streams, musical trend*
and new artists. Highlights included the Billboard Q&A wl
Alejandro Fernandez and the Rivera Dinasty panel th
brought together the entire Rivera family. The challenges
artist development were at the center of almost every par
discussion, from radio to touring, and new artists were pre
ent at showcases and at the "New Wave of Corridos" pan
Event sponsors included Don Cardona. Ramex Recorc
Frontera Music. OTH Enterprises. Pink Horses and A*
Records, pmoto'; courtesy of albert chau. itsmebertcom

TV. the Interrw! arxJ media were discussed during the "It's All About Image!"
panel. Ffom lei*. A Todj Muiica TV VP/cKccutivc ptodL-tcf TomiS RublO.
Billtx>ard Latin correspondent and rnoderator Ayala B«n-Yehuda.
TeleRitmo/Multimedtos Television production and prog 'a miming director
Maurlcio Alatorre Conzalcz, Forwvtsa aftisi/l>osl ol MTV TR3s' "ReMexa"
Jazmln Soils. Bandama?i executive producer >nctor Manuel Morano valadez.
Universal Music Latin Entertainment online and mobile marketing manager
Korado Rodrtguez, hnJepondont Public RolaticKis" Mkna Solorzano and Digital
Girl president Loren Medina

An array of regional ana national oromoters discLt-. I ■' ■ ' i |. ■ jei of
breakirvg new acts m today's economy during the r i ■ - ur-i :elt:
Live Nation VP of ethnic programming tounrxj Manuel Moian i
Entertainment & Marketing Group owner John Frlas. Lm--.-i C^^rcivi owner
Ralpti Herrera. Mexico Mustcal president and moderator Javier Rivera, La
Noria Entertainment pres.deni Fernando Lopez and Hispano America
Entertainment president Cesar Rodriguez.

BMI'-: '"Noetic McHicana" showcase opened up the Regional Mi^^jca
Music Summit. In the back, from left: Featured performer Cesar
Srlzuela. Billboard executive director of content and programming
for Latin music and entertainment Leila Cobo performer OHver
Ochoa, BMI assistant VP of Latin music Delia Oituela and featured
performers Santos DIablito. La Marl soul and La Santa Cecilia's Glo
Estrada m tno front, from left: La Santa Cecilia s Miguel Ramirez.
Hugo Vargas Jose Carlos and Alex Bendana

Top BMI songwriters performed their own hits dut nvj BMfs traditior\al "How I Wrote TKat Song'" panel Fr^
left: Songwriters Javier San Ronnan Gloria Espana Erika Vldrio Luis Carlos Monroy .ir<d Gabriel Flores

"PulB^gwasdBcusseddunHthepanr'' ■■.] wSi-hui Ftom i.'it Ariw Mcsira

AI«|Kbo Garza Mip Uitvi MlSc owner oi - >. ic^i '-t 'i d>r<^i,>> Hugo Gonzalez

. RnJ^mv tnt(?rtainrr*eiit inosidem .indn. . , Ni ..iL»t Rodriguez, ailboa Recuids (">M Federico
BapilHa.U'iivcrvilMu^iCPkJbllslunyC-<t->iip'-:' < ' . it- AmewM Eddte Fernandez Uilllor.-ir,: . ~-i.iiv.

' lirector of content and aograrrvmif^lgi UibitilHiM. ditU i iHi i|iiBWl>MI>fl<in iniiln in imn

Adrian PferagosUno aix|UniVBrs,il MGiic Publishir^ Group .tiKl BMI composer/producer Toby Sanddval

rv 20O9 by NlalMo auUnen
(aSN OOM'HIO, USPS OS&lOO)
England IE» 9CF. naoourwl nmoaiMr M Itia Bntit:
hum Kru Mtcrotom. RouU MO. MMwooO. N V. 1054C or :
Bam Rd n. MUaatmtaa. ON L4T \Z Vol

itvdmlTwU.tA Foigrwpiu

n.ca«ft4a-flS4-SMl f<

m uncW(v*r»W« CaoMun ac

MloDHLGtobWMlll.:

54 I BILLBOARD I OCTOBER 31, 2009

DON'T MISS THIS

UST-SEE PROGRAM!

>. R8B legend Mary J. Blige discusses her

to film and TV music, including a preview of
, ^ ^ Lionsgate's new mcMe "PREOOUS; Based i

FILM SCORE:

R8B legend Mary J. Blige discusses her career and contributions
to film and TV music, including a preview of the song she wrote fior
Lionsgate's new mcMe "PREaOUS; Based on the Novel 'PUSK by
SAPPHIRE"

"PRECIOUS" will be In theaters beginning on November 6, 2009,
and Bllge't next album will tie released this fall

PRESENTED BY ASCAP

ACHA BARON COHE
ERRAN BARON CO

PRESENTED BY ASCAP

bderator DAN KIMPtL, Author and Journalist

cor Sadia Baron Cohen and his brother, composer Enan Baron Cohen. ^-|\ '
juss their collatxyations on "Da AliG Show," "Botar and "Bruno."

Moderator
MICHAEL TOOD,

Sr Director of Film a TV Music. ASCAP
Speakers
\ MARK ISHAM. Composer. Tame"

KEVIN TANCHAROEN. Director. "Fame"

TWILIGHT SAG/

^: NEW M

OON"

■RESENTED BY BMI

SpeaksfS

RAUL KATZ CEO and Founder. eye2ear Miidc
Music Consultant Summit Entertainment
ALEXANDRA PATSAVAS. Owner. Chop Shop Musk Supervision
UVIA TXJRTELLA G^1/B/P of Marketing & Creative Media. Atlantic Racsids

THE ANATOMY OF A TV SHOW
FOX'S "GLEE"

ADAM ANDERS. Music Producer. "Glee"
PJ BLOOM Music Supervisor

GLEN BRUNMAN. Soundtrack Consultant, Columtila Records
GEOFF BYWATER Head of Music 20lh Century Fox Television
WARD HAKE VP Of Music, Fi« IWavislon
LEA MICHELE Grammy Awcrnd W/inner and Drama Desk Nominee

USIC FROM HBO'S
RUE BLOOD"

JACE EVERETT. Singer/Songwriter. Theme Song: "Bad Things"
NATHAN BARR Composer
GARY CALAMAR Music Supervisor

coderator DOREEN RINGER ROSS; VP. FilnvTV Relations. BMI
loeakers:

HRIS wrarz Director. "The TWiiight Saga: New Moon"
U£XANDRE DESPLAT. Composer. "The TWHis^ Saga: New Moon"

liiiiiii

IGISTER TODAY! BillboardEvents.com

POOCASTSPOMSOR CONFERENCE

apm

rstcom. ' 'BS'' gettyimages- broadjam'

CTICA"

Registration: Lisa Kastner 646,654.4643
Sponsorships: Kim Griffiths 646,654,4718
Hotel: Tne Beverly Hilton 1,800,445.8667

J I L I. E R , .

R A c M s LedgeX r

HockHpjute SI lOOT

SOLID

Specialized Wealth Management for the Music Industry

At SunTrust, we've spent more than 20 years helping music industry professionals make the most of their success. Our dedicated
financial advisors can help you manage your cash flow, monetize your assets, and create a plan designed to provide continued
financial stability. For more information, call Thomas Carroll, Senior Vice President, Sports and Entertainment Specialty Group,
SunTrust Investment Services, Inc., at 404.724.3477 or visit suntrust.com/talent.

Royalty and Catalog Lending Financial Planning Retirement Planning Investment Management

SunTrust

Live Solid. Bank Solid.

Secwtties and Insurance Products and Services: Are not FOIC or any other GoverTYnent Agency Insured ■ Are not Bank Guaranteed ■ May Lose Value

Thomas Cairoll Is Senior Vico President. SunTrust Investment Services, Inc and Managing Director of SunTrust s Sports and Entertainment Specialty Group

SunTrust Sports and Entertainment Specialty Group is a marketing name used by SunTrust Banks, Inc , and the following affiliates Banking and trust products and services are provided by SunTrust Bank Securities, brok
services, insurance (including annuities and certain life insurance products) and other investment products and services are offered by SunTrust Investment Services. Inc., an SEC-registered investment adviser and broker
and a member of FINRA and SIPC. Other Insurance products and services are offered by SunTrust Insurance Services, lr>c.. a licensed insurance agency

illb'

HOW RAPPERS ARE
BECOMING ARENA ACTS

WEEZY TALKS
ROCK AND 'REBIRTH

,_HIP-HOPHITS
THE ftOAD GLOBALLY

THIS TS IT'

How The Concert
Disaster Became
A Hit Film

A Look At What's
Next For AEG

Orianthi Emerges
As A Guitar Star

Dashboard
Confessional
Goes Both Ways

(ELECTRIC AND
UNPLUGGED) i.

ALEJANDRO
SANZ FINDS
FANSWITH-
WEB PROMO

iPhone
Investing:
Kleiner Perkins
OnThe App
I Economy ii

NOVEMBER 7. 2009

www.billboard.com

Billboard

ON THE CHARTS

PAGE ARTIST . TITLE

THE BILLBOARD 200

SOUNDTRACK

TOP POP CATALOG

MICHAfI JACKSON

TOP DIGITAL

SDUIfUTRACN

TOP INTERNET

SOUItDTRACK

HEATSEEKERS ALBUMS

lU FUtflAR i BQUIIMW GinMO /

TOP COUNTRY

TM MCGDAW >'

TOP BLUEGRASS

MTTY LOVHESS/

TOP R»B, HIP-HOP

■■"

TOP CHRISTIAN

VAniOUS ARTIST! /

TOP GOSPEL

lE&E A CKE WIMAM I

TOP OANCE/ELECTRONIC

C(f «. f viS

TOP TRADITIONAL JAZZ

MCMAEL flUKE /

CHCt Hit

)P CONTEMPORARY JAZZ

CHRIS Horn

P TBAOIDONAL CLASSICAL

GUSTAVd l}UDAMtL L A. PMUttMHtK/

P CLASSICAL CROSSOVER

JOSHUA SELL

TOP WORLD

RODftlGO i GAGRIflA .

TOP LATIN

oAvnnuNL/

I SONGS

Ipage

«msT/Tnu

THE BILLBOARD HOT 100

owLcmr/

HOT 100 AIRPLAY

W SfM FCXrURINQ Ul WMW/

HOT DIGITAL SONGS

owl CITY.

HEATSEEKERS SONGS

UnEANDIHEFT/

MAINSTREAM TOP 40

MILEY CYRUS/

ADULT CONTEMPORARY

TAYIOR SWin /

ADULT TOP 40

KINGS OF LEON

ROCK SONGS

AUCC IN CHAINS '

ALTERNATIVE

MUSE ;

TRIPLE A

UVID GKT /

HOTCOUHTDYSONOS

ZMBMHMMMO/

IKS

MNSTREAM RSS HIP HOP

I" GUCCI MANE FEAT PLIES OR 01 DA... /

RHYTHMIC

JAY L RIHAMHA fiKANTENEST;

AOULT RSB

MAXWELL .

HOT RAP SONGS

JAY Z RIHAHHA*MHTENeST/

lOT R«B(HIP-HOP SONGS

MAXWEU '

CHRISTIAN SONGS

lOBTMAC ■

rr CHRISTIAN AC SONGS

PHILLIPS. CRAIG SDCMI /

CHRISTIAN CHR

lOBTMAC .

.I'l 1 1- 'Itta

HOT GOSPEL SONGS

miiciu wiNAm/

lOT DANCE CLUB SONGS

HfHITNET HOUSISON /

HOT DANCE AIRPLAY

DAVID GUHTA FEAnHMS AKON /

SMOOTH JAZZ SONGS

HOT LATIN SONGS

DAVID USIAL 1

lOT MASTER RINGTONES

DRAKE/

HIS WEEK ON .biz

jwnsT .' HUE

> INDEPENDENT ALBUMS

lOE « CECE WINMO /

ini

OP MUSIC VIDEO SALES

-1

jouRwr/
(.NtnuMnA

HOTVIDEOCLIPS

MUSE'

TOP DVD SALES

THEPRDPOSAL

UPFRONT

DISCOVERY CHANNEL B

Google's enhanced music 10

search could boost artists 13

and digital services. 19

FEATURES

Digital Entertainment

Latin
Global

Q&A: Matt Murphy

COVER ST nv

20 STEP IN THE ARENA Ul Waynes last tour
generated $39 nnillion— and set the stage for hip-hop
acts to boost touring revenue.

24 THAT WAS THAT AND 'THIS IS IT'

The inside story of how the biggest disaster in the
history of the concert business turned into the most
anticipated music film of the year.

28 WELCOME TO PARADISE

Alejandro Sanz steps up his marketing
game on "Parai'so Express."

TOURING

THE TOUGH GET GOING

The Billboard Touring Conference & Awards
celebrate the best of the live business.
Plus: On The Road

MUSIC

57 BEST OF
BOTH WORLDS

Dashboard
Confessional
releases two
versions of the
same album.
58 6 Questions:
Shirley Bassey
60 Reviews
62 Happening Now

IN evi<:ry

IHSIE

4 Opinion

64 Marketplace

65 Over The Counter

65 Market Watch

66 Charts

81 Executive Turntable.
Backbeat. Inside Track

ON THE COVER: Lil Wayne photograph
by JOfWIh^h Mdnniofl

Online

NEWBILLBOARD.COM

Check out new, exclusive
content on Billboard.com.
Including video interviews
with Taylor Swift and
Jason DeRulo. Plus, watch
Madonna's Argentina
performance of "Into the
Groove" from the Sticky &
Sweet tour.

Events

TOURING

At the Billboard Touring
Conference— Nov. 4-5 in
New York— AEG executives
will discuss the Michael
Jackson movie "This Is It,"
and the Billboard Touring
Awards will be handed out.
More at billboardtouring
conference.com.

MEDIA AND MONEY

This conference— Nov. 12-13
in New York— brings
together leaders in media,
entertainment and finance.
Also, AOL chairman/CEO
Tim Armstrong will
participate in a keynote
Q&A. Register at mediaand
moneyconferencexom.

NOVEMBER 7. 2009 I www.billboard.biz

EDITORIALS COMMENTARY LETTERS

Celluloid Heroes

Music Documentary Filmmakers Deserve A Break On Licensing Fees

BY STEVE GORDON

I believe in copyright and the right of
artists and songwriters to make a decent
living. But as a lawyer who represents
the tnakers of music documentaries, I
also believe that the owners of music
copyrights should exercise greater flex-
ibility when dealing with my clients.

Unlike feature films, which license
music to enhance scenes, my clients
often celebrate the music itself, and usu-
ally shoot their documentaries on lim-
ited budgets. Examples of recent projects
I've worked with include "Big Pun: The
Legacy." a documentary about the first
Latin rapper to go platinum; "Let Free-
dom Sing," a movie celebrating the
music that inspired the civil rights move-
ment; "Punk Attitude," a sur\ey about
the punk era; "And You Don't Stop: 30
Years of Hip-Hop," a multipart series
about the history of hip-hop for VHl;
and two documentaries about Elvis Pres-
ley for network TV. "Elvis Lives' and
"Elvis by the Presleys."

Because music documentaries can be
an effective means of introducing new
generations of audiences to legacy
artists, labels and publishers should rec-
ognize that they're good for business.
When I worked at Sony Music. Ken
Burns' "Jazz" scries on PBS spurred
sales of our jazz catalog titles. For "EIWs
by the Presleys," what was then known
as Sony BMG released a companion CD
because ihe label recognized the power
of the documentary to move product.

But too often, owners of music copy-
rights fail to recognize the promotional
value of such works, forcing producers
of music documentaries to always weigh
the value of using as much music as
possible against the cost of doing so.
Generally, labels and publishers charge

FOR THE RECORD

■ An Oct. 3 review of Alicia Keys'
latest single. "Doesn't Mean Any-
thing." listed the incorrect title
for that song as well as for her
previous hit. "Superwoman."

■ Ashley Jex is director of new
media at Bill Silva Entertainment.
A photo caption in the Oct. 24
issue misspelled her last name
and listed an incomplete name
for the company.

■ A story in the Oct. 31 issue
listed incorrect song titles for
Mario's new album. "D.N. A."

Music
documentaries

can be an
cfTeclive means
ol' introducing
now generations
ol aiidiences to
legacy artists;
lab(>ls and
publishers
should recognize
that t hey 're good
for business.

less for use of their music in documen-
taries than in feature films because they
know that documentar>' budgets are typ-
ically much smaller. But greater flexi-
bility is needed.

Complicating matters is the fact that
labels and publishers nearly always in-
sist on "most favored nation" treat-
ment, meaning that if the producers
pay more money for one song, they
must pay that higher amount to the
owners of all the other songs in the
film. Recently I was clearing the music

rights for a documentary on ihe his-
tory of gospel music. Although most
of the songs in the program were so
old that they were in the public domain
and didn't require payment, about a
dozen other songs were still protected
by copyright. One of them was more
widely known than the others, but for-
tunately the song's owner agreed to li-
cense it at a reasonable rate. This was
essential to the project because if the
owner had asked for more, we would've
had to pay the same amount for all the
other non-public-domain songs, which
would've exceeded our budget.

Under U,S. copyright law, producers
of documentaries for PBS or other pub-
lic broadcasting stations aren't obligated
lo pay for publishing rights or the use
of master recordings for music they use
in their works. Instead. PBS, with fund-
ing from the Corp. for Public Broadcast-
ing, pays copyright owners the relevant
licensing costs.

But this provision of U.S. law doesn't
exempt PBS documentary producers
from having to pay for the cost of licens-
ing compositions and master record-
ings when their documentaries are
released on DVD or in foreign territo-
ries. This is important because PBS sta-
tions often like to give away DVDs of
music documentaries during pledge
drives in return for contributions and
filmmakers usually want options lo dis-
tribute their work on foreign TV or other
media to recoup production costs.

As a clearance professional, 1 always
try to get the most reasonable rates and
the most expansive rights for my clients'
documentaries, even as 1 remain con-
scious and respectful of the value of the
music as well. Publishers and labels,
however, should recognize that these
celebrations and histories of their music
are great promotional tools and should
enable documentary filmmakers to
make the best work possible.

SUve Gordon is an entenainmenl lauyer
and the author of 'The Future ofthe
Music Business.' published by Hal
Leonard. He also hosts a podcast by the
same name at MyRealBroadcast.com.

WRITE US ■ Stiare your feedback with Billboard readers
around the world. Send correspondence to l*tt«rt^blllboMrdxoin.

Include name, title, address and phone number for verification.

SUBSCRIBE . Go to bfllboard.blz/subscriba or call
800-658-8572 (U.S. toll free) or 847-559-7531 (Internattonal).

BilllK)«rd

HOWARD APPELBAUM

CDITOMAL

EXECUTrVE EDITOR: ftOBCNT LEVINS b4t> bSJ'4707

DEPUTY EDITOR: Lotita Hau ■ <.>t 4706

SCNKXt EOaOR: Ann DvnrtHM ". ' 5:fi-2292

SPECIAL FEATURES EDITOR: Thorn OigHy iAt,-(,5*-AT\&

INTERNATIONAL BUREAU CHIEF: Marli SuUwrlnd 01t'44-2OT-4}O-6!SS

hfUSIC EDITOR: Co«tMy Harding ' J' ' .1 )^

BILLBOARD BIZ EDITOR Chrli H. Walsh ' h -/..I-J<>G']

EXECUTIVE DIRECTOR OF CONTENT ANO

PPOCRAMMINO rOft LATIN MUSIC ANO ENTERTAINMENT: Lalla C«bo :M:
EXECUTIVE DIRECTOR OF CONTENT ANO

PROGRAMMING FOR TOURING AND LIVE ENTERTAPNMENT: Ray W
EXECUTIVE DIRECTOR OF CONTENT AND

'v.l«>6l!

Iie46.t54-472S

Ga)l Hltchvll - . . . .". . Tom F«r9usan(r>eputy dbCalEiltot) 01l-44.X>7'42
SENIOR EDITORIAL ANALYST: Gtann pMptei QpropJrvnbi tx>a>cicoir\
CORRESPONDENTS: Ayala Bwv-Vahuda ilaV ' !2!-52S HAdMN PM«n 323-S?;-2
INTERMATIONAL' Lan Brandt* i ' .-^italo;. WB«BMg Spillf (Gv^natry i Itabaft ThOMpM
GLOBAL NEWS EDITOR: Andra PallM 0-<-M--.'D?-AH]-€(M^
COPY CHIEF: ChrH Wo«di
COPY EDITOR ChritU TItu*

ASSOCIATE EDITOR. SPECIAL FEATURES: EwM H%n ':'<''- ^5' i'C
CONTRIBUTORS: Jtm Bactfnan. L*rry BtiMMnMd. Mteni KaraMMtg. Kanl Maton.
Daborit) Evans Prk». Paul Snion. fiMw* Tratman, Anutasta TUouIca*. Kan Tuck«r
SPECIAL PROJECTS MANAGER: KrtaUna Tunzl

BILLBOARD COM

BILLBOARDCOH ECMTOft: JE&SICA LETUMANN t>AL-t~-.i-'^'^lL,
BILLBOARD COM NEWS EUTOP. Dm/Ml J. PflnM f^H bVii

buboardlCOM associate edttors: HarM canewdan b-i6-ft'y.-'X7&:' HofUca Mmra f-i

oc^i&N a pmotocraphv

creative DIRECTOR: CHRISTINE BOWER-WRIGHT

PHOTO EDITOR: Amelia H«lw«r*efi S€NIOR DC&IGNER: Of*g Grabewy

CflARTS i BFiEAHCM
director of CHARTS: SILVIO PIETROLUOMOO
ASSOCIATE Director of CHlARTS: Raphaal OwfSR

senior chart managers Katth C«ulfl«ld Tl>e B lltxjcird 20O CmL Ctirtxrtationy 0<

AIL-.-: i ■ ■■-i.-iiJrr!! ntc-t-i Pnp Catalog Soundtrncki L A ).

WsdaJacMn [■ . ■ ■ r . .mi.v r-r.ioii N*5hvitle)

CMART MANAGERS- Bob Alirn - ■■■^jfe, Nainvilla) ilhptll»l 6«0t9» i&kjgt. RSB/Mf
Gordon Hurray ■ l. c"ne<»y. CAtiic*,''Elect'(yiic. Ue-n Aije?. Rinoti"
- -- - ■ ■ ■ - ,1 >00 D-^^al Songil r ■ "

Beat Heatveeiwi Songs. 1-

Sllvlo PIHro>uonBO<r"t- Qiiboa'
or :- .- .. ! ^ry Truft

"nil ! Al*i VHoulii ■ ■ ■ . - f.ia Ajdio. voeei

INTERIM CHART MANAGER: flauly Ramlrai
CHART production MANAGER: MIchaal CuUdM
ASSOCIATE CHART PRODUCTION MANAGER Am VHOUlll
BILLBOARD RESEARCH MANAGER: Gordon Mumy t>46 ABiS
DIGITAL

VICE PRESIDENT DIGITAL JOSHUA EMGROFF
DIRECTOR, MARKET DEVELOPMENT: SfK Wart
MANAGER. MARKET DEVELOPMENT: JuUki Harris

ADVERTISING SALES
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER: Jf PtMY LEVINt t.4£-6S4-4617
NATIONAL SALES DIP ECTOR/ DIGITAL t CONSUMER; D«t*Ii S«nln*r e-46-*54-46'*
EAST COAST SALES D4RECTOR& PRINT: Chrlitoffhvr Rodblm ' ^ 1 7S» Ondy MlM 6

DIRtCTOP. BUSINESS DEVELOPMENT & EAST COAST SALES: --l -. L-I 4710
EAST COAST SALES DIRECTORS. DIGITAL Antonio Amato > «>B-I 4BHR RyM MMdl 64
DIRECTOR. SPECIAL FEATljRES * WEST COAST SALES. AMKaniBB U.'. 525 7^99
MIDWEST SALES DIRECTOR. DIGITAL: Alana SeNlfVa 3 : -fS3-55M
WEST COAST SALES DIRECTOR. DIGITAL: Catay Oannahy i! ]?J1 h^^-22S'!
NASHVILLE. L** Anrt Photofllo < 3 7j3 1 -dLTrf.i CyiHIila Nallew GIS-J^S OHS (1<>
ADVERTISING DIRECTOR DETROIT: KaHiy Wmvo jJi» bH7-^}yeil
ADVERTISING DIRECTOR EUROPE/UJC Pmdwlc PwwccI On 4J M7 430407S
INSIDE ACCOUNT REP: JafT Sarratt* n4(> 6'^ -t<i')7
MANAGING DIRECTOR/LATIN: Can* SRlMh 97?-T46.2S20
LATIN AMERICA/MIAMI: M«rtU OII«al i05-6M-757a Fa«: 305-664-32J7
ASIA-PACIFtC/AUSTRALIA: LMa HaUctl 'M40.7777 Fa» 612-9*40-7788
JAPAN: AU Kanttio

MANAGER OF SALES ANALYTICS: Hlroa GMnM &46-6M-4695
ADVERTISING COORDINATOR Alaundra Hartl ^^6-654-5581
MARKETINQ

SENIOR MARKETING DIRECTOR ULA OCRMM 646-&S4-4e29
EVENT MARKETING MANAGER: Nkot* CarbOM 646.6S'1.46I4
SENIOR MARKETING MANAGER: Jamai Cms r>.Si^ eS4 5489

MARKETING MANAGER: lUfri BargmMi t..; .^=4 .ifiir

SALES/MARKETING ART DIRECTOR: MaltM« SubMch
SALES/MARKETING DESIGN MANAGER Kim OrariOB

I) or ribb"*-

I. NSINt,, IvtNTS ■ RtPRINTS
VICE PflCSIOCNT. BUSINESS DEVELOPMENT A LICENSING: ANDRSW MN sU'cs^ 'r^t>^
EXECUTIVE DIRECTOR. CONFERENCES » SPECIAL EVENTS MICHCLB JACAWOHO
SPOnSORSHIP/eUSINESS DEVELOPMENT MANAGER CabaU MarqiMZ F,4R -U^
SPONSORSHIP SALES MANAGERS: Hatthaw Carona ' -1 ' t -I ' - Kim OrimtiM &4e.
SPECIAL EVENTS DIRECTOR: Kargarat O'Stwa
SPECIAL EVENTS MANAGER: Lisa DIAnlonlO
EVENT CLIENT SERVICES MANAGER Courtnay Naffti
DIRECTOR. LICENSING ft CUSTOM MEDIA: Df«n« OrlMAN 646-6^J-.l677
MANAGER MTERNATKMAL LKEM5INC a SALfS: AftgtH Blwlwiwal aotfeing b«heiAiri
MAGAZINE REPRINTS An9*a VanOordar u ^IJ-jSO-SJ^O E.l 76 Of BBi^lheVGSgr

PPOOUCTION
PRODUCTION DIRECTOR: TERREHCE C SANDERS
ASSOCIATE PRODUCTION DIRECTOR: Anthony T. Sullkigs
ASSOCIATE PRODUCTION MANAGER. Rodsfar LMnard
OfCPATIONS

GROUP FINANCIAL DIRECTOR: BARBARA GRIEWNOCR C«&-654-4«75
HUMAN RESOURCES DtRECTOP BILL PtNTTON
LEGAL COUNSEL: MARK MILLIR
DISTRIBUTION DIRECTOR: Lou BradfMd

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: Dana Pam &^&-i354-4696
VICE PRESIDENT, MANUFACTURING AND DISTRIBLTION Mnnlfar OMSe
VICE PRESIDENT, AUDIENCE MARKETING: JoimM WhMtIvy

NBWVOMK: '70(i'o»3«;
tipft' Vd^., Nv 10C-.3J
Pl.:.v.r 646.*54-4500
l-.-lil H> 64t 6-S«-46ei
Adu Fo> 646-654-4799

LONDON: Erxjnvou
«9 SriaMosburv Av«.
Landor WCJH dTJ;
Prcne on-44'207-4:
Fan 0TI'44-207-43O-

NMMb 10lCfd>43n&vd.
5Lt*e 466 Kav B^Gayri*. FL
J5149Phcf.(f IOS-561-M79
Fa. 305-561-5299
SENIOR VICE PRESIDENT. THE ENTERTAINMENT GROUP

« Holimflofl Rec""??' ■

^.9 e-t

niclscn

tola DToparty of 8IN>oaraL t.»Kr, wu* own the copyngnt *i

M Pitt, tar puDlicatian

PRESOefT: Gflfl Pm; SENIOR VICE PRESDENT. HUMAN RB
MkhMi abom; senior VKE PRE$«>ENT. brand MEDIA: Ant

BKiao; SENIOR VICE PRESIDENT, MEDIA S ENTERTAINMENT
Nlflvn business Media Blrrro: SENIOR VICE president, finance: Sloana GOO0M; 51

VICE PRESIDENT. RETAIL DavW Lo«:rinar: SENIOR ViCE PRE
CONTENT: Scoll NcKwula; SENIOR VICE PRESIDENT, BUILDWG S DESIGN Jo* RandaH:
VKE PRESIDENT. CENTRAL SERVICES: Mary Kay SuOak. CMEF OPERATING OFFICER.
ENTERTAIW1ENT: Ha«n«d Appalbaum; VICE PRHSIDENT, MANUFACTURING A OlSTRIBi
JanWtar Grago^ VK:E PRESIDENT. LICENSING: Andraw MIk VICE PRESIDENT. CLIENT MA
BiM TrwWay; VICE PRESIDENT. AUDIENCE MARKETING: Joi

4 I BILLBOARD I NOVEMBER 7, 2009

Co--

Google's Enhanced Music Search Could
Boost Artists And Digital Services

Google's new music search
service has done something few
Sihcon Valley firms have been
able to pull ofTin recent years —
make record labels happy.

By supplementing its
music-related search results
with full-track streams from
MySpace Music and Lala and
links to authorized music serv-
ices like imeem, Pandora and
Rhapsody (Billboard.biz. Oct.
28). Google will not only pro-
vide the largest platform for
music discovery on the Inter-
net, it will drive traffic and rev-
enue to these partners.

That's brought a smile to
the faces of frustrated label ex-
ecutives who have licensed
their music to these services,
only to see them struggle to
generate revenue.

What's more. Google is
doing so without taking a dime
from anyone — a rare develop-
ment at a time when most dig-
ital music deals are forged
under the threat of litigation
or scuttled by the inability of
the parties to come to terms.

"Tlie business model for this

onp is to create a hetter searrh

experience for our users." says
R.). Pittman. Google's director
of project management. "There
is no monetization accompa-
nying this and no financial
transactions."

Google isn't the first com-
pany to add streaming capa-
bilities to search results. Yahoo
has offered a similar Rhap-
sody-powered music sampling
feature for more than a year,

but sources familiar with the
deal say it has had little impact
on music sales or streams. Mi-
crosoft's MSN also used Rhap-
sody to power streaming
music in search results for a
short time in 2006.

But with 64.6% of the In-
ternet search market, accord-
ing to August figures from
Nielsen MegaView Search,
Google is considered the big
win. Yahoo is a distant sec-
ond at 16%. with MSN/Bing
trailing at 10.7%.

Google already sends more
Internet traffic to artist Web
sites than any other single
source, according to the Inter-
net tracking firm Hilwise.

On .■JveraRp more than 2ft%

of the trafBc to all artist Web
sites comes from Google.
That's three times more than
the second-ranking source,
Yahoo Search, at 8%.

That explains why labels are
excited about the Google ini-
tiative. While they've grappled
for years with unauthorized
music search engines like
SeeqPod, only a relative hand-
ful of music fans knew about

Search mission: Gathering to discuss Google's new music search service were (from left) MOS
DEF: SYD SCHWARTZ. EMI Music senior VP of global digital marketing; WENDY NUSSBAUM, VP
of business development for Universal Music Group's eLabs division; MIKE SHINODA of Linkin
Park; STEVE SAVOCA of Domino Recording; and RYAN TEDDER of OneRepublic; inset: the pop-
up music player that appears when Web surfers click on a song title in Google search results.

those music-specific search
services. Google takes it to the
mainstream, and it pays.

"Google is the biggest pos-
sible partner in search." says
Syd Schwartz. EM I Music sen-
ior VP of global digital market-
ing. "There's a terrific
commerce element involved
here. Google's parmership with
some of the more innovative
online services, in addition to
making sure there are buy but-
tons next to the streaming but-
tons, means we can address the
fact that there are many differ-
ent types of consumers ont
there that are interested in ac-
quiring music in different
ways. Removing any friction
from the acquisition process
works to our advantage."

Hand in hand with facilitat-
ing music discovery, the new
search tool is expected to raise
consumer awareness of the
participating digital music
services. According to Hitwise.
Google is already responsible

for driving 30% of the traffic
on average to various digital
music services. Heather
Dougherty, director of re-
search at Hitwise, says she ex-
pects that figure to increase.

"You would expect to see
they would get an even higher
share, because of the obvious
placement," Dougherty says.
"A lot of folks are going to
Google looking for music or
music content to begin with,
so it serves as a natural aggre-
gator for these services."

Lala ranks 70th among on-
line music destinations, with
12% of that traffic coming
from Google already, accord-
ing to Hitwise. Lala founder
Bill Nguyen predicts the com-
bination of its Google and
Facebook partnerships will
drive its monthly unique visi-
tor figures from 15 million per
month to 140 million per

month in a matter of weeks.

So what's in it for Google?
It won't receive a cut of the
transactions that result from
music searches, nor is it re-
quiring participating services
to pay for being listed in search
results.

Instead. Google expects to
make money the way it always
does: through text ads. By cre-
ating the best music search tool
on the Internet, Google hopes
to draw the lion's share of Web
surfers searching for music on-
line, as well as advertisers look-
ing to reach those fans.

Expect to see labels and
concert protnoters to be
among those lining up for ad
buys. EMI's Schwartz says,
"Given this new opportunity,
we certainly will be taking a
close look at how we can
leverage this to maximum
advantage." •*••

.biz

MOBILE: For 24/7 news and analysis on your cell phon*
or mobile device, go to: mobile. billboard.blz.

NOVEMBER 7, 2009 I www.bMiboarcUiiZ'^^ rT^aterial

THE
LATEST
NEWS
FROM

»>U2TO PLAY
FREE CONCERT
FOR MTV
EUROPE AWARDS

U2 will play a free concert
in front of Berlin's iconic
Brandenburg Gate as
part of a star-studded bill
for the 2009 MTV Europe
Music Awards. Other acts
confirmed to perform at
the EMAs include Jay-Z,
Green Day, Robbie
Williams, Tokio Hotel,
Leona Lewis, Foo
Fighters and Shakira.
U2's outdoor concert will
be beamed live into the
awards ceremony, which
takes place Nov. 5 at
Berlin's 02 World Arena.

>>>LILITH FAIR
TO RETURN

Lillth Fair will relaunch
with a tour in 2010,
according to an
announcement from
Nettwerk Music Group.
The festival will visit cities
including New York, Los
Angeles, Vancouver,
Toronto and Chicago.
Dates for the shows
haven't yet been
announced. The 18 cities
that the tour will visit can
be viewed at LilithFair
.com, and more cities will
be announced in the
coming weeks. Acts that
played Lilith Fair in the
past include Sheryl Crow,
Christina Aguilera, Erykah
Badu, Dixie Chicks and
Missy Elliot.

>>>ZUNETUNES
INKIDZ BOP

The kids' genre in the
Zune Marketplace has
been rebranded Kidz
Bop as part of a five-
week promotion
between the two brands.
Kidz Bop GM Liz Nealon
says she hopes the
partnership will help
teach kids ages 5-12
about downloading
music "since the kids'
business tends to be
more physical than
digitaL" Consumers can
download tracks from
the Kidz Bop catalog as
well as a free weekly
track and other
exclusive content.

Compiled by Chris M.
Walsh. Reporting by
Antony Bruno, Kenneth
Hein, Glenn Peoples,
Wolfgang Spahr, Robert
Thompson and Ray
Waddell.

.biz

BRANDING

BY CORTNEY HARDING

Synch And Swim

Downtown Music Launches Licensing And Branding Agency

Downtown Music, the parent
company of Downtown Rec-
ords. Downtown Music Pub-
lishing and Downtown Music
Studios, is launching a strate-
gic marketing agency to pro-
vide synch licensing and
branding services to inde-
pendent labels.

Dubbed Downtown Music
Services, the agency will seek
out licensing opportunities lor
indie music in film, TV. adver-
tising, videogames and online
conwnunities.

"The genesis for all of this
was that we noticed a big hole
in the licensing world." says
justin Kalifowitz, president of
Downtown Music Publishing
and a co-founder and fiead of
DMS. "We were having a lot of
success licensing our own
artists [which include Kid Sis-
ter. Mos Def and Santigold}. and
our partner labels |including
Dim Mak, Tool's Gold and Mad
Decenll started to have an in-
terest in working with us on
this, and then the artists we
publish wanted to have us han-
dle their masters. We recog-
nized this was a separate
business and started working
on the plan for DMS."

Kalifowitz adds that indie
music has lacked a central li-
censing hub. "It's a fairly dis-
paratecommunily." he says. "A
lot of small labels don't have the
staff to pilch their music, and
niche labels often don't do
much licensing. DMS can offer
both sides of the coin, doing
both pitching and admin."

DMS has already had some
success placing tracks, includ-
ing licensing the use of tiu-
Prodigy song "Stand Up" in
trailers for the upcoming Uni-
versal Pictures release "Repo
Man." securing a syncli in "Gos-
sip Girl" for "Something We're
Becoming" by Glow in the Dark
Records artist Time Machine
and licensing "Hello My Love"
by Bonded Records' Cindy San-
tini for a Reese's ad campaign.

DMS" catalog includes
more than 40. (KM) masters, in-
cluding recordings by Char-
lie Parker. Prankie Goes lo
Hollywood and Motley Criie.
Additionally. DMS represents
a number of independent la-
bels, including Downtown
partner imprints and other la-
bels like Eleven Seven and
Cooking Vinyl. Finally, the
catalog includes 1 0,000 song

copyrights for tracks recorded
by such acts as the Black Eyed
Peas ("Meet Me Halfway")
and Miley Cyrus ("See You
Again." "Fly on the Wall" and
"7 Things").

Kalifowitz says heenvisions
DMS serving as a one-stop-
shop for music supervisors and

ad agencies. This is possible,
he adds, because in some cases
DMS controls both the master
recording and the underlying
publishing rights. And in )an-
uary 2010. DMS plans to
launch an online platform that
will let users license precleared
tracks with one click.

Convenience is only part of
the reason why Gabc Mc-
Donough. senior producer of
music and integration at the ad

agency DDE Worldwide, is ex-
cited about DMS. "Previously.
I would go to Downtown Pub-
lishing for one thing, which was
very cool. contcmporar>' stufT."
he says. "But with DMS. they're
going to a whole other level.
Now I can go to theni forcvery-
thing — Motley Criie, rerecords,
you name it."

McDonough says the DMS
process is "very simple and very
streamlined, with really t|uick

Calling all brands:
CHARLIE PARKER (right);
Inset: MOTLEY CRUE

turnaround. 1 never hear alxj
any drama or ruffles."

Downtown Music Publis
ing executives |cdd Katranc
and Chad Greer have taken c
additional duties at DMSas \
of strategic marketing and \
of creative services, respectivt

DMS also plans to add st,
as its catalog grows, Ka
fowitz says.

"We just brought in anotl
executive," he says, "so the
bels will have a central cont;
in the DMS ofTice."

BY MONICA HERRERA I

DEEANTHONY

1926-2009

mobilv.billbtMrd.blz.

Dee Anthony, an artist manager who shepherded
the careers of Peter Frampton. Tony Bennett and
Peter Allen and helped bring '60s U.K. rock acts to
prominence in the United States, died Oct. 25 in
Connecticut. He was 83 years old.

Born Anthony D'Addario, Anthony grew up In
the Bronx and served In the U.S. Navy submarine
force before returning home to pursue a career In
the music industry. From 1949 to 1962, he served as
personal manager to Bennett and then transitioned
to managing U.K. artists in the United States, dur-
ing which time he helped achieve stateside suc-
cess for Traffic, Jethro Tull and King Crimson.

In 1968, Anthony leveraged that success and
founded the global management company Ban-
dana Enterprises with his brother, Bill. The two
worked with acts including Joe Cocker, Humble
Pie, the J. Geils Band, MC5, Ten Years After and
Emerson, Lake & Palmer.

However. It was Frampton— a member of Humble
Pie who went solo— who would become Anthony's
greatest success story. Anthony began managing
Frampton when he was just 18; when the singer/
songwriter left Humble Pie in 1971, Anthony guided

him through his first two albums.

Anthony emphasized to his acts the Importance
of developing their live performance to become a
viable touring entity. In Frampton's case, a per-
formance also became the key to album sales. In
the form of the breakthrough 1976 double-album
"Frampton Comes Alive." The set topped the Bill-
board 200, where It spent 10 weeks at No. 1, and
also went to No. 1 on the year-end Top Billboard
200 albums chart. The success of "Frampton Comes
Alive," which has sold 6 million copies, according
to the Rl AA, led to Anthony being honored as Bill-
board's manager of the year in 1976 and 1977.

In a "Day in the Life " profile in the Nov. 26. 1997,
issue of Billboard, Anthony spoke of his and Framp-
ton's bond. "Everyone says It's a father-son rela-
tionship. I don't know, maybe it is. Maybe he's the
son I never had."

Anthony is survived by his wife, four daughters,
two brothers and six grandchildren. His eldest
daughter. MIchele Anthony, followed in his foot-
steps to become presldent/COO at Sony Music and
is now a consultant for acts Including Pearl Jam,
Prince and Bj6rk.

"He guided and influenced my career en<
mously," Michele says of her father. "He instilled
me a passion and respect for artists and their mu
. . . from the age of 5 I was constantly by his sj<
whether at the Copacabana, then later the Fillmc
East or on the road with him and his bands. I had
education that money just can't buy."

Anthony continued to manage several top a<
in the 'BOs, Including Devo, Peter Alien a
Basia, before retiring from the music businc
in the mid-'90s.

"Unless you can offer a performance, peo^
will just come to hear your last hit record and yoi
always be only as strong as that record," Antho
told Billboard in 1977. "An act has to get to t
point where his worst performance still has t
audience captured."

6 I BILLBOARD I NOVEMBER 7, 2009

Copyrighted inaierin

Specialized Wealth Management for the Music Industry

After 20 years of serving the music industry, our financial advisors knov^ exactly v/hat it takes to get and stay on solid
ground. We can help you streamline your cash flow, manage your assets, and most importantly, create a plan designed to
provide financial stability on the road ahead. For more information, call Thomas Carroll, Senior Vice President, Sports and
Entertainment Specialty Group, SunTrust Investment Services, Inc., at 404.724.3477 or visit suntrust.com/talent.

Royalty and Catalog Lending Financial Planning Retirement Planning investment Management

SumTrust

Live Solid. Bank Solid.'

rities arxl Insurance Products arxl Services: Are not FD*C or any other Government Agency Insured - Are not Bank Guaranteed ■ May Lose Value

as Carrali is Senior Vice Pruaidonl. SunTrust InvMtTMnl Services, flic and Managing Direclor of SunTfiisl'a Sports and Fnterlainment Specially Group.

ust Sports and Entertainment Specialty Group rs a marketing name used by SunTrust Banks, Inc and the following affiliates Banking and Irust products and servtces are provided by SunTrust Bank. Seiiuirities, brokerage
«s. insurance (including annuities and certain life InsurarKe products) and other investrrtent products and services are offered by SunTrust lnvestn>ent Services. Inc., an SEC-registered tnvesbnent adviser and broker/dealer
rr>ember of FINRA arxl SIPC. Other insurance products ar>d services are offered by SunTrust Insurance Services. Inc.. a licensed insurance agency.

9 SunTrust Banks, inc. SunTrust is a federally registered service mark of SunTrust Banks. Inc Live Solid. Bank Solid is a service mark of SunTnjsl Banks, inc

Cri

UPl'RQN I \Wl\m EMlWlAltMiUlEM]

BY ANTONT BRUNO

Mobile Comes Alive

Still Early Days For Touring Business' Embrace Of Wireless Applications

Once upon a time, artists and
live venues flirted with the idea
of banning mobile phones
from concerts, fearing that
their ability to capture video
and photos would undermine.'
theexclusivenoss of the event

Thai idea never materialized.
Today, mobile phones are
recognized as essential tools
that have transformed ihf
live experience.

Bui it's time to expand the
capabilities of the mobile hand-
set. Artists, sponsors and pro-
moters could all benefit from a
more creative approach to mo-
bile integration al live events,
and not just with advanced de-
vices like the iPhone.

For example, sending text
messages to an onstage screen
was a cute novelty at first, but
there arc other ways for artists
to use texting beyond letting
the audience express how
much the band rules. The band
Umphrey's McGee is one ex-
ample; The group holds spc-
cial Stew Art Series shows
limited to 50 fans, where atten-
dees can influence the playiist
by texting ideas for the act to
improvise on during an ex-
tended jam session.

According to longtime
Umphrey's sound man Kevin
Browning, who helped con-
ceive and now manages the
process, the group received
more than 400 texts during the
first Stew Art show Ocl. 3 in
Milwaukee. Next up are per-
formances in Portland. Ore.,
and Washington, D.C., after
which tile band will assess what
it learned and consider apply-
ing the concept to regular
shows in the year ahead.

"A lot of our success today
we owe to the fans, and mo-
bile technology helps us bet-

"".S MUSIC

I I ".SGRILL

Golden road: KEITH URBAN at a barbecue party in Nashville sponsored by KC Masterpiece and
Kingsford Charcoal. Fans vied for a chance to attend the barbecue by sending a text message
to Urban's Mozes mobile fan club.

ter understand their wants
and communicate in an inti-
mate way," Browning says.
"Using a mobile platform in
this kind of circumstance
gives the fans a sense of in-
clusion and involvement
that's never been possible be-
fore. It really connects the
band and an audience in a
way that texting 'I love you*
doesn't really do."

Acts could use the same fea-
ture to let fans submit requests
or influence encores, or even
create an ad-hoc music video
from the action in the crowd.

Mobile technologies also en-
able sponsors to go be> ond sim-
ply placing a banner near the
stage and hosting a kiosk next
loavenue'sentrance. Intoday's
economy, brands are seeking a
return on investment that they
can track. Incorporating mo-
bile communications into their
campaigns allows them to track
engagement as well as build
their mobile contact lists — just
like artists do.

FOR LISTENERS
LIKE YOU

All table-top Internet radios boast
access to thousands of online stations. But the NPR
Radio by Livio stands apart from the pack with an
exclusive menu that makes It easy for even non-techies
to access NPR programming from 1,000 member
station streams and 800 podcasts. Users can access
on-demand content from NPR programs, search by
topic, location or music genre and even record and
store up to two weeks of programming.

The NPR Radio costs $200 and is available at the
NPR and Livio Web sites. ~AB

For example, during Keith
Urban's Escape Together world
tour this year, sponsors KC
Masterpiece and Kingsford
Charcoal backed a sweepstakes
where fans could vie to win a
barbecue featuring a perform-
ance by Urban by sending a text
to the artist's Mozes mobile fan
club. Each venue on the tour
was decked out with banners
and posters detailing how fans
could gel involved.

Such campaigns let fans
choose to sign up for alerts and
news from the sponsoring
company as well as from the
artist. Based on data collected
from five nationwide lours for
which Mozes provided text-
messaging services, 17% of at-
tendees responded to sponKor
messages, while 9% opted to
receive texts from the sponsor
after the event.

"The engagement rates at
shows are quite remarkable,
so there is a proven desire on
the part of the fan to partici-
pate," Mozes CEO Dorrian
Porter says. "I don't
believe you will be
able to go to a concert
in two years where
mobile is not inte-
grated into the show
for the benefit of the
artist, fan and sponsor."

And then there's mobile
ticketing. The ability to send a
ticket alert to fans' phones,
allow them to buy a concert
ticket through their handset
and then send a bar code that
can be scanned on the phone's
screen the day of the event still
accounts for only a tiny niche
of the ticket market. For exam-
ple. Derek Palmer, thief com-

mercial officer at the online
vendor and ticketing service
provider Tickets.com, esti-
mates that mobile tickets ac-
coimt for only a low single-digit
percentage of the company's
ticket sales. But Palmer says he
expects a sharp increase in the
next 12 months as more ven-
ues embrace the technology.

"It's been rather slow adopt-
ing." he says, "but we're start-
ing to see some traction with
the prevalence of smart-phone
devices in the marketplace."

In the last year.Tickcts.com
has experienced a sevenfold
increase in traffic to its mo-
bile Web site, with about one-
third of those visits resulting
in the purchase of a ticket
through a mobile phone on
the day of an event.

But Palmer says it's up to
innovative venues like the
Royal Oak (Mich.) Music The-
atre— which has a separate
entrance for mobile tick-
etholders and grants them
early entry — to help push the
use of mobile ticketing beyond
its 10% usage share.

These examples show that
technology is no longer an im-
pediment to adding new and
creative mobile initiatives to
the live experience. The chal-
lenge now is for the artists,
managers, promoters and
sponsors to become more in-
novative with the technology
available to them. If touring is
to make up for the decline in
rccordcd-music revenue, then
creativity shouldn't be limited
to the music alone. • ■ • ■

Jrtz

For 24/7 digital nows
and analysis, see

blllboard.biz/dlgltal.

BITS & BRIEFS

MP3LYRICS,
GRACENOTE INK
LICENSING DEAL

MP3lyrjcs.org is going legit,
signing a lyric-licensing
pact with Gracenote. Pre-
viously, the site had dis-
played lyrics uploaded by
users without obtaining
permission from songwrit-
ers and publishers. Under
the licensing agreement,
user-uploaded lyrics will
pass through Gracenote's
system to ensure accuracy
and compensation to art-
ists, songwriters and pub-
lishers. Gracenote is a sub-
sidiary of Sony Corp.

PANDORA ADDS
SHARING TOOLBAR

The online music streaming
service Pandora has added
a toolbar to its onscreen
player that enables users to
share a song or a station
with friends on Facebook
and Twitter. When a Pan-
dora user posts a song to
Facebook, friends can

stream a sample of th
song straight from the
news feed. When a song
posted to Twitter. Pando
provides a shortened UP
to a page featuring tf
song or station. The toe
bar also features a giftir
feature that lets use
create a Pandora static
and send it to a friend In <
e-mail.

NEW IPHONE APP
OFFERS STREAMS,
RECOMMENDATION!

A new iPhone app calU
Panel compiles weekly m
sic recommendations fro
industry veterans and le
users stream two albums
their entirety every wee
Panelists at launch inclui
Under the Radar magazii
founders Mark and Wenc
Redfern, Sonic Boom Re
ords owner Jason Hughe
music blogger Justin Ga;
and producer Matt Baylc
Additional panelists w
eventually be added.

HOT MASTER RINGTONES » Billb^n

20O9

™«II5T

1 1

Vn f OREVER

EMPIRE STATE OF MIND

PARTY IN THE U.SJV.

1 4

WHATCHA SAY

DOWN

JAT SUN (OIUPING LL lUIHE

(

BIO QREEN TRACTOR

NEED VOU NOW

LAW WTEilELliW

riREFLIES

■ •

HALLOWEEN (MOVIE THEME)

.'Ht, ..If^PC-iTcli

1 "*

RUN THIS TOWN

ii Tb* etoclro-pop act Owl Ctly app«art on •
host ot Billboard charts this MeelL-
"Fir*ni«i" movAS 7-1 on the Hot 100, 2-1 on
¥ ^^^H Digital Songs and 15-8 on this chart, tt It
I ^^^^H from the album "Ocean Eyes." which unseati
l^^l^B Lady Gaga at No. ) on Dance/EtectronK
|H while rising 20-8 on the Billboard 20<X

TOES

MEET ME HALFWAY

1 GOTTA FEELING

PAPARAZZI

OBSESSED

THRILLER

IMMA STAR (EVERYWHERE WE ARE)

i<]

DO I

WASTED

■i.'.n.! 'L'.V.vj,:i njES OA OJ [U JUCailN

BEST I EVER HAD

8 I BILLBOARD I NOVEMBER 7, 2009

Sc«n » miVKM ijl N«Mn HoblWScm CNV

Cni

John Mayer

Allman Brothers

Live Earth

American Idols
LIVE!

Michael McDonald

Farm Aid

So You Think You
Can Dance

Lionel Richie

James Taylor

Carole King

Robin Williams

Coldplay

Silly Joel
Brad Paisley
Usher
Emmylou Harris
Patty Griffin
Shawn Colvin
Buddy Miller
Rolling Stones
Brooks & Dunn
Ray LaMontagne
Dane Cook
The Police

Elton John

RED Speedwagon
Kenny Chesney
Diana Krall
Creed
Santana
Tori Amos
Counting Crows
Jimmy Buffett
Pearl Jam

Chickenfoot

N§w York

Philharmonic

Widespread Panic

Boston Symphony
Orchestra

Barbra Streisand

Live Nation

Pete Seeger

The Fray

Sugarland

Rachel Fuller

Pete Townshend

Talk about a supergroup.

Tickets-for-Charlty® would like to thank the artists, managers, promoters and venues who have made it possible for
us to generate more than $7 million in ticket sales and direct more than $3 million to charity.

TICKETS

FOR-CHAWn.COW

Where Great Events and Great Causes Come Together*

IIPFROMT ■

ATIM

The Envelope
P1g3;SG • • •

Here's Who We Think Will Take Home
Latin Grammys This Year

As is our tradition, here are our annual predictions for the Latin Grammy
Awards, which wit! be handed out Nov. S at the Mandalay Bay Events Cen-
ter in Las Vegas. As always, our choices are based on past voting behavior
and recent trends in the Latin music market.

ALBUM OF THE YEAR: Caile 13 mem-
ber Rene Perez's profane rant against
regional political leaders during the
MTV l^tin American Awards came
after the Oct. 1 2 close of voting for the
Latin Grammys. That means Calle 13
still has a shot at scoring album of the
year for "Los de Alr^s Vienen Con-
migo." Then again. Mercedes Sosa's
death just one week before voting closed
makes her a possible win-
ner, out of respect and ap-
preciation for "Cantora 1."

SONG OF THE YEAR:

The winner has to be the
continental hit "Aqui
Estoy Yo." written by Luis
Fonsl. Claudia Brant
and Gen Rubin for
Fonsi's album "Palabras
del Silencio." Tlie only other contender
here is "Yo No Se Maftana," penned by
Jorge Luis Piloto and Jorge Vil-
lamizarfor Luis Enrique. Although a
smash stateside, the song is just start-
ing to hit big in other countries.

RECORD OF THE YEAR: "Aquf Estoy
Yo" will probably win in this category
as well, but Laura Pauslnl's "En Cam-
bio No" has a shot too, given its beauty
and its hit status in many markets.

BEST NEW ARTIST: We love it when
this category is hotly contested, but —
alas — it rarely is. Among this year's im-
pressive list of nominees, the winner will
be Alexander Ac ha,
who has the most name
recognition in different
countries. Luz Rfos, who
can sing and write, is a
deserving nominee
who is, unfortunately,
little-known outside the
United States.

PRODUCER OF THE
YEAR: Nominees Sergio George and
Cachorro Lopez have both won this
award before. This year, due to sheer
output as well as his impeccable han-
dhng of multiple genres, the honor
should go to Aureo Baqueiro.

BEST POP DUO OR GROUP ALBUM:

This is a hotly contested category with
a major Spanish component. Our bet
is with La Quinta Estacion, which
straddles S pain and Mexico and whose
"Sin Frenos" is one of the most beau-
tiful— and commercially successful —
albums of the year.

BEST MALE POP VOCAL ALBUM:

Who's glaringly absent among the
nominees.^ Luis Fonsi, whose "Pal-
abras del Silencio" would have won
hands down. Given the Latin Record-
ing Academy's inexplicable failure to
nominate him in this category, our
vote goes to Fito Paez's "No Se Si Es
Baires o Es Madrid." which was ac-
companied by a region-wide tour.

BEST URBAN MUSIC ALBUM: While
many people might be quick to dis-
miss reggaeton {or the music it's

For 24/7 Latin news and
analysis, see bfllboard.blz/l*tin.

evolved into) and back Calle 13, our
bet is on Wisin & Yandel's "La Rev-
olucidn," a hard-worked, hard-earned
album that has great hit singles.

BEST TROPICAL SONG: Notwith-
standing the success of "El Amor"
by Tito "El Bambino," the song of the
year was "Yo No Se Manana." per-
formed by Luis Enrique. And En-
rique's album "Ciclos" will nab best
salsa album as well.

BEST SINGER/SONGWRITER
ALBUM: Now this is a hot category.
Will Franco De Vita finally get a long-
deserved Latin Grammy with "Simple-
mente La Verdad"? Probably not,
although the beauty of his album and
his decision to invite emerging
singer/songwriters to tour with him
this year should make him a shoo-in.
"Zi e Zie" by Caetano Veloso, a past
winner in this category, will likely pre-
vail over "Simplemente" and Ricardo
Arjona's "So Piso," another gem.

THE BILLBOARD

Although Omara Portuondo's Latin Grammy
Award -nominated "Gracias" (Producciones Mon-
tuno) was released in the United States in 2008,
she wasn't able to tour stateside in support of the
album until now. Like other Cuban singers, Por-
tuondo, best-known as one of the stars of the
"Buena Vista Social Club" album, had been barred
from performing in the States since 2003, when
the administration of President George W. Bush
tightened visa regulations.

Her recent shows in Los Angeles and San Fran-
cisco mark the start of what is expected to be a
new wave of Cuban artist performances in the
United States. The 79-year-old singer recently
spoke with Billboard about "Gracias" and her tour.

Was it upsetting for you to be kept out of the

United States?

Yes. The first time I came here to perform was in
1951. and I came many times after that. In Cuba.
I also met so many American artists, like Nat "King"
Cole, Sarah Vaughan. Stan Kenton. I used to sing
"Stormy Weather," and later 1 met Lena Home. For

Once more vvitti
feeling: OMARA
PORTUONDO

musical reasons that don't hurt anyone and only
make people happy, I wanted to come here again.

Is "Gracias" a retrospective of your career?
I tried to include styles that people who only know
me from "Buena Vista Social Club" might not
know I sing and that are part of our Cuban cul-
ture: filin. African rhythms, songs by Pablo Mi-
lanes and Silvio Rodriguez. Jorge Drexler wrote
the song "Gracias."

Is there a song on the album that's particu-
larly special for you?

I recorded a Cuban lullaby, "Drume Negrita." My

father sang it to me when I was a baby, and I sang
it to my children and granddaughter.

You're best-known in Cuba as a member of
the fIMn movement.

It was started by a group of young people in Ha-
vana who were influenced by the traditional Cuban
trova ( folk] and also Tommy Dorsey and other big
bands who would play in Havana. When we heard
a good song we'd say, "Hey, that song has feeling,"
and that's how the movement got its name.

Most of the musicians who recorded "Buena
Vista Social Club" have passed away in re-
cent years. Do you worry about the legacy of
Cuban music?

No, young people in Cuba are interested in what
came before them, like we were. Today, the most
popular music is reggaeton, but the young
artists arc mixing it with Cuban rhythms from
the past.

What's ahead for you?

! think 1 still have a lot left to do. If an interesting
project comes up and they invite me, I 'II do it. Music
gives you peace, it gives you happiness. And
through music, you can remember all of the inter-
esting things that happened to you in your own life.

— Judy Cantor-Navas

EN E5PANOL: All the great Latin music coverage
you've come to expect from Billboard— In SpanishI
Blllboardenespanol.com.

BILLBOARD I NOVEMBER 7, 2009

BRIEVE

SHAKIRA ALBUM
ARRIVES NOV. 23
Shakira-s "She Wor' will be n
leased in the United StatI
Nov. 23, more than a moni
after its arrival in Europe ar
Latin America.

The U.S. date for the Epic >
was Oct. 13, but a new Timbi
land-produced single wil
Shakira and Lil Wayne, "Gl>
It Up to Me," has been adds
to the U.S. release. The tit
track hit Na 11 on the Billboa
Hot 100, but peaked at No.
on the Hot 100 Airplay cha
The Spanish-language sing
"Loba" reached No. 1 on Bl
board's Hot Latin Songs cha
and is No. 4 this week. Shaki
could be looking to repeat tl
U.S. sales that she achievt
with "Oral Fixation, Vol. :
which generated two-thirds
its U.S. sales after It was rei
sued with t>onus tracks, inclu
ing her smash hit with Wycl
Jean, "Hips Don't Lie."

"She Wolf" debuted tt
week at No. 1 on Mexico's t
bum sales chart

—Ayala Ben-Yehut

FOURTH NEW ACT
CRACKS TROPICAL
TOP FIVE

Doble TyEICrokareonlytl
fourth new act this year
score a top five tropical a
play hit, following Makan
Bachata Heightz and Omec
Their first charting son
"Pepe," peaked last week
No. 5 on BilltKiard's Tropic
Songs chart and slips oi
notch this week.

—RaulyRamir

BILLBOARD BRAZIL
LAUNCHES

Billboard and BPP Promoco
e Publicacoes LTDA
launching Billboard Brazil
Portuguese-language versii
of Billboard for the Brazllii
market. BPP will be the pu
lisher of the monthly mag
zine, which will cover all genr
of music and include the U
based Billboard Hot 100 a
Billboard 200 charts, as w
as Brazilian radio airplay cha
monitored by Crowley Broa
cast Analysis. The service cc
ers 265 stations in Brazil.

Billboard Brazil's monti
circulatKHi is 40,000. The ini
gural issue features the Brazili
singer/songwriter Robe
Carlos on the cover. Billboe
also has local editions in Rus
and Turkey. —At

VJi 1-M J_i Hm Jj XV/X J. £■ O w. CARLOS JEAK

THE NOMINATIONS OF ^ JULIO JIMENEZ CHABOLl

ITS MEMBERS FOR THE ^ LENINE
X LATIN GRAMMY AWARDS iF " ANDRES levin

^^^^^

CARMEN LINARES
IVAN LINS
MACACO
GIAN MARCO
INDIA MARTINEZ
ENRIQUE MORENTE
AMAIA MONTERO
JARABE DE PALO
FITO PAEZ
NINA PASTORI
^ . „ MIGUEL POVEDA

; ' Ji DOLORES PRADERA Y
LOS SABANDENOS
NANDO REIS
MIGUEL RIOS
ROSANA
ALEX UBAGO
)REJA DE VAN GOGH
CAETANO VELOSO
JORGE VERCILLO
FRANCO DE VITA
VOLOVAN
BEBO VALDES
CHUCHO VALDES
ZOE

Cni

LEGAL MATI'E

DISSECTING THE COURT RULING AGAINST
RINGTONES AS 'PUBLIC PERFORMANCES'

Though sales of ringtones
appear to have peaked, ihey
remain a multibillion-dollar
business globally.

So it isn't surprising that
record labels, music publish-
ers, mobile carriers and ring-
tone aggregators are slill vying
for as largea sHceof the pie as
they can gral>. And tliat lias led
to inevitabli- (iglils over how
copyright law, written decades
bef ore ringtones ever existed,
apphes to this technology.

The performing rights
society ASCAP — and the pub-
lisliers. composers and song-
writers it represents — lost a
key round in this battle when
a federal judge in New York
ruled Oct. 14 lhal the use of a
ringlone that plays copyrighted
tmisic doesn't count as a "pub-
lic performance" for which a
license fee is required.

Much of the press coverage
of the decision portrayed
publishers as greedy Luddites

by BEN SHEFFNER

seeking to stick their fingers

in the pockets of consumers
every time their phones
ring. But as with all digital
music licensing, the issues
are a lot more complicated
than they appear.

Mobile carriers like Verizon
Wireless and AT&T sell ring-
tones directly to iheir sub-
scribers. When customers
purchase a ringtonc. the song
file is downloaded onto their
handsels, where it remains as
long as they keep paying their
monthly bill. Then, when the
sul)scriber receives a call, the
provider sends a signal to the
handset, telling it to play the
ringlone. which anyone within
earshot can hear.

So who gets paid and how
nnii h? Upon the initial down-
load of a ringtone there's no
question that the publisher is
entitled to a mechanical roy-
alty of 24 cents per song for
use of the composition — a

huge premium over the 9.1-
cent mechanical rate for a
full-track download. For
"mastertone" ringtones that
use a snippet of an actual
master recording, the label
gets paid as well; these rates
arc individually negotiated.

The ASCAP case addressed
related but murkier ques-
tions: Is the publisher also en-
titled to a performance royalty
when the song file is trans-
mitted to the handset.^ And is
it entitled lo yet another per-
formance royalty when the

phone rings, thereby playing
a snippet of music?

U.S. District Court Judge
Denisc Cote answered "no" to
both questions. Regardingthe
initial dow nload from the cell
provider to the handsel. Cote
relied heavily on a 2007 deci-
sion (now on appeal) by a dif-
ferent federal judge involving
a music download service op-
erated by AOL. wliich held that
a transmission doesn't qual-
ify as a performance unless il
is designed for "contempora-
neous perception" by the lis-
tener. Thus a radio broadcast
and playing music in a night-
club are public performances
that require payment to per-

Ls the pul)lLsher entithHl
to a perlorniance royalty
when the soii^ Ls

Iransniilled lo the liaiifLsot?

And is it entitled to another
when the phone rinj^s?

forming rights societies like
ASCAP. BMI and SESAC. The
download of a song file to a
computer or a cell phone,
where the consumer doesn't
simultaneously hear the
music, is not, Cote inled.

Trickier still is the question
regarding whether a mobile
carrier must pay when a phone
rings playing a song snippet.
ASCAPargued that music play-
ing in a public place fits the
standard definition of a public
performance, no diftcrcnt from
wlien a song plays in a restau-
rant or a store. As an amicus
brief filed by BMI and SESAC
argued, when a ringtone plays,
"members of the public are
momentarily eiUertained. and
the songwriter is entitled to be
compensated for that perform-
ance of his or her work."

But Cote held that even
when a ringtone plays in a
public place, it isn't a public
performance because ofa pro-
vision in the U.S. Copyright
Act exempting performances
where there isn't a "purpose of
direct or indirect commercial

advantage." Because the mi
bile carrier doesn't receive ar
additional fee each time th
ringtone plays, Cote ruled tb
the rings themselves are noi
commercial and that the ca
rier doesn't owe any additioa
royalties to the publishers.

Most mobile carriers pai
periorming rights societic
for ringtones until the 20C
download decision. And ui
less Cote's decision is ove
turned on appeal, it will like
shut off the performanc
spigot for good. In a mus:
world full of shrinking pie
that's not news the indust
wanted to hear.

fltvi Shfffiier is a iopyright
attonu'Y le/io has represented
Hioi'rV studios. TV networks an
reiord labels. SheJJiwr currentl]
ivorks as an attorney in the NB
Universal Television Group,
which is 2C% owned by Vivene
the parent ofUniversal Music
Croup. He is the author of the
Copyrights^ Campaigns hlog
(copyrightsandcampaigns.
blogspot.com).

Get your message front and center with the

Billboard Country Update*

The Country Music Industry's Must-Have Source for Weekly News and Chart Info!

"Loved the first edition. Great job!"

— Becky Brenner, KMPS Seattle

"What a nice surprise to get Billboard Country Update today.
Great job on the first issue."

— Joel Raab, Joel Raab Associates

"Great content!"

— Crash Poteet, KSCS Dallas

"Love the new venture. It's awesome. I can tell you did a lot
of research. Well done!"

— Bob McKay, Bob McKay Media

Reach top country radio programmers and othier key
country music influencers every Monday!

TO ADVERTISE, CONTACT:

Lee Ann Photoglo • 615.376.7931 • laphotoglo a.gmail.com
TO SUBSCRIBE: www.billboard.blz/enewsletters
* Formerly tha MR Country HotFax

12 BILLBOARD NOVEMBER 7. 2009

Copyrighted materis

BY THIBAULT WORTH

Complete Control

hina's Online Crackdown Could Boost Anti-Piracy Efforts

MPEI. Taiwan — China's
iline music community is
cing to meet new govern-
enl requirements that
mtd help fight piracy but
so raise the specter of in-
eased censorship.

ToplOOcn has deals with
7.000 labels— including the
majors — for international
and domestic repertoire and
provides streaming content
to Google China.
The Chinese government

Eyeing enforcement:
MC HotDog;

inset: R2G, net's
MATHEW DANIEL '

tn September. China's Min-
T}' of Culture issued a circu-
r requiring online music
isseminators" to submit
inslations of all foreign song
ics for approval by Dec. 31.
le ministr>' considers inter-
tional repertoire and music
>in Taiwan. Hong Kongand
itau as "foreign."
The ministry said in thecir-
iar that it will prohibit serv-
■s from offering uncleared
ngs as part of measures
Tied at addressing 'vulgar
dtenl" and the market" s "lack
supervision and regulation."
The requirement covers
irch engines like Baidu and
hoo China, which "deep-
k" to unauthorized music
;s. Gary Chen, chief execu-
e of the digital music retailer
plOO.cn, calls that "a very
silivc move."

Previously, the Chinese gov-
iment had .said that "if (an
line service) Hnks to music
illegitimate sites, it's fine."
ten says, adding that under
2 new directive, "whether
u're a search engine or a
wnload music site, you must
k to legitimate sites."
The requirements will af-
:t vast swathes of catalog.

has "drawn a line in the
sand." says Malhew Daniel.
VP of the digital music dis-
tributor R2G.net. "Now it's a
question of how strongly they
impose it."

R2G.nei operates China's
Wawawa online music store,
which has deals with the ag-
gregator the Independent On-
line Distribution Alliance and
what Daniel describes as
"thousands' of international
and domestic indie labels.

According to the IFPI,
China had 298 million Inter-
net users in 2008. But while
physical releases faced censors'
checks, online music was hith-
erto lai^ely unregulated. That's
because "the government
doesn't know whether to clas-
sify it as commerce or con-
tent." says analyst Tian Hou at
Pah Research in New York.

Under the existing system,
albums can be banned for po-
litical content, sexual refer-
ences and obscenit>'.

" Everyone in Taiwan knows
how far you can push the
limit [in China)." says Sam
Duann, president of the

Taipci-bascd independent
label Rock Records, which
claims to have the most ex-
tensive catalog of Mandarin
hits in the region and oper-
ates a music download site
in China (RockMobile.com).
He singles out the rapper
MC HotDog. renowned for
expletive- laden lyrics and bit-
ingsocial commentary, as an
artist unlikely to gain clear-
ance. While accessible on
unauthorized sites in China,
HotDog's music isn't legally
available. "We've pretty much
given up on him (there),'
Duann says.

Representatives at the
Ministry of Culture didn't
respond to requests for com-
ment. In a reflection of the
sensitivity surrounding cen-
sorship issues in China,
major labels declined to
comment.

If enforcement efforts
reduce the number of links
to unauthorized product, it
could level the playing field
between Baidu — widely
credited as hosting 70% of
China's search engine traffic —
and Google, which has an es*
timated 24%. Hou says.

"Google is really good at
searching for music." she says,
"but Baidu's better at connect-
ing users with a wide variety
of 'free' entertainment."

The music industry has had
several clashes with Baidu, but
Hou says it's unlikely to end
its deep-linking practices de-
spite the circular.

"This regulation is diffi-
cult to enforce." she says.
"What (the culture ministry}
wants is for corporations to
self-censor."

May-Seey Leong. the I FPI's
Asia regional director, ac-
knowledges that "record com-
panies are already careful
about what they release in
China — to a certain extent,
they already self-censor."

Despite the new policy's
anti-piracy potential. Leong
notes that Chinese authorities
have previously made little
progress on thai front.

"It would be great if this
meant the Ministry of Culture
would step upenforcement,"
Leong says. "But based on
their track record. I'm not
overly optimistic."

^^^•^ _ vital dlgltel llc^

MuSiC Album DislnbuUDn
vta Cards

Visit our site for details
www.digi-cards.com

Soundscan ready Mm Penn^S 1'"^'"'' sales: 1 (305) 936-0234 x 703

Coming this Fall: Se«»U«IW""
Dlgl-cards 2.0

(Fflatar QoMnlDwl*. Moro Data. Mobile CapatXol

7500* artists around me woctd have switched to Q OigKar*

The Digital World's
Leader in
Media Content
Download Cards

Musician's Guide, 32nd Edition

Complete directory of music indu5tf>' contacts. More than
6,000 updated contacts; It's everything the Wforking
musician needs to book gigs and promote. And, unlike
annual directories, the Musician's Guide to Touring and
Promoting is updated every six months.

2009 International
Audarena Guide

Complete data on over 3,500 venues worldwide
comprising 6,000+ individual facilities, including Amphi-
theaters. Arenas. Stadiums. Sports Facilities, Concert Halls.
Exhibition Halls and New Constructions. Plus, complete
listings of companies offering services to the touring
industry in the Facility Buyer's Guide

2009 International Buyers Guide

Jam-Packed with over 11.000 listings of key personnel and
other information about every major and independent
record company, video company, music publisher, digital
music company and seller of products and services for the
entertainment industry worldwide. A powerful tool.

nDOFRTrinAV'

Online at www.ofderbiUboard.com or call
800-562-2706 (U.S.) or 818-487-4582

Subscribe Today!

BillbMinl

www.billboard.biz/subscrlbe ^

CALL 1-800-658-8372 or 847-559-7531

NOVEMBER 7, 2009 I wwv« billboard. biz 1 13

Sotheby's

INTERNATIONAL REALTY.

SELECTED PROPERTIES

Local Experts Worldwide

EXQUISITE ESTATE: Sonoma County, CA.

On approx. 1 85 acres in the Mayacamas Mountains with

premium vineyards, custom luxury home, pool, guest house

and views, wv/w.crystalsprtngsestate.com

Price Upon Request WEB: 0084393 Sheri Morgensen, Jessica

Wynne 707.431.0777 San Francisco brokerage

ST. GEORGE'S FARM: Moorpark. CA.
Historic 1 30+ acre equine haven. Functionality of modern
ranch facility. Main residence,guesthouses, pool, tennis court
+ lounge, gym, lemon and avocado orchards,
vww.st-georgesfarm.com $ 1 5,000,000 WEB: 063 1 508
Teny Ryken 805.896.6977 Montecito UpperViIhge Brokerage

EXQUISITE OCEAN VIEW ESTATE: Santa Barbara, CA.
Gated, 5 bedrooms, 4.5 baths, media room, art studio. 1 500±
bottles wine cellar Beautiful garden with pool and kol pond.
www.hoperanchalisalane.com $5,984,000 WEB: 063 1 549
Terry Ryken 805.896.6977
Montedto Upper Village Road Brokerage

TRIBECA PENTHOUSE: New York, NY.
This 2-bedroom loft with skylight and private roof terrace
boasts a custom chef's kitchen with re-claimed antique barn
wood. $3,600,000 WEB: 0 1 34965

Joshua Judge 2 1 2.43 1. 2476. Kathryn Phcken 212.431.2459
Downtown Manhattan Brokerage

VINTAGE MONTECITO FARMHOUSE: Montecito. CA.
120 year old farmhouse on I ± acre of lush landscaping with
a stunning guest house and outdoor entertaining areas.
$3.500.000WEB:OI 13139
Joy Beon 805.895./ 422
Son(o Barbara Brokerage

STUNNING MOUNTAIN VIEWS: Montecito. CA.
Tuscan style 3-bedroom. 2.5-bath on lush acre with separate
artist studio designed by local architect Sophie Calvin.
www. I 1 33caminoviejo.com $2,895,000 WEB: 063 1 495
Marie Larkin 805.680.2525
Montecito Upper Village Road Brokerage

1903 HAZEL NUT COURT: Malibu Hills. CA.

Capture living in the world renowned Malibu Vineyard

country. Gated 5-bedroom. 4.5-bath with top of the line

finishes, and mountain views. Pebble bottom pool & open air

cabana with fireplace. $ 1 .675.000 WEB: 0 1 72350

Cormoc and Wailani O'Herlihy 3 1 0.980. 1 1 94 Malibu Brokerage

SANTA YNEZ VALLEY: Los Olivos. CA.
Sprawling home on approx. 5.5 acres with media room,
panoramic views, pool. spa. endless lawns 3 1 00± sq. ft. party
barn plus a guest apartment, www.2553santabarbaraave.com
$ 1 .750.000 WEB: 062 1 389 Loura Dmmmer 805.448. 7500
Los Olivos Brokerage

sothebyshomes.com

ARTFULLY UNITING EXTRAORDINARY PROPERTIES WITH EXTRAORDINARY LIVES

USE THE WEB NUMBERS PROVIDED TO FIND OUT MORE INFORMATION ON A PROPERTY THROUGH OUR WEBSITE

©20O9 NRT LLC. Sotheby's International Reahy. Inc is Owned and Operated by NRT. LLC. Sotheby'l International Realty® it a registered trademark. *In Prtjveneal Alps used with permission.

Sotheby's Interrutional Realty does not guarantee the accuncy of square footage, lot size or t)fher Information concei'ninf the property pmvfded by the seller or obained from public records or other sourctt.

FABULOUS ORIENTAL WAREHOUSE LOFT: San Frandsca CA.
Top floor 2-level, light filled lofL Master suite, 2-baths,
entertaining mezzanine, 2 car parking all on a beautiful South
Beach cul-de-sac. $979,000 WEB: 008443 1
Rob Levy 4/5.385.80/ /
Son Fmncisco Brokerage

rorial

Sothebys

SELECTED PROPERTIES

Local Experts Worldwide

lETLINER VIEWS: Sunset Strip. CA.

Downtown to the ocean. Contemporary Doheny Hills

home. 3 bedrooms, 5 baths, pool, 4-car garage, room to

expand. $5,950,000 WEB: 03052 1 9

«uss Filice J/0.780.2877

Sunset Strip Brokerage

HIS rORIC RIVERSIDE PEN ! HOUSE: New York. NY.
George and Ira Gershwin once lived in this full-service
luxury building. Savor the memories in this 3-4 bedroom
duplex penthouse with spectacular Hudson River views.
$4,200,000 WEB: 00 1 6492 Pierrette Hog on 2 / 2.606. 776 7,
Cheryl Daly 2I2.606.77S8 East Side Manhattan Brokerage

OCEANERON i rUSCAN VILLA: Hollywood Beach. CA.
Wide sandy beach 2 years new, great room with massive
fireplace. Expansive master with massive view terrace, wine
cellar, 3 story elevator, I80± degree ocean views. $3,795,000
WEB: 04223 1 1 Bill Carter 8 18.378.0952
Westlake Village Brokerage

LONDON TERRACE: New York. NY.

2 apartments were combined to create this massive
3-bedroom, 3-bath home in one of Chelsea's best addresses.

3 exposures, sun-flooded corner living room in a full-service
doorman building. $2,650,000 WEB: 0 1 34960 Glenn Norrgard.
JohnTenore 212.431.2456 Downtown Manhattan Brokerage

\VWW.1.16I BEREA.COM: Pacific Palisades. CA.

Above the village with panoramic views of ocean, mountains

& city. Large master with fireplace, terrace and bath with

sunset views. Spacious, open and bright. $2,349,000

WEB: 0342474 James Respondek 3 1 0.255.54 1 1

Pacific Palisades Brokerage

RIDGELINE RANCH: Santa Ynez. CA.

This is a rare 20± acre ranch adjacent to the magnificent

Sedgwick Reserve. Green contemporarily territorial home and

studio. Horse and vineyard potential. $ 1 .995,000 WEB: 062 1 350

Doris Banchik 805.588.3616

Los OHvos Brokerage

WWW.6626CAHUENGA.COM: Hollywood Hills. CA.
Gated classic Spanish. 2 bedrooms. 2 baths, remodeled
kitchen with stainless steel appliances, den. living room, art
studio, music studio, patios and fountains. $929,000
WEB: 0354063 Jim Shogren 310.601.7382
Brentwood Brokerage

WWW.666POST.COM: San Francisco, CA.
Gorgeous corner with I bedroom and bonus room. Old
world charm, new world reno. 1 3 casement windows.
Hardwood floors, fireplace, and amazing light. $500,000
WEB: 0084512 Daria Saraf 415.901.1709
San Francisco Brokerage

BEACH VALUE: Port Hueneme, CA.
2-bedroom. I -bath newly remodeled condo with spacious
living room area & balcony. Close to the beach & ocean.
$ 1 98.000 WEB: 0422649 fritz ond Cofeb Kling 805.402.3236
Westlake Village Brokerage

sothebyshomes.com

LOS ANGELES I 9200 SUNSET BLVD. SUITE 200, LOS ANGELES. CA 90069 NEW YORK I 38 EAST 6 I ST STREET, NEW YORK. NY 10065

USE THE WEB NUHBBU PKMIXD TO FIND OUT MOKE INFORMATION ON A PKOPERTY THROUGH OUR WEBSITE

BY DrANE C0ET2ERJ

Basking In'

:enyan Artists Look To Capitalize On MTV Africa Music Awards Wins

AIROBI. Kenya— When Kenya's
anieless picked up the best male artist
vard Oct. lOai the MTV Africa Music
wards, even the security guards
hooped along with the 4,000 music
n!ii Riling Nairobfs Moi [nternational
5orts Complex.

Then, when ihe pop singer's track
iunshine" also won the Listener's
hoice Award and Kenya's Afro-pop
ngcr Amani was named best
male, the audience's celebration
as unrestrained.

"I was praying for a win because of
ehomecrowd," Nameless says. "I re-
ly went out there, on radio, on Face-
)ok to motivate people lo vote — to be
e host [country] and have no wins
■juld have been disastrous."
The three wins at the MTV Africa
usic Awards — or MAMAs, as they're
lown — provided a welcome diversion
r the former British colony, which suf-
red violent political upheaval follow-
disputed presidential elections in
ecemher 2007. They also provided a
oment in the spotlight for Kenya's
racy-ravaged recording industry,
hich is hoping to capitalize on the vis-
llity to reach a broader audience.
Nameless says he's looking to record

material that appeals to audiences be-
yond East Africa — "less Swahili, less
focus on local issues but still keeping
the Nameless sound." And Amani says
she's already fielding increased offers
for endorsements and live work.

"The most important thing for me
right now is to market myself more In
Africa." she says. "Winning means It's
much easier to maximize radio play
or live bookings on the continent and
seek distribution in countries like
South Africa."

Bahrain-based Norman Moyo, group
marketing director of stiat^c programs
ai MAMAs headline sponsor Zain, says
the mobile phone operator Is working
on plans to improve access to award win-
ners' music through its portals.

Zain. he says, is considering a pan-
African M A M As tour and has also struck
a deal with the aggregator Inmobia for
MAMAs-associated music content.

MTV claims a potential audience of
1 billion for the MAMAs through its
global network and terrestrial TV part-
nerships in Africa. Nameless" "Sun-
shine" and Amani's "Tonight " have just
been added to the Pan-African chan-
nel MTV Base's "hot recurrent" playlist
and both have tracks featured in the

channel's new drama
series "Shuga."

MTV is also con-
cluding a distribution
deal for a MAMAs
winners CD release in
Kenya, Nigeria and
South Africa, giving
the Kenyan acts on Ihe
disc a rare opportunity
to be heard outside
their homeland.

At home, the MAMAs
have generated "an
unprecedented buzz
around our artists,"
says Nairobi-based
Homeboyz Radio pre-
senter Conine Onyango.
She reports a change in
listener requests from
the likes of Lil Wayne and |ay-Z to
artists like the Kenyan female rapper
(and best new act nominee) STL,

Arthur Kamau. a Nairobi-based in-
dependent TV producer who has
helmed the music shows "The Stomp"
and "The Beat" for the Kenyan chan-
nel NTV. says domestic acts benefited
from sharing a platform with inter-
national stars like Akon and host

Anonymous no more: NAMELESS

THREE KENYAN
ACTS TO WATCH

WAHU
Baied: Nairobi

Current releas«: "Sweet Love" (AltcrnativQ Concepts)
Booking agent: Self-booked

Singer Wahu Kagwi confirmed her standing as a stan-
dard-bearer for her country's pop scene by becoming
the sole Kenyan winner at the inaugural MTV Africa
Music Awards (MAMAs) ceremony last year In Abuja,
Nigeria. Nominated this year for best video (for "Little
Things You Do," featuring Uganda's Bobi Wine), Wahu
performed at the ceremony with Amani and Tanzan-
ian artist A.Y. Her "ability to connect emotionally
and personally with her fans" Is what ensures
Wahu stands out, says Nairobi-based music TV
producer Arthur Kamau. She further en
hanced her celebrity status with her
2005 marriage to fellow artist
David Mathenge, aka Nameless.
Both record for Nameless' Alterna-
tive Concepts label and are keen to move

their careers into new tcrrltoriot on Ihe
African continent and beyond.

AMANI
Based; Nairobi

Current release: "Tamani" (Ogopo OJs)
Booking agent: Self-booked (Kenya); Kampala,
Uganda-based Talent 256 (outside Kenya)
A string of urban/dance-leaning pop songs
from her album "Tamani" have scored Amani
major radio chart action in Kenya. Her best fe-
male artist win at the MAMAs, together with

Nameless' best male artist award, revived memories of
"Ninanoki" (Ogopo DJs), the enduringly popular duet
the pair released in 2002. "Amani is all about fun," Kamau
says. "She gets Kenyans dancing and smiling with up-
beat and infectious songs." Like Wahu and Nameless,
Amani sings in a mixture of Swahili and English. "I want
to represent African pop music all over the world." she
says, "because it has such a different flavor that people
are really starting to relate to."

STL

Based: Nairobi/Oslo

Current release: "Living for Music" (STLMUSIC)
&ooklr>g agenb Self-booked (Africa); Norway-based

ArtlstPartner (outside Africa)
A tjest new act nominee at the MAMAs, the Queen
Latifah-inspired rapper Stella Mwangi— aka STL-
moved to Norway with her parents in 1991
but has retained an intimate connection
with her African roots. She has recorded
with the Senegalese hip-hop group
Wagable, rapped about the joy of
going t>ack to Kenya on "Take It Back"
(from her debut album. "Living for
Music") and released "Biacara Ni Bi-
acara," her first song in Kenya's Kikuyu
dialect, in June. "I'm so glad STL was
nominated for a MAMA," says Cor-
rine Onyango, a DJ at the Nairobi-
based Homeboyz Radio. "She hit
the scene here with force about a
year ago and really represents a new
generation of Kenyan music." —DC

Standard-bearer: WAHU at the MTV
Africa Music Awards In October.

Wyclef lean, who spoke during his
visit of his interest in collaborating
with African artists.

Although international acts remain
popular in Kenya, they rarely perform
here. But. Kamau says. "Wyclef and
Akon's good experience here is likely
to open doors for international acts to
visit Nairobi."

Kenyan artists estimate that about
90% of domestic music sales are of pi-
rated product in street markets. Kenyan
artists typically self-release their music,
which is also available through some
stores in major metropolitan markets.

"it's been a while since I recorded a
full-length album." Amani says. "The
high piracy rate means it's just not
worthwhile putting albums out. I'd
rather focus on recording new songs
that can be played on radio or turned
into videos — (driving) the endorsemenLs
and live work."

Nameless runs his own label Alter-
native Cx>nccpts and, like most perform-
ers, handles his own publishing and
mobile deals. "We're finally seeing in-
come flow from ringtone and ringback
sales," he says.

Meanwhile, live shows are a key
source of income for local artists,
Kenya's live circuit centers around club
shows and occasional festivals, where
hip-hop and urban musk are hugely
popular, as arc domestic genres like
Swahili pop. Acts like Wahu. Nameless

and Aniuiii incorporate Swahili pop p|-
cments into their songs, mixing Swahili
and English-language lyrics.

Demand for young, urban-based
home-grown artists has grown steadily
in the past decade, says Nairobi-based
magazine columnist/broadcaster Olivia
Otieno. That, she says, has fostered the
dcvclopnicnl of "world class" artists likt-
Nameless and Wahu. "■ Now's the time."
Otieno says, "for the rest of the world to
experience our music." ••••

GLOBAL

NEWS
LINE

www.billboard.biz/gtobal

SALES OF U.K.
SINGLES HIT
RECORD HIGH

Sales of singles in the
United Kingdom topped
117 million copies through
the week that ended Oct.
17, exceeding the previous
annual record of 115.1
million copies in 2008,
according to the labels
group the BPI. This year's
total has been reached with-
10 weeks of sales stilt left to
go in 2009, including the
Christmas shopping
season. Digital downloads
have accounted for 98.6%
of all singles sold in the
United Kingdom in 2009.
according to the Official
Charts Co.

RECORD
TURNOUT AT
AMSTERDAM
DANCE EVENT

The 14th annual
Amsterdam Dance Event
attracted a record 2.100
registered attendees,
according to event
organizers. An additional
90,000 electronic music
fans descended on the
Dutch capital to attend
various events scheduled
around the live music
showcase and industry
conference, which was held
Oct. 21-24. Speakers durir>g
the confererKe program
included DJs Richie Hawtin
and Carl Craig, as well as
former Joy Division/New
Order bassist Peter Hook.
David Guetta, Faithless,
Fatboy Slim and Groove
Armada were among the
700-plus acts that played
durir>g the event.

>>>BACHARACH
EXPANDS WARNER/
CHAPPELLTIES

Warner/C happen Music
has extended its
administration deal with
composer Burt
Bacharach's New Hidden
Valley Music to cover the
United Kingdom and
Ireland. Warner/C happell
already administers New
Hidden Valley in the United
States, Canada.
Scandinavia, Israel, Italy
and Greece. U.K./lreland

administration was

previously handled by the
London-based
Independent P & P Songs.
The catalog includes songs
like "Close to You," "I Say a
Little Prayer" and "Walk
On By," as well as new
Bacharach compositions.

Reporting by Tom
Ferguson, Richard
Smirke and Gary Smith.

NOVEMBER 7. 2009

v.billboard.biz

NOVEMBER 12-13, ZOOS • THE RDDBEVELT HOTEL * NEW YORK CITY

niclscn

MEDIAandMONEY

NAVIGATING CHANGE:
SOLUTIONS AT A CHALLENGING TIME

Now in its 3rd year, this conference unites the most important
forward-thinlcing leaders to examine the evolving media and entertainment
landscape, and reveal new business opportunities for 2010.

KEYNOTES

TIM ARMSTRONG

CKe.rrT.an « CEO
AOUUC

MICHAEL BURNS

CHASE CAREY KARA DIOGUARDI

P'tr^m & coo SVP A&R WWiw BnitiMn R««

GREGORY MAFFEI

P.«^,lr-.1 ft CEO

STEVE TISCH
NnaVMOUnti

ROYCE YUDKOf F
ASfrV f>>rtn«n

CONFIRMED SPEAKERS INCLUDE

DAVID FABER
CMBC

X>SH MARSHAU
blkbtg Poim Mano

JAMIE MCCOURT
Lot An9*lM Dodgan

KIRK MCDONALD

VIKRANT RAINA CHRISTOPHER RUSSO

BoMon V»ntur« Fantji, SpofU Vanlum

ROY SALTER
Th* S^r Group

IAN SCHAFER DANIEL SCHEINMAN

DhP Focut Clxo MmIu Solutioni

TOM UGER CHRtCTOPHER AH. VOUMER

NETWORK WITH TODAY'S TOP DEALMAKERS

BILLBOARD SPECIAL RATE $1400 • REGISTER BY NOVEMBER 11 • USE PROMO CODE: BBAD
REGISTER TODAY! SPACE IS LIMITED

www.MediaAndMdneyCqnference.Cdm

REGISTRATION: Lisa Kastner 646.654.4443 • SPONSORSHIPS: Kim Griffiths 646.654 4718 • THE ROOSEVELT HOTEL 888.B33.3969 Discounted Rate S299/night

GOLD SPONSORS CDNFEREIMCE SPONSORS

UK
IHADta.

tj-LnjMrLniv.v». XhE SALTER GROUP CISCO MLOEB.lo

IN ABSOCIATION WITH:

MarketWatch

VSNLKagan iNvtstMtm

THE WALL STREET JOURNAL
Billbocrd

Dow Jones LBO Wire

BMMIIB

Dow Jones Private Eqtjity Analyst

KDmiEB

Cni

KLEINER
PERKINS
I CAUFIELD (4
BYERS
PARTNER

Matt M

The manager of the iFund, which
invests in iP^one app developers,
discusses nlusic's appeal in the
surging mobile app market.

Several months before Apple opened its App Store in July 2008, the venerable Bay Area ven-
ture capital firm Kleiner Perkins Caufield & Byers launched the IFund, a $10O million Invest-
ment vehicle focused on backing companies developing applications for the iPhone and
the iPod Touch. The fund is a collaboration with Apple: Kleiner Perkins contributes funding
and Apple provides marketing support for the resulting apps.

After investing in a variety of social networking, utility and communications companies,
in October the iFund finally made its first bet on a music-related application: the song-
identification company Shazam. With more than SO million users, Shazam is one of the
few iPhone apps that has maintained its high ranking in tf>e App Store download charts
and its monthly usage rates.

Matt Murphy, the Kleiner Perkins partner wiv) manages the IFurkd, says he expects Shazam
to expand deeper into nnolMie music sales. adverti$lr>g, recommendations and even ott>er types
of content as the audience for mobile entertainment expands in the years ahead.

Murphy, who's been with Klelrter Perkins since 1999, serves as either director or adviser
for all the companies that receive an investn>ent from the iFund. He recently spoke with Bill-
board about the investment in Shazam, the state of digital music services and why startups
are better off launching on mobile phones instead of on the Internet.

What sparked your interest
in Shazam?

I f you think about what compan ics
have been around for the year-and-
a-half since the App Store launched
and arc really popular, there's re-
ally only a handful because so many
come out. and people find them in-
terestinj; for a few days, and then
disappear. But Shazam has been
one of those consistently high-rank-
ing apps like Pandora and Faccbook
that everybody seems to love. Peo-
ple love the action oftagginga song
in real time, the dehght of seeing
what it is and then the ability to buy
it in real time or share with friends.
As much as anything, they dehned
a widely used use case that people
are loyal to. To build an iconic brand
around that is very hard to do and
very few companies have done it.

So what's the future opportu-
nity for Shazam?

It's basically getting into a more
holistic experience around music.
Broader forms of discovery, rec-
ommendation, music manage-
ment and even moving beyond
music into all different forms of

entertainment.

How Important are the new in-
app purchase and subscription

capabilities for the iPhone in
terms of driving new business
models for mobile apps?

It's terrific that Apple has listened
to its constituents of developers
who said they need more ways to
monetize . . . this free-to-pay
model we've seen as being very
successful. You need to make it so
the masses can do whatever they
want for free, but those who want
additional or more functionality
will be able to pay. Maximizing the
number of ways that this vibrant
developer community can make
money is really important, and
Apple has responded. In 2010.
we're going to see a lot of much
more scalable companies emerge
from a revenue perspective, and
that has us really excited.

You've only invested in one
music-related service. Why?
You lake a look across the categories
we think are important — social net-
working, communications, games,
entertainment. utiHties — there's a
wide landscape of things to invest
in. Frankly, our model generally is
to invest in one company in a cate-
gory and go really long on that and
make that the biggest winner. So if
we feel there's an adjacent oppor-
tunity in music, instead of funding

another company to do that, we try
to make it so Shazam can subsume
that opportunity as well. That's how
you build the largest company, by
carving ofTas much of the value
proposition as you can.

As the music industry focuses
more on mobile apps, what fea-
tures should they focus on?

Partnering with Tapulous for "Tap
Tap Revenge" and coming out with
arlisl-spccific versions of thai.
There's theT-Pain app with Smule.
I think we're going to see a lot of
(artisi-centered apps). You can get
some short-term pops and mone-
tization out of that. It probably
breaks down i f you have 50 versions
of the same app. each with differ-
ent artists. But we're in a stage right
now where everybody is trying to
experiment. The music industry is
trying to monetize all these digital
assets on mobile, and mobile de-
velopers are basically experiment-
ing with their apps by bringing
content into it. So it's early days.

I kind of like the fact that peo-
ple on both sides arc being exper-
imental. And ultimately things will
shake out of that where people are
doing things that are more strate-
gic, durable and long-lasting. I
can't predict what that will be right

now, but I do believe the combina-
tion of applications, functionality
and content is here to stay. Doing
that in ways thai increase the value
of the application is good for the
app developers and good for the
music industry.

Are venture capital dollars
starting to loosen up again for
music services?
It would be hard for me to say that
dollars are loosening up for music,
but they are being loosened up for
mobile. You look within mobile
and ask what one of the absolute
hit use cases on mobile is going
to be. People love music and peo-
ple love to take music with them
wherever they go. They like to dis-
cover music and socialize around
music. So that's going to be a hit
area. If I think of the big five ap-
plication opportunities, music is
one of them.

Are developers then better off
focusing on a mobile app than
on Internet-based services?
Mobile is the new platform. When
there arc platform disruptions,
there's always opportunity. For the
companies that are there first as the
platform evolves and come up with
a hit use case and application that

creates a large audience, the rewards
will generally accrue to that class of
company. Music on the Internet is
a minefield that has been battled for
several years. So any time you're
thinking about a new service, thiiik
about where the green field oppor-
tunity is. The one benefit of the Web,
of course, is that it has 10 times the
users of the mobile Web right now.
That's going to change meaning-
fully in the next couple of years. But
in that environment, you have to
have something that's just so dif-
fercnl from everything that's out
there. Mobile is an easier platform
to win thai initial audience.

Do you have any plans to launch
a fund for the app stores from
iPhone competitors like Android
and BlackBerry?

The way we're looking at it right
now is that the best entrepreneurs
and the most piopular applications
will be built on the i Phone and then
look to expand their distribution to
other platforms. We don't dictate
what platforms companies are on,
but I do think the iPhone will be
the best experience.

If you could give one piece of
advice to labels as they look to
monetize digital music, what
would It be?

I would say be really flexible and
be really experimental. It's early
days. We don't want to cut off any-
thing that would stifle the innova-
tion we've seen all around us. This
platform is set lo explode two to
three times a year on the iPhonc
alone, four to five times a year
across all platforms. The jmobile
pie] is going to be so much bigger.
Right now, we should all maximize
our learnings, and we can tighten
up the models over time. Unless
we're all more open and experi-
mental, we're not going to learn
what's going to work and what's
not going to work. ••••

Peoi)l(' love music and people love to take music with them wherever
they jjfo . . . That's going to be a hit area [for app developers] . If I think
oi" the big five application opportunities, music is one of them,

NOVEMBER 7. 2009 I www billboard biz 1 19

Cni

U» Well iUmplLIL WAYNE
orms Oct. 7 at London's
imersmith Apollo.

LIL WAYNE'S LAST TOUR
ENERATED $39 MILLION-
AND SET THE STAGE FOR
HIP-HOP ACTS TO BOOST
TOURING REVENUE
BY MITCHELL PETERS

lllll

The week after the )une 2008 release of "Tha Carter 111." Lll
Wayne performed a sold-out concert at the 1 .000-capacity House
of Bhies on the Sunset Strip in Los Angeles.

Along with the sellout, the New Orleans rapper had some-
thing else to celebrate — he had just become the first artist since
50 Cent in 2005 to sell more than 1 million copies of an album
in a single week. Those who attended the Hou.se of Blues con-
cert remember it as a "madhouse." says Paul McCuigan. the
club's talent buyer. "I've never seen anything like that.*

The raucous scene included crazed fans attempting to get
in through fake windows on the rooftop — and by scaling the
fences next door. "I turned away tons of people." McCuigan
says. "Everybody wanted to be inside and part of the show
that night."

At the time. Lil Wayne was no stranger to the stage. But even
though the rapper had performed live since his early teenage
years, he had traded in a hezvy touring schedule for sporadic —
but lucrative — club dates or one-off radio show concerts. So it
was a surprise to some when Lil Wayne returned to L.A. seven
months after the House of Blues show and sold more than
23,000 tickets to back-lo-back concerts at the Gibson Amphithe-
atre. The shows grossed $877,345.

Historically, hip-hoparlists have relied mostly on album sales
to sustain their careers: rap acts that release platinum-selling
albums rarely see the same success in concert. For example,
since 2006, T.L has released two albums that have sold more
than 1 million copies, but only eight of his concert grosses have
been reported to Billboard Boxscore.

But as sales continue to decline — through the week ending
Oct. 18. album sales were down 13% in 2009 compared with
the same point last year, according to Nielsen SoundScan —
more rappers are taking a serious look at touring as part of their
long-term strategy. "They don't have the income coming from
big record labels," says Peter Schwartz, a booking agent at the
Agency Group who represents acts like Method Man. Redman,
De La Soul. Raekwon, Ghostface Killah, Immortal Technique
and Del Tha Funk)' Homosapien. "So they go on the road, play
live and sell merch."

McCuigan has seen this firsthand at the club and theater
level. "There's far more hip-hop touring now than there was
even two years ago, and 100 times more than there was lOyears
ago." he says. "Ten years ago. hip-hop acts just didn't tour."

Fueled by the success of "Tha Carter III" — it has sold 3.3 mil-
lion copies in the United States, according to SoundScan. and
spawned seven Billboard Hot 100 hits, including threetop lOs —
Lil Wayne put on what became the most lucrative rap tour in the
history of Billboard Boxscore. And the lessons of that tour, es-
pecially the decisions to focus on his showmanship and pres-
ent diverse supporting acts, could be useftU to anyone in hip-hop.

"You have to perform ever>' night and you have to execute
every night," Lil Wayne says. "You build it and they will come."

In 2008 and 2009. Lil Wayne's 1 Am Music and Amer-
ica's Most Wanted arena and amphitheater tours grossed
2 $39 million in North America and drew more than
^ 724.000 fans to 68 concerts, according to Billboard Box-
O score. Ticket prices for the I Am Music trek cost $40-
(/) $159. and tickets forthe America's Most Wanted jaunt
11} ranged from $29.99 to $1 50.

2 "1 received positive feedback on the grosses, but more
^ soon the amount of shows thai we played." says Sports
^ & Entertainment Financial Group president Shawn Gee,
5 who aUo Rer\-ps as I.il Wayne's to\ir producer and tour
business manager. "It was amazing that we did the amount of
shows that we did domestically over a short period of time."

The numbers will likely earn I.il Wayne a spot on Billboard's
year-end list of the top 25 grossing tours, a rare feat for a hip-
hop artist. Tlie most recent rap act to land on the year-end tally
was fay-Z, whose 2008 co-headlining trek with Mary J. Blige
ranked No. 21.

The gross from Lil Wayne's tour {which started Dec. 14, 2008.
and wrapped Sept. 6) tops |ay-Z's jaunt with Bligc. which grossed
534. 5 million and drew 310.694 concertgoers to 27 shows, and
Kanye West s 2008 Glow in the Dark tour, which pulled in $30.8
million from 49 concerts that attracted 507.853 fans, accord-

ing to Billboard Boxscore.

After seeing how well West and )ay-Z did on the road, Lil
Wayne's management team knew there was money to be made
from concerts, especially given the momentum behind 'Tha
Carter III." Unlike those acts, however, Wayne hadn't yet es-
tablished himself as a large-scale venue headliner in the eyes
of concert promoters.

So last fall, the rapper's camp recruited Gee. who is no
stranger to ambitious rap tours. His first step was to book a
support package that would appeal to all musical segments of
the rapper's fan base, including devotees of R&B. pop and al-
ternative rock. He divided the tour into three legs that featured
support on various dates from Keyshia Cole. T-Pain, Gym Class
Heroes. Keri Hilson. Young )eezy, Drake, Soulja BoyTeU'Em,
leremih and Pleasure P.

"It was the mixture {o( musical genres] that allowed for the
package to work, because Wayne has a potpourri fan base,"
Gee says. "You have to make sure the consumer not only con-
nects with the headliner in the package, but the entire pack-
age as a whole."

The same strategy worked for West's Glow in the Dark tour,
which featured Rlhaima, N*E*R*Dand Lupc Fiasco. Eminem
and 50 Cent's 2005 co-headlining jaunt featured support from
Lil )on& the Eastside Boyz. G-Unit, D12, Obie Trice and Stat
Quo. The latter tour cracked Billboard's year-end list of the top
25 tours, grossing $21.2 million and drawing nearly 326,000
tans to 21 shows, according to Billboard Boxscore.

Gee also found Lil Wayne an experienced road crew. During
the tour's planning stages. Gee says venue execs and promoters
had a "negative perception'* of Lil Wayne as a touring act. To put
their minds at ease, he surrounded the rapper witli veterans who
previously worked on outings for West. Eminem and Beyonte.

They were experienced in tnoving large tours from a pro-
duction side, a .security side and a tour management side." he
says. "So it made the marketplace comfortable, but it also helped
with the efficiency of the tour as well."

Lil Wayne's success on the road may not have been possible
without the accomplishments of )ay-Z. whose decade-plus
toming career is "the blueprint of what we wanted to do with
our own clients , " according to H ip Hop Since 1 978 CEO Gee
Roberson. who manages West and co-manages Lil Wa>Tie.

)ay-Z. now signed to a multirights deal with Live Nation,
is the only rapper headlining arenas without the support of
another big act. He'scurrently playing North American col-
lege arenas through November, with openers N*E*R*D.
Wale and ). Cole. Additional dales are planned for Febru-
ary and March 2010, according to Live Nation senior VP of
touring Faiscl Durrani.

]ay-Z has paid his dues on the road since the "908. team-
ing up on various tours with Blige. DMX. R. Kelly. 50 Cent
and others. "You can't ignore his history." Gee says. *Jay-
Z's team has been great at developing him as a live artist,
and he's reached the point where he can go out and headline
without a big package."

Lil Wayne's team hopes to bring their artist lo the same level.
But Gee admits they may not get there on the rapper's next tour.
"Packaging will always be important." he says. 'Will you need
as many artists to support, or as high-profile artists to support?
Obviously, the goal is no. The goal is to provide a great show
where you don't have to overspend on support."

Lil Wayne's ftiture now holds some uncertainty, since the
rapper in late October pled guilty to attempted weapon posses-
sion that could land him a one-year prison sentence. Gee and
Roberson dtxilned lo comment on how that would affect tour-
ing plans, but Gee believes Wayne's next tour will again visit
targe-sized venues in North America (see story, page 22). Lil
Wayne is expected to be sentenced in February, two months
after the planned Dec. IS release of his new album, "Rebirth."

WajTie. West. |ay-Z. 50 Cent and Eminem are among the few
hip-hop artists who have graduated to arena-level status, since
tours at this level require heavy radio play and a marquee co-
headliner or support package. Industry executives also blame
tlie lack of viable hip-hop headliners on artists' decision locash
in on lucrative one-off gigs instead of developing a touring base.

NOVEMBER 7. 2009

v.btllboard-biz

rrhafs a rap: JAY-Z performs at KPWR Los
I Angeles' Powerhouse concert Aug. 8 at
I the Honda Center in Anaheim, Calif.: right:
L DRAKE performs at the BET Awards June
[ 28 in Los Angeles.

"Some of these acts are knocking down S20.000-$ 50.000 to do
aclub — they roll in. walk onstage, do 30-40 minutes and tliey'rc
done." says )eff Sharp. VP of urban touring at AEG Live/ At-
lanta Worldwide Touring. "They tan afTord to do two shows a
week and they end up netting more than they could ever do
going out and doing the arena business."

Gee says that "most hip-hop artists don't necessarily know how
to tour what level of commitment it takes to build a touring ca-
reer." Others say the genre's singles-driven nature makes it hard
for acts to stay in the spotlight long enough to cultivate a fan base
that can support arena tours. "The guy who's hot today might not
be hot at all three months from now," McGuigan says. "It's hard
to plan five years from now when you have a single that's cur-
rently hot on the radio and that's how you're getting booked."

Most executives agree that nonstop touring is the only way to
build a lasting live career, which could require sacrificing attrac-
tive one-ofF paychecks for lower-paying support slots. "That takes
a certain mentality of saying. 'I'm going (o take this hit. because I
know Cm performing in front of 30,000-pius people per night and

that in turn is going to open the door for me to have my own tmir
one day,' " Roberson says. Early on in West's career, he notes, the
artist \^as tumingdown attractive single-show engagement offers
to open concerts for Mos Dcf. Usher. U2 andtlie Rolling Stones.

Will the success of Lil Wayne's tour encourage up-and-
coming rappers to hone their live shows? For now,
Roberson and Gee are focusing their efforts on new-
comer Drake, who will promote the release of his up-
coming album next year with a North American
headlining tour of small clubs and theaters. "The good
thing about Drake is that he loves to perform live and

O
o

(/} he's willing to put in the necessary work to build a tour-

Qj ing career," Gee says. "He understands that it's a grind —

^ it's a marathon, not a sprint."

^ Drake will also attempt to build a live fan base overseas

CC in a way few rappers do. "We're going to work the intema-

O tional angle from the beginning, because that's a mistake I
think a lot of artists make — they wait until they're hot in the U.S.

before they start looking at the rest of the world," Gee says.

Roberson has big ambitions for Drake, who has already bee
exposed to thousands of concerlgoers opening for Lil Wayn-
"He's been cultivating on the arena level already and we don
even have an album out." he says.

Gee and Roberson have even bigger plans for hip-hop tour
stadiums. "I can't speak on it right now," Roberson says, "bi
we will absolutely be on the phone within a year or year-and-
half talking about the model of hip-hop sladium tours." A sii
gle-artist stadium tour could be hard to sell, but the pair h:
also been taking meetings with other artist representativt
about organizing one-ofF events.

"If we don't do that, who will?" Roberson asks rhetorical!
"We're not stopping, we're only starting."

IS U.S. HIP-HOP
LOSING ITS PLACE
ON THE WORLD
STAGE?

Lil Wayne's looming legal issues will
no doubt put a damper on his 2010
worldwide touring plans. But the
good news is that the rapper has al-
ready laid the groundwork for a
promising overseas live career in the
coming years.

In late Octot>er. Lil Wayne was forced
to give up his passport after pleadmg
guilty to attempted weapon posses-
sion that could land him a year in prison.
(Sentencing isn't expected until Feb-
ruary.) But two weeks prior to the guilty
plea, the rapper sold out three makeup
concerts at the 5.000-capacity HMV
Hammersmith Apollo in London, as well
as shows at the 5,500-capacity
Heineken Music Hall in Amsterdam and
the 7.000-capacity Zenith in Paris, ac-
cording to his representatives.

Those involved with the London
shows say Lil Wayne could've moved up
to a larger venue if the proper produc-
tion had been in place. "If Wayne had
been ready and had the production, we

could've done [London's 12,500-seat]
Wembley Arena," says AEG Live presi-
dent of international touring Rob Hal-
lett. whose company co-promoted the

shows with S JM Concerts.

Sports & Entertainment Financial
Group president Shawn Gee, who also
serves as Lil Wayne's tour producer and
tour business manager, says the ball-
room and theater stint was meant to
expose the rapper's live prowess to Eu-
ropean audiences.

"Although a lot of them purchased
his record, they didn't know Lil Wayne
the live performance artist," he says.
"From an international perspective,
you truly have to go and develop
those markets."

Prior to the guilty plea. Lil Wayne's
team had planned for the artist to per-
form internationally in 2010, including
dates in Europe, Japan. Australia and
New Zealand. Gee declined to comment
on how Lil Wayne's legal troubles could
hinder those plans, but he notes that the
rapper will likely perform in larger Eu-
ropean venues on his next tour.

If all goes as planned, Lil Wayne
could someday achieve arena-level
headlining status in certain parts of
the world, as seen in recent years

with superstar artists Kanye West,
Jay-2, Eminem and SO Cent. But
while they are certainly capable of
playing bigger venues in select in-
ternational markets, concert promot-
ers throughout Europe, Japan and
Australia seem to agree that the
demand for midlevel hip-hop is de-
creasing and generally concertgoers
prefer home-grown rappers who de-
liver shows in their own language—
or at least in their own accent.

For example. West may have nearly
sold out Paris' 17,000-capacity Bercy
venue in 2008, but "the demand for
U.S. acts is not growing in France," says
Angelo Gopee. production director for
Nous Productions, which has booked
shows for West and Jay-Z. But domes-
tic rappers like NTM, Diam's, lam, Rohff
and Booba are consistent sellers at the
box office.

Meanwhile, some German promot-
ers aren't willing to pay the fees that
top American hip-hop acts demand, ac-
cording to Four Artists managing direc-
tor Michael Sand. "There are so many
strong national acts," he says, "that U.S.
acts are not necessarily the be-all and
end-all. They also have wrong ideas
about what can be paid and the num-

bers of [fans] they can attract."

The core rap touring market in Japan
is weakening, says Naoki Shimizu. pres-
ident of Creativeman Productions,
Japan's primary promoter for major In-
ternational hip-hop acts. "There used to
be many club tours by U.S. hip-hop
artists around four or five years ago,
but it's quite hard to find now," he says.
"Tickets don't sell these days."

Some popular American rappers oc-
casionally play dates in Australia, but
recently canceled or postponed dates
—sometimes at the last minute- by hip-
hop artists like Pitbull, Busta Rhymes,
Coolio and Timbaland have hurt the
genre's reputation among fans.

"I've seen more cancellations of hip-
hop tours than I have seen tours go
through," says Frontier Touring tour
coordinator Michael Harrison. As a re-
sult, he adds, "over the years, there has
been a lot of mistrust of hip-hop acts
amongst Australian audiences. That
doesn't generally happen with local
rappers, such as Hilltop Hoods and
Bliss n Eso." —MP

Additional reporting by Lars Brandfe.

Andre Paine, Aymeric Pichevin. Rob
Sch wartz and Wolfgang Spahr.

22 I BILLBOARD NOVEMBER 7, 2O09

WEEZY RAPS
ABOUT ROCK,
'REBIRTH' AND LIFE
ON THE ROAD

BY GAIL MITCHELL

Lil Wayne always keeps it moving. That's
the one absolute you learn about the
rapper after talking with him.

When Billboard caught up with Lil
Wayne — real name Dwayne Michael
Carter Jr. — it was a couple of days after
he had finished a set of shows in Lon-
don, Paris and Amsterdam — and a week
before he pled guilty to attempted
weapon possession for an incident that
occurred in 2007. Having barnstormed
his way through 68 stateside shows dur-
ing his top-grossing 1 Am Music and
America's Most Wanted tours in 2008
and 2009 (see story, page 21). he de-
served a few days off. Instead, the
Miami-based rapper was busy complet-
ing his free "No Ceilings" mixtape — "A
big thank you to fans for coming out and
showing me love every single night" of
the tours.

Several leaks from the Halloween re-
lease feature Wayne rapping over beats
from Jay-Z's "Run This Town" and
Fabolous' "Throw It in the Bag." Slated
for release just after the mixtape, on Nov.

2'i. is thr "Mr. Carter" EP, oxcliisivc to

Best Buy.

It's all in anticipation of Wayne's "Re-
birth." While his Universal Motown pub-
licist didn't respond to several requests
for comment, another source at the label
says that Wayne's legal issues — the rap-
per faces a one-year sentence in Febru-
ary— will not impede the often-delayed
album's Dec. 15 release. But one ques-
tion looms: Can Lil Wayne keep it mov-
ing when it comes to maintaining his
sales and touring success.^

How has touring helped shape your
success thus far?

It's played a big part in my career. I've
been on the road since I was about 14.
Since then there's never been one city
that I've been stable in for six months.
Honestly, touring is just another part of
my day. The stage comes at 9 p.m. OK, I
eat at 12 |laughs|. It's natural for me, not
a preparation. And I thank Cod for that
every day.

Whether it's a club or arena, I perform
my ass off. I go out there and give it my
all every single night. I would die onstage.
Some people like to just go out there and
have their song played with five people on-
stage, and you don't even know who four
of them are. You've got to go out there and
perform. Once that works, people will
come. And as long as people keep scream-
ing when I step out there, I '11 keep giving
them me.

Do you have a sense of withdrawal when
you're not on the road?

As soon as you start to develop that sense
of withdrawal, you get a call from your
manager lin Wayne's case. Cortez Bryant)
telling you that you've got 60 nights com-
ing up somewhere so you'll be all right
llaughs]. Honestly, the way my schedule
is. my days — even when I'm not on tour —
are still full. I'm in the studio every sin-
gle night. There's really never a moment
for me to actually sit and breathe and even

notice if I'm having withdrawal symptomfi

because I have to keep it moving. 1 just
turned 27 on Sept. 27, so I'm not in a rush
to take any downtime.

Speaking of keeping it moving, "Re-
birth" Is finally coming. Given earlier
leaks from the project, did you make
many changes to the final version?

As of now "Rebirth" is coming out as a
double-disc with a {disc of songs] by Young
Money. I had to add new cuts because a
tot of things leaked, making people think

they had an idea of what 1 was doing with
"Rebirth" and what it would sound like.
And I hated that because I never want any-
body to think they know what I'm doing
until I present it. So what I did was make
it totally different — I flipped it.

Does the album still lean toward rock?

Yes, the album is still rock. I play guitar
on 80% of the songs and there's a lot of
rock influences and rock beats. I also have
Travis Barker on the album.

But I don't want people to think I 'm try-
ing to do something I can't do. Don't think
you're going to put on the album and hear
me screaming and singing. . .Don't worry
about that [laughs]. When people hear me
say rock, they may get a little scared like,
"Oh, God. What is he going to do?"

When I said I was doing a rock album,
it was about doing a freedom thing. This
album isn't hip-hop. When I do my "Carter"
albums, I know I've got to rap, I know I've
got to spit — I know the words I've got to
say and the subjects I've got to talk about.
I also know the things I shouldn't say. the
things I shouldn't talk about.

There's none of those limits on this
album. I say what I want, how I want.
That's what this album is: a freedom
album. And rock is the avenue that gives
you that freedom.

I'm just having fun, that's all. Trust me:
People will like these songs. It's my job to
make them love them, but I know for a
fact they'll like them.

What can we expect from the second
disc by Young Money?

The expectations for Young Money are
great. But I think they'll meet them be-
cause everybody — Drake, Nicki Minaj.
Lil Chuckec, Shanell, Lil Twist. Tyga.
)ae Millz, Gudda Gudda, Mack Maine
and T-Streets — works their asses off.
Every song is great, which creates a
dilemma because we don't know what
to pick as singles.

Any truth to rumors that "Tha Carter
IV" Is coming this year as well?

No. no. "Carter I V is coming next year at
a proper time like it's supposed to.

You recently did a guest feature on the
new Weezer album. Any more rock proj-
ects on the horizon?

Weezer gave me a vivid picture of what
they were trying to accomplish and it was
wonderful to be a part of that. 1 also worked
with Kid Rock and with Fall Out Boy— Pete
Wentz and I are real tight. Other than that,
I 've worked with Gym Class Heroes. And
I've been kicking it with Green Day, but
I'm not sure if we'll get anything done real
soon. You know me — I've been out there
doing things with everybody.

Including working with Chris Brown,
Madonna and Shaklra. Do you get con-
cerned about overexposure?

I just don't understand the whole point about
using yourself too much or doing too many
features. This is work; this is a job that we're
doing and you want to work as much as you
can. I've been wanting to ask people, "You
know, I get paid for those features, right? So
do you think I'm getting paid too much or
do you think I'm working too much? Is that
what you're asking me?" 1 don't get it. All
I'm doing is putting in overtime [laughs].

How is Drake's solo album coming along?

He's one of those guys who needs no help

[laughs]. I dnn'l do anything hut say. "Let

me hear that song." And I'm blown away
with every word. I 'm honored to have him.
Knowing Drake, I want to say he's proba-
bly finished with the project. But he's one
of those guys who keeps going back to put
more icing on the cake.

Is a Hot Boyz reunion still In the works?

I still agree with it — let's put it like that.
There are four sides to this, and it's hard
getting four sides to come to the table. But
I still agree. ••••

NOVEMBER 7, 2009 I www.billboard.b)z I 23

Cni

The last show: MICHAEL JACKSON'S
flnal rehearsal, held June 23 at the
Staples Center In Los Angeles.

•or "This Is It" Michael Jackson's planned 50-
oncert residency at London's 02 Arena, the star's
udden, tragic death really could have been it, with
nillions of dollars lost for producer/promoter
iEG Live and the star's vision never realized. ■
nstead, the movie and music divisions of Sony
lave a film and soundtrack to sell, and AEG vnll
hare in the proceeds. But neither would have
appened if the companies hadn't had fire-drill-
laced meetings to turn a human tragedy into what
5 already being described as a creative and
inancial triumph. ■ On Oct. 26, Sony's Epic label
eleased the double-disc set "This Is It" to coincide
nth the release of the movie of the same name,
/hich arrived in theaters Oct. 28 and will run for a
mited two-week engagement. It opened
t'ednesday with a one-day gross of $7.4 million in
le United States and $20.1 million worldwide.

The film answers a lol of qucslions." says
Rob Stringer, chairman of Sony Music. " I can't
comment on a lot of issues that were going on
with Michael, nor can anyone else, it's very dif-
ficult. But you want to know that he was slill a
fantastic cntcrlaincr. that he still cared, that he
was still musically amazing, and all those things
are just obvious in this film."

The saga began with the announcement last
March of ]ackson*s string of shows at the 02.
the resuh of two years of talks between Jack-
son and AEG Live, spearheaded by AEG Live
CEO Randy Phillips, The ideas discussed in-
cluded a tour, a few shows and. finally, a resi-
dency. "It took a while for [|ackson| to get
comfortablf with this, but when he finally made
the decision that he wanted to do something,
we were in the unique position where London
was obviously the perfect place to do it.' says
AEG CEO Tim Leiweke.

Ticket sales for the initial 10 shows blew up
ai the box office, and the number of dates was
raised to 50. Although all parties were taken
aback by the demand, Leiweke says Jackson
was fully committed to 50 shows, despite re-
ports to the contrary. "We've heard all of the
speculation and opinions out there, but the re-
ality is this is something Michael wanted to
do," he says.

Conceptually, Leiweke says the production
was "all Michael's" vision — and that vision was
expensive. " It was budgeted lo be $ 1 2 million,
but Michael had big dreams and big vision,"
Leiweke says. "By tlie time we were ready to go
to London we were at $35 million."

In March Jackson reached out to Frank
DiLeo, who managed him during a spectacu-
lar '80s run that included the star's most suc-
cessful albums and tours. "Even though he
fired me. Michael was still my friend. We never
lost the friendship." says DiLeo. who had "no
hesitation" about coming back to work for Jack-
son. " I was extremely excited about being back
with him. because we were a magical team in
the '80s. He missed it. I missed it."

As rehearsals got under way, public skepti-
cism turned into anticipation. Even the re-
hearsals two nights before Jackson's death
"wereextraordinary," Leiwekesays. "Everyone
came out of there talking about how incredi-
ble it was."

The June 24 rehearsal didn't run as long,
Leiweke says, and fackson spent much of that
time reviewing video production elements. " He
wasn't taxing his voice that night because he
was getting ready for London," Leiweke says.

At 12:30 p.m. June 25. Leiweke received a
call informing him Jackson had been taken
to the hospital. "Like the rest of the world, we
were on the outside," he says. "Randy
[Phillips| didn't know specifics until he got
to the hospital, and by then, unfortimately, it
was our worst scenario. It was shocking be-
cause what we knew was he was healthy — of
that we were certain."

As word of Jackson's death spread, AEG had
no time to mourn. The company shifted from

preproduction to damage control. "A lot of de-
cisions were made between Tim Leiweke and
myself on cell phone while I was standing out-
side the emergency room," Phillips says. "Tlie
first thing we did was have our security close
ofT Staples Center, shut down the production
and put all of our intellectual property into the
vault at Staples Center so nobody could get near
it or leave with it."

As Jackson's death became a media circus,
Leiweke ordered Staples Center G M Lee
Zeldman to turn ihearena into a fortress. "We
locked the building down and said. 'No one
goes in and no one goes out,' " Leiweke says.
The instructions were clear: No pictures of the
set. noonc in Jackson's dressing room, no one
touches anything. "We fired a couple of em-
ployees because they took pictures of the stage
and we thought that was inappropriate."

Jackson died on a Thursday, which meant
AEG executives in [.ondon and the company's
Los Angeles headquarters had a marathon
meeting. Amid their grief. AEG executives
started trying to figure out what to do about
their investment, even as the words "financial
disaster" started to creep into news reports.

"We weren't thinking that way." Leiweke
says. "We knew we were in a bad spot and deal-
ing with a crisis, but we believed eventually
we'd work our way out of this. Needless lo say.
those were really difficult, long days — bad
days — but 1 don't think we ever panicked. We
had faith that we would eventually find a way
to come out of this and recoup the investment."

The decision that saved "This Is It" — as both
AEG's investment and Jackson's legacy — had
been made wtxks before. Rehearsals had been
filmed, and it is that edited footage that became
the Sony Pictures film.

" 1 said, 'We've got lo archive your comeback
because this is going to be historical.' and [ Jack-
son] agreed," Phillips says. "We never expected
it to be a movie. This was really for his personal
archives — and also to be B-roU and behind-the-
scenes footage that probably would have been
a DVD concert film."

Within days of Jackson's death, AEG started
editing the rehearsal footage into a narrative
at AEG's L.A. Live facilities, "Under armed
guards we had the editors working for three
weeks collating 1 30 hours [of footage} and dis-
tilling it down lo three-and-a-half hours in Ihe
first pass." Phillips says. "And then we took 12
minutes of that and used it as a demo."

Up until longtime Jackson assot iatf^ John
Branca and John McLain, who had been named
executors in Jackson's will, were officially
named administrators July 6. AEG had been
able to act unilaterally. There was some doubt
about who would control Jackson's estate, and
"we didn't event know there was a will for over
a week," Phillips says. As those details were re-
solved, however, AEG began negotiating with
the executors — Branca and McLain, and attor-
neys Joel Katzand Howard Weitzman — tode-
terminc how to proceed.

Fortunately. AEG's corporate cousins in-

NOVEMBER 7. 2009

www.billtxiard.biz I 25

Cri

'f< LOT OF DECISIONS WERE MADE BETWEEN TIM LEIWEKE
AND MYSELF ON CELL PHONE WHILE I WAS STANDING OUTSIDE
THE EMERGENCY ROOM.' -RANDY PHILLIPS, AEG LIVE

elude Anschutz Film Group and its Walden Media division
("Ray," "The Chronicles of Narnia"). So AEG Live had Anschutz
Film Group negotiate with potential distribution partners.

Four studios bid on "This Is It": Universal. Fox. Paramount
and Sony, which submitted the winning bid of $65 million, in-
cluding $5 million for AEG's editing costs, according to Phillips.

The driving force behind the film negotiations with Sony
was Jackson's estate — represented by Branca and McLain —
which had to grant permission; Branca's firm, Ziffren Brit-
tenham, negotiated the deal, in consultation with Phillips.
Sony Music controls jackson's catalog, but AEG executives
were also impressed by Sony Pictures co-chairman Amy
Pascal, who was relentless in her pursuit of "This Is It."
"She had a great vision," Phillips says. "She pursued it
hard and she called everybody, all the time. She had to have
this movie."

One particular meeting stands out for Phillips. "The first
marketing meeting I had at Sony Pictures, there were about 40
I>eople in this conference room, and what blew my mind was
the fact that this little movie, this HD footage of Michael jack-
son, was getting the attention of a whole studio. They just ab-
solutely stopped to focus on this project," he says. "And I was
thinking to myself just how much Michael would have loved
this, because it was so over the top."

On Aug. 10. Los Angeles Superior Court approved a deal that
Jackson's estate would get 90% of the film's net revenue, with
the remainder going to AEG. (AEG will also receive revenue
from the soundtrack.) That's a small percentage, considering
that AEG put up the investment. "I'm sure some would argue
that this is a small percentage to lake for that much risk and
that much work," Leiweke says, "but we didn't want there to be
any doubt as to our priorities here, which is to try and protect
the best interests of the estate."

The "This Is It" film was created by the same team that had
been working on the concerts, including manager DiLeo. di-
rector Kenny Ortega, choreographer Travis Payne, music di-

rector Michael Bearden and Concerts West co-producer /co-
CEO Paul Gongaware.

"The fact that [Kenny Ortega] is also a movie director is a
good thing in terms of understanding what footage they had,"
Stringer says. "I'm not sure we'd have gotten this done if it
would have been someone else coming in to work on it."

The film represents "unrestricted access to an unguarded
genius," Phillips says. "There's nothing in it other than the
credits that wasn't shot or recorded from March 5. when we
did the press conference in London, to June 25, when he
died. It's completely authentic. Nothing has
been doctored."

DiLeo refutes a small but vocal group
of fans who see the film as exploitat
of Jackson, who they believe was it
poor health at the end of his life. " 1 1
shows what kind of shape he was
in. and he was in very good shape."
he says. "The reports of him dying
and being 108 pounds are false.
The autopsy came back and he
was 136 pounds, and I can't re-
member him being over 1 50 in all '
the years I worked with him. The
film shows he had a clear head, that
he was involved."

Stringer says that "if I had watched a A
shock [or] tattle documentary, I don't think
we would have wanted to be associated. It':
ally a behind-the-scenes look at Michael's rehearsal for
a huge comeback. He is wonderful in it."

At press time "This Is It" was set for viewing on 18,000
screens worldwide, and it's anticipated to become the top-
grossing concert film of all time. It should handily beat "Han-
nah Montana/Miley Cyrus: Best of Both Worlds Concert
Tour," which earned $70.6 million worldwide, according to

The Promoter Faced
High Ticket Returns
For Jackson's Shows.
But Other Revenue Is
Now Available

As AEG has tried to recoup its invest-
ment on Michael Jackson's "This Is
It," it has faced one disappointment:
Fewer fans than expected kept their
tickets to the 02 shows as souvenirs.

When the promoter announced
that fans who wanted to keep their
concert tickets would have to forgo
a refund, its executives hoped that
as many as 40% would opt to do so.
Instead, they overwhelmingly opted
for refunds; only 14% decided to keep
their tickets.

The retention rate would have
been higher, AEG Live CEO Randy
Phillips believes, if fans had one of
the eight versions of the commemo-

rative tickets in hand, complete with
a hologram, as opposed to vouchers.
Even so, the 14% who kept their
vouchers added up to $5 million that
AEG could keep instead of refund-
ing, "which I would take as opposed
to not having," Phillips says.

That's only one of several revenue
streams AEG will not get from "This
Is It." The company's global merchan-
dising deal with Bravado, part of
AEG's original deal with Jackson, in-
cluded rights to broadcasts and sec-
ondary ticket sales, and Phillips says
Bravado has already recouped on its
merchandise royalty advance.

AEG also opened an exhibition of
Jackson memorabilia at the 02 Oct.
27, the day the movie premiered in
London; the exhibition will travel to
New York and Los Angeles. "What
we've done is take our exhibitions
division and our folks from the
Grammy Museum and asked them to
design it and build it [by the London
premiere]— which, by the way, is al-
most an impossible timeline," Lei-
weke says. "But we're used to impos-
sible deadlines."

There's still talk of a Jackson trib-

ute concert, although an event sched-
uled for late summer was canceled
as the "This Is It" promotional cycle
began. "I sat down with Michael's
brothers, and the original plan was
to take Aug. 29, Michael's 51st birth-
day, and do the actual show, the en-
tire production, at the 02 in London
using Usher and Justin [Timberlake]
and Janet [Jackson] and the broth-
ers," Phillips says. "We were actually
going to do that one show, only on
pay-per-view. But when we made the
deal with Sony Pictures, one of the
[provisions] was no one would see
any of the production elements of
'This Is It' until the movie opened." A
different tribute show may take place
next year, Phillips says.

"You deal with the circumstances
that God gives you and this was out
of our control and a disaster," Lei-
weke says. "But we didn't have time
to sit around and mourn— we had to
react. We had obligations— and more
than anything we felt we had a com-
mitment back to Michael to make
sure we took care of the kids. That
meant we had to find a way to land
on our two feet." —RW

Box Office Mojo, on just 700 screens.

For now, at least, the film's run has been limited to two week
This qualifies "This Is It" for Academy Award consideratio
and should generate buzz for the upcoming DVD. which is e
pected to arrive in first-quarter 2010.

The "This Is It" soundtrack was conceived alongside the fiU
project "when we saw the early footage, pretty much a few da;
after he died," Stringer says.

Sony Music dealt with the estate, primarily Branca an
McLain, to develop the project under pressure — "It would t
strange not to have an accompanying piece to the movie
Stringer says — but quality wasn't sacrificed. The packaging
expensive and really nice," he says, noting that the booklet coul
probably be sold on its own. "We got it right."

There isn't any exclusivity for "This Is It" at retail. "We'\
brokered deals with every single retailer in some way or th
other, on a global basis," Stringer says, which resulted in
complicated manufacturing schedule. The proces
of distributing the physical product remind
Stringer of earlier days. "I've done this
loTig time and I've worked on lots c
.Michael Jackson records, so in a wa
it's how Michael's records used to t
distributed," he says. "They were a
ways delivered on short notice an
there was always mass deman
around the world."

On the digital front, after muc
speculation about bundling "Th
Is It," it will be sold on iTunt
mostly, but not completely, a la cart<
,-\ll the songs will be available as ind
vidual tracks except the single.
Li initing the a la carte option is a sma
V business decision. Jackson's recorded woi
has fiown off the shelves since his death, with li
catalog of solo albums having sold 5.5 million copies
the United States since that time, according to Nielsen Soun
Scan. He has sold 9.2 million U.S. downloads since his deat
compared with 1.3 million the year before that, and he will ;
most certainly be the best-selling artist of 2009.

Expectations run high for "This Is It." though Stringer d
dined to ofier a sales projection. "I'm pretty sure there will I
a value-pack price; the package is a lavish booklet and a real
nice cardboard packaging, so it's a proper booklet, not jusi:
jewel-case CD." he says. "I think the retail pricing will be \
interesting, because I imagine peoplewillbevcry cotiipetiti
As AEG worked to put together the movie and its somidtr;
it took shots from Jackson family members and others tli.it i
company is more interested in profits than in promoting j.i
son's legacy. For his part, Phillips shrugs it off. "The prohl
with Michael is his death is as messy as his life was." he s:
"Everyone's looking for a villain. Sometimes there isn't a
lain — there's just bad circumstances and bad tuck, and tlu
what this was. I personally got attacked a few times on lUUn
television, but my skin is thick and that's part of my job."

Stringer also feels strongly that Sony Music has taken t
high road, saying the company's actions have been "
solutely the opposite of exploitation. I've worked with[ |;i
son] for a long time — a lot of this people in this toinp;
have. We didn't take adverts when he died. The catalog \
made available but we didn't do anything that we thoug
was remotely crass or overcommercial. We've been tare
because we've been protective of that legacy and we've do
things the right way."

What Leiweke says he is most proud of is "under luige .'^ire:
huge media scrutiny, and a few people saying things about
that we were stunned people would think, we maintained i
path. We did it with dignity. And when it's all said and doiit
believe more than the financial gains, people will look at t
way we handled ourselves, and more importantly look at t
way we gave back to the estate in doing the best we could
our partnership. Our reputation was at stake, and I believe 1 1
our darkest hour came our best moment."

Additional reporting by Reuters,

26 I BILLBOARD I NOVEMBER 7, 2009

HBWiDB

Orianthi Steps Out Of Michael
Jackson's Shadow by lars brandle

Drianthi Panagaris thought she had the perfect plan.
The 24-year-old guitar virtuoso, who hails from Adelaide.
\ustralia, was all set to shred as part of Michael Jackson's
)and during his set of comeback shows in London. She
vas also working on a solo debut, but thought it
vould be released after the run of shows that would
'stablish her as the female Carlos Santana.

Then reality tragically intruded. Her plans came crashing down when
jckson died June 25 after suffering from a cardiac arrest, just three
lonths before his planned return to the stage.

But rather than retreating. Orianthi. who uses only her first name pro-
?ssionally, changed course. Her debut album, " Believe" — for which she
rote songs and sings and plays guitar — was originally due later in the
ill. but Geffen Records moved up the release dale to Oct. 26 to take ad-
antage of the hype surrounding the theatrical release of "This Is It."
le posthumous )ackson music film. "When people see the movie. L,
ley're going to think I 'm either the fastest ambulance chaser in the
usiness or that 1 know what I'm doing.' quips Ron Fair, chairman
f Geffen Records. "She's absolutely the world's greatest female ^j^^
uitar shredder of all time. No disrespect to Lita Ford, but J'
lere's no comparison."

Tlie global release of "This Is It" to an estimated 25.000
icaters worldwide by Oct. 28 presented a promotional
pportunity too irresistible for GefTen to ignore. "Be-
eve'* was released Oct. 26, the same day as the sound-
ack to "This Is It."

For the last three months of jackson's life, Ori
nthi worked closely and intensely with the su-
erstar. His death is stiil a raw topic for Orianthi,
ut she now feels comfortable opening up.
I was so devastating for all of us involved,
orkingwith him for three months prcpar-
ig for the biggest show on Earth." she
lys. "But I got to play music with
im — I'm so grateful I got that time,
he experience made mc believe
I myself more."

Orianthf s stint with fackson
asn't her first time working
i(h a superstar cullubora-
■r. Her father, a performer
1 a Greek band, keplvar-
•us guitars around the
ome. and it didn't take
mg before Orianthi
icked her instrument,
hroughout her teens, she
aded riffs with the best in the
jsiness. By the age of 15 she
id worked with her "hero" Steve
ai, and at 18 she had joined Sanlana

onstage in her hometown. Tours and guest appearances followed with the likes of 2Z Top
and Prince,

"It's not easy being a female guitar player," she says. "You have to believe in yourself. I had
a teacher at school who told me to take up the harp. Hopefully we'll be able to inspire a whole
bunch of kids to pick up a guitar and take it seriously. That's my goal: to inspire more female
guitarists out there."

Word of the prodigious — and eye-catching — guitarist found its way to Fair, who went on lo
sign her to a worldwide deal. In 2006. at the age of 21 . Orianthi relocated lo Los Angeles, where
she worked on her album with producer Howard Benson (the All-American Rejects. Daugh-
try. My Chemical Romance. Three Days Grace).

Orianthi soon grabbed the attention of manager Stirling Mcllwaine. who had guided the ca-
reers of Daughtryand )ordin Sparks in the United States for Simon Fuller's 19 Entertainment.
Mcllwaine says he was "blow away" by his first glimpse of Orianthi. In early 2008. he and Fuller
made her the first signing to 19 outside the "American Idol" franchise. "Our plan was always
to position her as a guitar player. A female Slash, if you will," Mcllwaine says. "In America,
there are so many female pop singers who drop a guitar around their neck and strum a few
chords to look cooler or better than they actually are. Ori is a totally different thing. She's the
real deal, and she happens to sing. We decided early on to look at tasty moments where we could
position her as a guitar player and use our clout as a management company to aeate opportu-
nities for her."

The breakthrough presented itself in February, through a fortuitous onstage collaboration
with Carrie Underwood at the Grammy Awards, in the days after the performance. Orianthi
received a message through her MySpace page from Jackson's musical director Michael Bear-
den, inviting her to audition for the lead guitarist spot for the "This Is It" concerts.

"I've never been so nervous in my life, auditioning for Michael," she recalls. After Orianthi
tore her way through a rendition of "Beat It" — whose guitar solo was originally
performed by Eddie Van Halen — fackson gave the nod and she spent the
next three months rehearsing with the icon, six hours each day.

But for all Orianthf s guitar credentials, " Believe" is essentially a con-
ventional pop album with an utterly unconventional guitar solo on
each track. Jackson fans no doubt will tune in to the album closer.
"God Only Knows,' a late entry to the album that deals with loss.
Fair also wants to build a merch business around Orianthi
and says he hasn't ruled out the likelihood of a "Guitar Hero"
game in her image. "From a merch standpoint, there's so
much you could do with a female guitar hero which has never
been done before," he says. " I 'm sure we can start extrapo-
lating with pink Strats or nail polish with USB drives shaped
in the shape of guitars."

The first single, 'According to You," has been serv-
iced to U.S. lop 40 radio. A hectic U.S. promotional
schedule in recent weeks has led to Orianthi appear-
ing on "Good Morning America. " " So You Think You
Can Dance" and "On-Air With Ryan Seacrest" and
in a feature in "USA Today." She will appear as a
gxicst on Adam Lambert's solo album, while her
own album will be released Down Under Nov. 6
through Universal Music Australia. In 2010. she
plans to mount a worldwide tour.

"In a world full of gatekeepers and
haters, you can't hate Ori because she's
a legifimate and incredible talent, and
nothing like that has come alongever."
Fair says. "When everyone sees this
movie, they're going to say, 'Holy
cow, she's a genius.' " ••••

'IT'S NOT EASY
BEING A FEMALE
GUITAR PLAYER . . .
I HAD A TEACHER
AT SCHOOL WHO
TOLD ME TO TAKE
UP THE HARP.'

-ORIANTHI

w«vw.blUb<»rd.blz I 27

Welcome To i #

Paradis

Alejandro Sanz Steps Up His Marketing Game On 'Paraiso Express'
BY LEILfl COBO • PHOTOGRAPH BY RUBEN MARTIN

Alejandro Sanz knows his fans have

different definitions of paradise.H For some,
it's a walk in the rain; others, one child's love
of running; and others, a group of friends
frolicking at the beach. Sanz's fans captured
these moments, and hundreds more, in home
videos they've uploaded to Sanz's YouTube
channel. In the videos, which range from 10
seconds to a minute in length, they illustrate
what paradise means to them in an allusion to
Sanz's new album — "Paraiso Express" — and
the single "Looking for Paradise." featuring
Alicia Keys.

The campaign is as whimsical as it isbrilhant.and it's part
of a broad marketingefTorl ihat seeks to bring the usually ret-
icent Sanz closer to his fan base as he prepares to release
"Paraiso" Nov. 10 on Warner Music Latina.

Sanz's total world album sales surpass 25 milHon. accord-
ing to Warner. In the United States, he's coHectively sold 1.5
million albums, according to Nielsen SoundScan.

But three years after his latest studio set, Sanz returns to
find a challenging marketplace, one where traditional pro-
motion no longer applies. In response. Sanz and his label are
consciously tr^'ing to get closer to his broad and widespread
fan base in ways they hadn't done before.

T1iey include the "Looking for Paradise" promotion, a one-
hour special and TV spot campaign with DirecTV, a Verizon
TV campaign and the launch of an interactive Web page, ad-
ministered by Warner, where Sanz antl fans tomnicnt and
blog almost nonstop.

A key factor in the effort was the Web site, whose entire setup
invites direct communication between Sanz — who is constantly
tweeting and uploading content — and his fans, who are invited
to do the same and then comment. TTie result is a page that is
almost live and whose content changes literally by the hour,
with Sanz chronicling cverj* single step ofhis promotion. While
the notion ofbigacls actively blogging is commonplace in the
mainstream market, few Latin names do the same {although
tweeting is becoming far more commonplace). Blt^s vary from
videos and photos to press releases to content that is uniquely
Sanz: prior to a visit to Mexico, for example, he posted a poem
dedicated to the country, clearly penned by him.

"We're working very hard on my Web page and it's excit-
ing because people are responding." Sanz says. "They're de-
lighted with this new way of promoting the music. Because
when the industry no longer has the power to fill up the streets
with posters or TV with ads. there is a need for imagination
and creativity. And for me, this promotion is far more effec-
tive and thrilling."

The most unique piece of Sanz's online promotions may
be the " Looking for Paradise" campaign, which stemmed from
the single's title.

He liked it so much, in fact, that he asked several ofhis
artist friends — including Shakira. Laura Pausini and Paulina
Rubio — to tape lO-second video segments of what paradise

meant for them. The videos were posted on Sanz's YouTube
channel and garnered enough traffic that he then asked fans
to upload their own clips. Of the approximately 800 submis-
sions. JO were chosen for inclusion in one long video that
runs the length of the song and is also posted on Sanz's Web
page and YouTube channel.

But the notion of bringing Sanz closer to his fans tran-
scends the home video campaign.

DirecTV also chose Sanz to be the first Latin musician fea-
tured in an extensive promotional campaign that includes TV
spots and a one-hour special.

"He fits perfectly with our brand." DirecTV PR senior man-
ager Naomi Rodriguez says, noting that Sanz is the first Latin
musician with a promotional campaign on DirecTV (although
the channel has featured other Latin celebrities) and the first
Latin name to get a one-hour special on DirecTV's propri-
etary, noncommercial 101 channel, which has featured artists
like Beyonce and Katy Perry in the past and reaches IS mil-
lion DirecTV subscribers.

'When the industry no
longer has the power to
fill up the streets with
posters or TV with ads,
there is a need for
imagination and creativity.'

-ALEJANDRO SANZ

In the spots. Sanz is sitting in his living room, talking about
his music and tastes as "Looking for Paradise" plays in the
background. While viewers are urged to subscribe to DirecTV
to get the same soccer channels Sanz likes to watch, they're
also urged to purchase "Paraiso Express." TTie spots began
airing this week on all Spanish-language TV stations and will
be shown throughout the year.

The second component, the TV special "Mas Alia del
Paraiso: Un Encuentro con la Musica y la Pasion de Alejan-
dro Sanz." will air Nov. 23 on 101 and feature interviews with
Sanz and performances that haven't appeared before on TV.

The campaign was negotiated purely for its promotional
value, with no sponsorship fees involved. A similar agree-
ment was reached with Verizon, which launched a TV cam-
paign timed with the Latin Grammy Awards.

The spots. which began airing Oct. 16on Univision-owncd
stations, will run through the first week of November and fea-
ture a Sanz fan who wants access to the artist.

"He's doing promotion he hadn't doin- in a long lime," says
Gabriella Martinez. VP of marketing for Warner Music Latin
America. "For example, he's in Mexico now visiting radio sta-
tions, something I don't think he's done in the last two albums."

Warner has also negotiated several radio promotions, in-
cluding a private Univision Radio show for fans only in Las
Vegas later this year.

Sanz will reach out to the masses with a Nov. 5 perform-

ance at the Latin C.ramniys. then perform eight shows at
Madrid's Compac Gran Via Theater, which seats 8,{M)0. llie
shows — which will ukc place between the last week of No-
vember and the first week of December — were promoted
under the tag line 'Sit down and feel next to him" and sold
out in less than an hour. {By comparison. Sanz's last U.S. tour
took him to 28 cities, grossed $8.7 million and had an atten-
dance of 161.000. according to Billboard Boxscore.)

Sanz. a soulful vocalist with a distinctive raspy voice and
complex compositions, is regarded worldwide as one of Latin
music's top singer/ songwriters. His songs, which blend pop
with traditional Spanish rhythms, funk and jazz, were first
showcased on his 1997 breakthrough album "Mtis." which
yielded the hit "Corazon Partio" and has sold 3,2 million copies
worldwide, according to Warner.

"Paraiso Express" is a departure from the more moodier
and ruminative " El Tren de los Momentos" (2006) and show-
cases Sanz's airier, more melodic side. And, maybe more than
any other Spanish artist (save perhaps the recent exception
of David Bisbal). Sanz. who lives in Miami, has been able to
effectively erase the boundaries between Spain and Latin
America. He's seen by fans as a continental artist who be-
longs to everyone.

This is charmingly evident in the 'Looking for Paradise"
promotion, since the videos hail from every possible place
imaginable, from Argentina to Germany. The impetus for the
promotion came from the track itself, a song Sanz co-wrote
and performed with Alicia Keys, whom he'd met several years
before at Rock in Rio in Lisbon. Portugal. The two ran into
each other again in New York this year and Sanz asked her to
sing on his album. Keys agreed based on the music and isn't
using the track for her album.

The song, which this week is No. 3 on Billboard s Hot Latin
Songs chart, is an uptempo, almost bubbly track that features
the singers trading verses in English and Spanish and singing
about what they're looking for in paradise.

It's the first stab at English for Sanz. although there was
talk of him doing so years ago. In this instance, all involved
say. the decision wasn't motivated by crossover appeal but
was merely an artistic one that came about through Sanz's
meeting with Keys. The track isn't being promoted to Eng-
lish-language radio. But this does mark the first time that
Sanz's first radio ^^ngU- is a duet.

In the meanlinie. Sanz's longtime manager Rosa Lagar-
rigue is concentrating on putting together Sanz's 2010 world
tour and negotiating sponsorships: Sanz's last tour, in 2007,
had 76 slops workhs idc Conversations are also ongoing to
release "Paraiso Expri'ss" in non-Spanish-speaking territo-
ries, including I iirnpcui countries where Sanz's albums
haven't been released before. For the time being. "Paraiso"
will be released simultaneously in Spain. Latin America. Brazil
and Portugal.

"Everyone is so molivalod. I honestly haven't given it much
thought." he says. "I think people will like it. and we'll see
what happens with sales. Today, sales are not a reflection of
success. I only think I have a great record that can reach many
people. And foriunatcly. ours is an industry that markets emo-
tions, and this is an album that excites people."

28 I BILLBOABO NOVEMBER 7. 2009

Cri

6400 Sugarloaf Pkwy
Duluth, GA 30097

www.gwinnettcenter.com

For booking info, contact Joey Dennis at 770813.7511

Cni

NOVEMBER 7, 2009 I www.blllboard.biz I 31

Cni

Ticket Tallies Determine Winners Of Top Billboard Touring Awards;
Industry And Fan Votes Also Measured by ray waddell

Hometown heroes: With multiple
dates at Croke Park in Dublin (shown
here) and at Stade de France in Paris.
U2 claims two of three finalist slots in
the top boxscore category.

!ac>f8erry Loves U2 ^

Despite all the forecasts of doom and gloom
floating around last January, the concert in-
dustry survived just fine in '09. * In fact, many
tours, venues, live entertainment companies
and events actually thrived this year, as the fi-
nalists for the 2009 Billboard Touring Awards
demonstrate. ^ Unlike most other industry
awards, tiie Billboard Touring Awards are pri-
marily based on actual numbers, real business
being done, real butts in seats and actual turn-
stiles spinning. ^ The exceptions: The recipi-
ents of the Legend of Live and Humanitarian
Awards each year are chosen by Billboard ed-
itors, and the honorees for the concert mar-
keting and promotion award and the Eventful
Fans' Choice Award are selected through on-
line voting by members of the touring indus-
try and by fans, respectively. % The nature of
the business and the prep time involved in tab-
ulating finalists and winners sometimes does-
n't neatly match up with tour schedules, which
means that some tours have to be broken up
between different years. Still, for a given year,
the Billboard Touring Awards showcase which
acts, venues and firms were doing the great-
est level business in the preceding months.
The awards are based on numbers reported to
Billboard Boxscore from Oct. 1. 2008, through
Sept. 30, 2009.

The big enchiladas are the top tour and top draw awards,
which acknowledge the lop grossing and ticket-selling tours,
respectively. The same three acts occupy the upper eche-
lons in both categories: a pop diva that has transcended her
genre, four guys from Ireland who are rewriting the sta-
dium tour paradigm and a hard-rocking Aussie band that
returned after a lengthy absence from the road to a jubilant
global reception.

Two of the three finalists in the top draw and top tour
categories are produced by Live Nation and steered by Live
Nation global music chairman Arthur Fogel. The second
leg of Madonna's Sticky & Sweet tour solidified the artist's
Stature as having the highest-grossing solo tour of all time
and one of the biggest tours ever. Madonna previously cap-
tured the top tour award for Re-Invention in 2004.

For its part. U2 notched Europe and about half of North
America under its belt on its record-shattering ^^^^^
360* tour by the cutoff point. The innovative
"in-thc-round" staging of the tour is allowing
U2 to shatter box-office records without pric-
ing tickets in the stratosphere. U2 won top tour
and top draw for Vertigo in 2005.

AC/ DC joins Madonna and U2 as contenders
in the top tour and top draw categories.

For Fogei, it has been another monster year
in a career of monster years. His tours by the
Police, Madonna and U2 have been previous
winners at the Billboard Touring Awards.

"To have both the biggest band in the world
in U2 and the biggest female artist in Madonna
as finalists is really fantastic." Fogel says. *lt
is a true Icslamcnt to their global appeal, ticket-selling power
and brilliant talent. I am truly privileged to be involved with
these great artists who are at the top of their game."

TOURING
CONFERENCE

AW^DS
TOURING]

It's likely that Fogel and Live Nation will be in a simila
position in the coming years, as both U2 and Madonn
are in the early stages of 10-year multirights deals with Uv
Nation. "The successful partnership with Live Nation [wit
U2 and Madonna) demonstrates the true potential that e
ists in the live business," Fogel says.

PROPERLY PACKAGED

The top package award, which goes to the top-grossin
lour with three or more artists on the bill, is designed t
reward synergistic packaging and value offered to coi
sumers, This year's diverse mix of finalists include
tours headlined by a familiar country superstar, a teei
pop sensation and a mainstream rock juggernaut.

Five-time top package winner Kenny Chesncy is bac
again among the finalists with the Sun City Carnival tou

Promoted nalionaUy again by TMG/AEG Uv

■ Chesney played a mix of arenas, amphithi
I alersand NFL stadiums and included Miranc
I Lambert. Lady Antebellum, Sugarland an
Montgomery Gentry on the bill.

Chesney has pretty much taken owne
ship of this award, and TMC/AEG Live pre
ident Louis Messina says Chesney's foci
on providing value dates back to the artist
own days as a fan.

" Kenny knows that buying a ticket and goit
to a show is expensive, so he always wants h
fans to have a great time from the opener unl
his set," Messina says. "He does not need ■
- — — _ ' spend the money [on support), but he does."
|onas Brothers continue their upward trend as finalists th
year in the top package category following their World Toi
2009 with lordin Sparks. Honor continuedon »p3

32 I BILLBOARD I NOVEMBER 7, 20O9

\\ \\ WW w w
w wwwww %%

W WW WW
WWWW WW %%

ww\w w%% %%
WW %%w %%
www www %%%w%
ww\ w%% w%%

WW %ww
ww%^ www W***
w w w\\ %\

%\ %%%%%% \%

%%%%w ww««
%%%% «%««% %% %l

www %w%\ %w%w %%%%«%
w ww\ %% %% %% %% %«
ww\ w ww% %% %« «% ««
%ww w w%%%« %« «« %« %%
w w w %« %« %« «« «%
ww%\ w«w% %« %« «%%«««
ww\ WW «% «« «%«%«

\\ \**\ %%«« «%%«

M \«\«\« *»««%» «**«*«

%^ \« «t «« «« «* »* *«
\\ \« \« «« %» «» «**«%% %*
«\ «« «« «» %» »»%««« t»
«\ «« «« «* *« ** %%
«««««« «« *«»*»« %%%%*% »»
%M% «« ««««« «%«%• %»

*% «t •% %t
*%*«%%** %t «%
»« «» %% %« ««
%% *% «% *«%«««
«« *« %* **«•*
** «% *% %t
«« *% «* %%%%%%
%% %% %% ***««

* V-WW" «••••• •••••• " «%.»*.

»\\V« »» »• »• ••••»• »«%%•% <%•%<> »«%%> W«M«

•»»«* «%»«% %%•«% «««•«

«%%\ %% «« %««%*

^vN^^Vx ovA, aXvNa^s a seW out

hanks to our state-of-the-art retractable roof we can
le whatever you want us to be, indoor or outdoor at
18 touch of a button.

o if you're looking for a venue where you can raise
16 roof and not get wet, why don't you contact:

i\ex Luff +44 (0)29 2082 2467
luff@mjllenniumstadium.com

1/ ww.millenniumstadium.com

MILLENNIUM STADIUM

ANNIVERSARY

Cni

Joining forces:
>^ JONAS BROTHERS'
' tour with Jordin

^ Sparks, Honor

/ Society and the
* Wonder Girls is

up for the top
package award.

Raising the bar: The
125 acts at the
Bonnaroo Music &
Arts Festival in June
made It a finalist for
top festival— after
four previous wins.

■

from >>p32 Society and Wonder Girls. Sparks and
Honor Society are both managed by )onas Brothers' co-
managers Phillip Mclntyre and Kevin Jonas.

"This year was about |onas Brothers making the leap
of playing in the round lo deliver as many seats as pos-
sible, selling 97%-98% of every seat available, keeping
the ticket price under $90 and going to work every day,"
Live Nation VP Brad Wavra says. "The packaging hap-
pened to be self-serving in one sense, with Honor Soci-
ety and Jordin managed by the same management
company and on the same label. But the guys also took
a leap of faith on a Uttle band from South Korea called
Wonder Girls. They believed in them and wanted to cul-
tivate another touring act."

And Nickelback. the 2006 winner of the breakthrough
award, is also a finalist for top package for its Dark Horse
tour, with Hinder, Papa Roach and Saving Abel onboard
for most of the run. The Dark Horse outing
is also a finalist for the concert marketing
and promotion award for the band's tour part-
nership with Nikon and Internet Explorer 8.

TOPBOXSCORE

The top boxscore award recognizes the top-
grossing single engagement for the time pe-
riod, the biggest of the big gigs. Two of these
came from U2: July 24-27 at Croke Park in
Dublin (U2's dates at Croke Park won this
award in 2005) and [uly 11-12 at Stade de
France in Paris.

The third finalist is also from Ireland, but
is a festival: the sixth annual Oxegen Fest held
July 10-12 at Punchestown Racecourse
in Naas, Ireland. Produced by Dublin
independent promoter Denis
Desmond, director of MCD, Oxegen
featured Kings of Leon, Snow Patrol.
Blur and the Killers as headliners.

MCD owner Desmond says he is de-
lighted that Oxegen has been named a fi-
nalist. "We pride ourselves on getting the
best lineups. We have a great, apprecia-
tive audience, and being named a finalist
is a huge credit to all the staff involved in
the organization of the festival," he adds.

TOP FESTIVAL

In addition to being a top boxscore fi-
nalist, Oxegen is a finalist for the top
festival award, along with a four-time
winner — the Bonnaroo Music & Arts
Festival in Manchester, Tenn. — and a
frequent finalist, the Coachella Valley Music & Arts Festi-
val in Indio, Calif.

Coachella headliners included Paul McCartney, Leonard
Cohen, the Killers and the Cure. "Coachella is in good com-
pany with the other festival finalists," says Paul Tollett, pro-
ducer of Coachella for Goldenvoice/AEG Live, who says
professionally produced and promoted festivals lift the en-
tire festival business. "We feel the other promoting teams
take their events as seriously as we do ours. This has elevated
the festivals in this country and it's only going to get better."

At Bonnaroo. the lineup of 125 acts included Bruce
Springsteen & the E Street Band. Phish, Wilco. Elvis
Costello, the Decembcrists and Merle Haggard. "Each year
we try to raise the bar in every facet of the festival," says
Jonathan Mayers, president of Superfly Presents, co-pro-
ducer of Bonnaroo with A.C. Entertainment. "You have to
keep evolving. You don't want to stay static, or you go back-
ward. Every year you want to look back and say, 'Wow, this
was better than the last year.' "

TOP PROMOTERS

The global concert mega-promoters Live Nation and AEG Live
are joined by Sao Paulo. Brazil, promoter Time 4 Fun as final-
ists for the top promoter award. T4F is also a finalist, with MCD
and the Australian promoter Michael Coppel Presents, in the
international independent promoter division.

LIVE NATION
AND AEG ARE
JOINED BY
BRAZIL'S
TIME 4 FUN
AS FINALISTS
FOR THE TOP
PROMOTER OF
THE YEAR
AWARD

For Live Nation, tours by U2, Coldplay, Jonas Brothers, Nick
elback, Dave Matthews Band, Fleetwood Mac, Rascal Flatts
New Kids on the Block and many others helped drive the yea:
along with a massive promotion schedule at the amphitheater
and a wealth of European festivals and tours.

AEG Live did very well with Chesney, Britney Spears, Tin
Turner and American Idols Live, along with festivals lik
Coachella. Rothbury. Stagecoach. Mile High and All Point
West. AEG lost what would have likely been the top boxscor
of the year with the death of Michael Jackson, who would hav
played 50 sold-out shows at London's 02 Arena.

Four-time winner Jam Productions in Chicago, the 2007 wir
ner C3 Presents in Austin and Madison, Wis.-based Frank Pre
ductions are the finalists for top independent promoter, U.S.

"Jam has continued to operate our business with th
same philosophy we've always had: service, loyalty and trea
people like they want to be treated." Jam co-founder Arn
Granat says. "That does not mean we get an
kudos or love back in today's world, but [cc
founder] Jerry [Mickelson] and I choose to con
tinue on this path."

Rock did the trick for Frank Brothers, wh-
did well with tours in secondary markets fron
Buckcherry/ Avenged Sevenfold, a Disturbet
package and a Mudvayne/Black Label Societ
package, along with several Metallica dates
"We look at ourselves as being very fortunate,
partner Fred Frank says. "There are not
whole lot of independent promoters left
They've either been bought out or squashes
out. But we continue to fight for our niche
and we feel like we're in a pretty good spo
right now. And we're trying to stay
little under the radar."

TOP MANAGER, TOP AGENCY

The top manager award recognizes th
management firm with the combinei
highest-grossing clients among the tO]
50 tours. This year's finalists are Mav
erick Management (Madonna), Princi
pie Management (U2) and Front Lin*
Management with a strong list of affil
ialed acts, including Chesney. the Ea
gles, Fleetwood Mac. New Kids on thi
Block, Neil Diamond, Kings of Leoi
and Luis Miguel.

Headed by Paul McGuinness, Princi
pie Management won in 2005. Mavei
ick. steered by Guy Oseary. won the to;
manager award in 2004 on the strengt]
of Madonna's Re-Invention tour.
The top agency finalists have the highest-grossing com
bined tours among the top 50, with William Morris Endeavo
Entertainment, Creative Artists Agency and Artists Grou
I nternational being the top three this year.

CAA's tours that ranked in the top 50 include Bruc
Springsteen & the E Street Band. AC/DC. Jonas Brotfc
ers, Fleetwood Mac. 11 Divo. New Kids on the Block. King
of Leon. Eric Clapton and top comedy tour finalists Robi
Williams and Dane Cook.

"From emerging artists to icons of the industry. 2009 ha
been an exceptional year for our clients and we are fortunat
to play a role in their success," says Rob Light, managing par
ner/music head for CAA. "This is a testament to CAA's cu
ture of collaboration — working closely with our colleague
across all areas of the agency and hand in hand with promo
ers, labels, managers, sponsors and venues."

William Morris Endeavor Entertainment saw success thi
year with acts like Spears, Trans-Siberian Orchestra, Rase;
Flatts, Brad Paisley, the Eagles, Luis Miguel and the Killers.

The lone independent agency in the group, Artists Grou
International, has been a perennial finalist among the to
agencies. "I am proud of my team and the tremendous woi
ethic that exists at AG I," president Dennis Arfa says. Amon
the tours fielded by AG 1 in 2009 were treks by Billy Joel & Elto
John (with the Howard Rose Agency), Metallica, Motley Crii
and Def Leppard. •••

34 I BILLBOARD I NOVEMBER 7. 2009

P R E S E M

Congratulates

Billboar

Mark

and Proniotion ^
Award 2009 « «
nomiitf^es for the

mmmmMmiislml

DFIHiiK

Touring Experts
Tackle Top
Concerns On
Conference Panels

BY RAY WADDELL

The issues facing the touring industry are growing increasingly complex, and the most pressing
ones will be addressed Nov. 4-5 with provocative panels and intimate round tables at the sixth an-
nual Billboard Touring Conference in New York, f Taking on these topics will be a diverse lineup
of industry players, ranging from innovative up-and-comers to savvy veterans, all of whom are
playing a role in reshaping this critical part of the music business. ^ Ticketing, marketing and
promotion, new models, artist development, sponsorships, festivals, the evolution of man-
agement companies and the big-picture landscape will all be discussed on in-depth pan-
els. Also, AEG Live CEO Randy Phillips will lead a behind-the-scenes look at the aftermath
of the This Is It tour plans following Michael Jackson's death in June.

LOWDOWN FROM LIANA

Artist development remains one of the most critical issues in
the music business, and a panel on this topic has opened every
Billboard Touring Conference since year one. In what has be-
come a remarkably prescient session, this group of managers,
promoters and agents will delve into key career-build
ing components. They'll offer insight on which acts
should be on everyone's radar and how the next
generation of arena headliners is being fostered.

MSG Entertainment VP of concert marketing I
Liana Farnham will again moderate the panel.
Onboard are C3 Presents partner Charles Attal;
William Morris Endeavor Entertainment (Rascal
Flatts. Brad Paisley) agent Rob Beckham; Cornerstone
co-founder jon Cohen; Bowery Presents partner Jirn
Clancy; Harvey Leeds, president of the artist man-
agement firm Headquarters and a talent buyer
for Live Nation: and Brian Manning, agent at Cre-
ative Artists Agency (Jonas Brothers, Maroon 5).

Farnham is known for calling out panelists on
their past breakout picks and says panelists keep ^ ^^^^^
her informed as to how their picks are performing

CONTROLLING THE KEYS

The "Let 'Em In" panel takes on what is arguably the most con-
troversial topic in live entertainment today; ticketing. The ticket,
and the fan connection it carries, is the key to the kingdom be-
fore, during and after an event. At the forefront of just about
any discussion of ticketing is the question of harnessing the
secondary market.

Moderated by Caria Varriale, partner at the sports and en-
tertainment law firm Havkins Rosenfeld Ritzert & Varriale.
"Let 'Em In" will break down ticketing with a panel that in-
cludes reps from the two (at this point) biggest ticket sell-
ers in the world, Live Nation Ticketing president Nathan
Hubbard and Ticketmaster North American president David
Buller. along with )cff Kline, president of Veritix. a pioneer
in the world of paperless ticketing: Chris Tsakalakis. CEO
of StubHub, the leader in online secondary-market sales;
Don Vacarro, CEO of Ticket Network, a leading ticketing ag-
gregator: Michael Marion, CM of the Verizon Arena in North
Little Rock. Ark., an arena on the front line of ticketing is-
sues; and a rare appearance from one of the country's lead-
ing ticket brokers. Barry Rudin, president of Barry's Tickets.

THINGS THAT WORK

Live music weathered the storms of a brutal economy quite
well in 2009, and the "Good Vibrations'* panel looks at some
of the most successful concert and tour promotion concepts
of the year. Eventful CEO jordan Glazier will find out what
worked, and why. with the decision-makers who helped
make these initiatives happen.

Panelists include Shawn Gee. president of music
and entertainment at Sports & Entertainment Finan-
cial Group (Lil Wayne): Ticketmaster Entertainment
senior VP of music services Vito laia; C3 Presents part-
ner Charlie Jones (Lollapalooza, Austin City Limits
Music Festival); Rockstar Mayhem/Taste of
Chaos co-founder John Reese; Live Nation
senior VP Brad Wavra; and Progressive
Global Agency owner/agent Buck Williams
(Widespread Panic, R.E.M.).

Each of these panelists was involved in win-
ners this year, tours and events spurred by cre-
ative marketing and effective promotions. Wavra,
for example, was part of Live Nation's successful am-
phitheater promotions for tours like No Doubt's,
laia oversees Ticketmaster Entertainment's music
services division, which runs paperless ticket-
ing programs and successful VIP tour packages
and promotions. Widespread Panic, booked and
co-managed by Williams, teamed with the All-
man Brothers Band in an inspired co-head-
lining bill. And moderator Glazier
Eventful, a music-oriented social network-
ing site that lets fans "demand" artists come to
their city, worked with Kiss in routing (he band's
current Alive 35 tour.

NEW MODELS

This is the era of new models, and artists, managers,
labels and promoters are finding unique methods lu
reach fans. " Brand New Key" will explore some ol
the novel and exciting ways the stakeholders are
taking control of their own destiny in breaking
acts, selling tickets and building careers.

Moderated by dirccl-to-fan trailblazer 23 Om-
nimcdia president Larry Peryer, the panel's speak-
ers include Paradigm (Coldplay) agent Marty
Diamond, Crystal Math Management co-found
Mathieu Drouin, Roadrunner Records VP of tour
ing marketing/artist development Harlan Frey,
Cut Merch president Steve Gerstman. Artist Na-
tion president Steve Herman and Dominic San-
difer, president of Greenlight Marketing & Media,
a sister company of Red Light Management.

"This panel features a cross-section of wise old
hands and young up-and-comers who all have one
thing in common; the desire to innovate, tweak and push
the boundaries in pursuit of methods and models." says Peryer.

SIGNS OF CHANGE

Corporate sponsorships are playing a major role in the tour-
ing industry, as companies increasingly turn to live music to

reach coveted consumers. Returning in his role of mod
erating this panel. I EG Sponsorship Report senior edito:
Bill Chipps will engage an A-team of innovators in unit
ing bands, brands and fans.

Panelists are 4fmi Productions director of tour spon
sorships/marketing Sarah Baer, William Morris En
deavor Entertainment agent/sponsorships Stranc
Conover, Virgin Mobile senior director of brand mar
keting and innovation Ron Paris. Atlantic Records di
rector of brand partnership and sports marketing
Jonathan Feldman, Clorox senior group manager o
PR/sponsorships Drew McGowan and Live Nation AJ
liances VP Russell Wallach.

The explosion of the festival business is one of th*
most important developments in the concert industn
in recent times. The top festival producers and talen
buyers in the business will discuss how artists, agents
venues, managers and others can maximize thest
events and where this market is headed. Moderatec
by industry veteran Jim Lewi, head of live events at tht
Agency Group, the panel includes Buddy Lee Attrac
. tions (Country Music Assn. Music Fest
president/CEO Tony Conway, Superfli
Presents (Bonnaroo, Outside Lands
president Jon Mayers, Top Artist Pro
ductions (moe.) president Jon Topper
C3 Presents (Lollapalooza. Austin Citi
Limits Music Festival) promoter Hus
ton Powell and Rehage Entertainmen
(Voodoo Fest) president Steve Rehage

TOURING
CONFERENCE

AWARDS

TOURING

CAPTAINS COURAGEOUS

Power and leverage belong to the artis
manager, and all revenue streams flov
through the offices of consolidated meg

managers and fierce independents alike

If content is king — and it is — then managers are now indis
putably in charge of growing this content. Some of the mos
influential and creative managers in the business will provid
their take on the new paradigm during "Every Breath You Take.

Moderated by Billboard editorial director Bill Werde, th
panel includes a stellar group of visionary artist manager!
Will Botwin, manager at Red Light Management (Dav
Matthews Band, Ben Harper); Dave Holmes, manager at 31
Management (Coldplay); Mathew Knowles, president/CE(
of Music World Entertainment (Beyonc^); Allen Kovac, pres
dent of 10th Street Entertainment (Mfitley Criic
Buckcherry): Ken Levitan. co-president of Vecto
Management (Kings of Leon, Bon Jovi); and Mik
Martinovich. manager ofFlatiron Managemer
(My Morning Jacket).

The touring industry has reacted to a challenj
ing environment with innovation and remarl
able resiliency. In a panel that has become know
f or its visionary ideas, candid exchanges and insigh
ful opinions, some of the key stakeholders of the ir
dustry discuss where the concert business is loda
and where it may be headed in an era when ih
very future of this industry is being shaped.

Moderated by high-powered music attorney E
liot Groffman, the "Sultans of Swing" panel ir
eludes Coran Capshaw, owner/manager of Re
I ight Management (Dave Matthews Band, Phis!
fEMi McGraw); Live Nation Midwest president Ric
l- i anks; Chip Hooper, agent at Paradigm Talent & Li
erary Agency (Dave Matthews Band. Coldpla
Phish); 4fini Productions president Kevin Lymai
Concerts West/AEG Live CEO John Meglen;an
C3 Presents partner Charlie Walker.
"Whether independentenlrepreneurs like Kevi
Lyman, Charlie Walker, Chip Hooper or Coran Ca^
liaw, or the big corporate guys like John Meglen an
Rick Franks, we can look forward to a spirited discussio
about the big problems." says Groffman, "such as how to figl
the threat of devaluation of the live business in the face of tici
eting giveaways, the need to meet consumer demand for goo
packages and interesting, alternative venues and, of course, th
ongoing battles over pricing."

36 I BILLBOARD I NOVEMBER 7. 2009

Cni

Finalists For Breakthrough
Award Draw Varied But
Growing Audiences

BY MITCHELL PETERS

Four diverse acts are vying for this year's Breakthrough Award at the
Billboard Touring Conference & Awards, to be held Nov. 4-5 in New
York, f The finalists — II Divo, Kings of Leon, Lil Wayne and Tay- ,
lor Swift — may attract decidedly different demographics, but all
have proved to be equally passionate about building their touring
careers in 2009. % The Breakthrough Award goes to the top-gross-
ing act that cracks Billboard Boxscore's top tours recap for the first
time in its career and is based on ticket sales reported to Boxscore from
Oct. 1, 2008, through Sept. 30, 2009. Previous winners include Miley Cyrus
Josh Groban, Linkin Park, Rascal Flatts and Justin Timberlake.

IL DIVO

Three primary factors played into the success of classical pop
act II Dive's international touring success in 2009: playing the
right-sized buildings, heavy TV marketing and appearances,
and nonstop press from group members, says Live Nation sen-
ior VP of global touring Mark Norman.

Following arena dates throughout Europe earlier this
year, II Divo supported its latest album, "The Promise,"
with a 40-plus-date, Live Nation-produced North American
arena and theater tour that ended in late july. In markets
that didn't have large theaters, the group chose to book
scaled-down arenas.

Going into the trek, the group gained momentum stateside
by performing on TV shows like "Live With Regis and Kelly"
and "Good Morning America," says David Zedeck. II Divo's
booking agent at Creative Artists Agency.

In addition to appearances on popular programs, the group
benefited from Live Nation's advertising budget, about 60% of
which was spent on TV marketing. The final piece of the puz-
zle was the willingness of the members of II Divo — David Miller.
Sebastien Izambard. Urs Buhler and Carlos Marin — to pro-
mote themselves with nonstop press.

KINGS OF LEON

The rock act Kings of Leon sent a dear message to the concert
industry that it's here to stay following a sold-out performance
Jan. 29 at New York's Madison Square Garden. The band fol-
lowed that concert with another run of North American arena
shows that ended in late October.

"We were hoping for the explosion that" s occurred," says Ken
Levitan, Kings of Leon's manager at Vector in Nashville. "But
we also wanted to take chances and set it up by playing places
like Madison Square Garden."

Prior to playing arenas. Kings of Leon were selling out large
theaters, including New York's 6,000-seat Radio City Music
Hall. "We booked [the Garden concert] really early on, think-
ing that was the next level of where we wanted to go every-
where," Levitan says.

The band's recent North American run supports its latest
album. "Only by the Night," which has sold 1 .4 million copies
in the United States, according to Nielsen SoundScan.

After a brief break from touring, "we'll play the U.S., then
run over to Europe. Then we'll come back to the U.S.. then go
to Australia. We've just tried to build it."

To the next level: Breakthrough Award finalists, who have
cracked the top tours chart for the first time In their careers.
Include (clockwise rronn top) TAYLOR SWIFT, LIL WAYNE,
KINGS OF LEON and IL DIVO.

LIL WAYNE

After his 2008 album "Tha Carter HI" sold 3.2 million U.S.
copies, according to Nielsen SoundScan. Lil Wayne took his
success on the road. He ranked No. 15 on Billboard's 2009
midyear list of the highest-grossing tours, earning $23.8 mil-
lion from 40 shows that drew more than 364,000 concertgo-
ers, according to Billboard Boxscore.

In September, Lil Wayne's tour producer/tour business
manager Shawn Gee told Billboard that the rapper's 2008-09
tour drew nearly 804,000 fans to 78 concerts. The numbers
make it the most lucrative rap tour that Billboard has ever
tracked, topping )ay-Z's 2008 jaunt with Mary |. Blige. which
grossed $34.6 million and drew 310,694 concertgoers to 28
shows., according to Boxscore.

Gee, who serves as principal/president of music and enter-
tainment at Sports & Entertainment Financial Group, says the
initial strategy was to "prove that Wayne was a real headline
arena artist." To accomplish that, he and management hired
touring professionals who've previously worked with artists
like Beyonc^. The other key component was 'overdelivering"
to fans. Lil Wayne's 2008-09 tour — promoted exclusively by
Haymon Events/ Live Nation — was split into three legs and fea-
tured support on various dates by Keyshia Cole, T-Pain, Gym
Class Heroes. Keri Hilson. Young Jeezy, Drake, Soulja Boy Tell
Em, (eremih and Pleasure P.

TAYLOR SWIFT

Before her arena headlining tour this year, 19-year-old countr
artist Taylor Swift opened shows for lop-tier country acts lik
Rascal Flatts and Brad Paisley. Propelled by the success of he
chart-topping album, "Fearless" — which has sold nearly4 mil
lion copies in the United States, according to Nielsen Sound
Scan — Swift recently completed the first leg of a sold-out U.S
arena tour, promoted by TMG/AEG Live.

"We knew she could do the arena business based on the wa
that the album was performing." says Greg Oswald, Swift'
booking agent at William Morris Endeavor Entertainment i:
Nashville. While supporting Rascal Flatts in 2008. Swift teste
the headlining waters by performing a handftil of one-off date
in 6,000- to 9,000-seat venues in various markets.

Her Fearless arena tour started April 23 in Hvansville
Ind., and sold solidy through its last reported date on |un
12, according to Billboard Boxscore. Beginning in Februar
2010. the singer will play arena dates in Australia bcfor
performing 37 arena shows across North America. "It's me
teoric, plus some," Oswald says, "especially when you con
sider that it's global." •■•

38 I BILLBOARD I NOVEMBER 7, 2009

Cci

Winning streak:
Madison Square Garden
is a finalist for the top
arena award, whicfi It
has claimed for the past
five years.

Venues At Multiple
Levels Vie For
Billboard Honors

BY MITCHELL PETER9

Driven by road warriors like Madonna, AC/DC,
Tina Turner, Britney Spears and Green Day,
2009 was another strong year for business at
venues across the globe. At the Billboard Tour-
ing Conference & Awards, to be held Nov. 4-5
at the Roosevelt Hotel in New York, the awards

will recognize the top-grossing venues for the

09 touring season. ^ Here's a look at the final-
ists, based on Billboard Boxscore results from
Oct. 1, 2008, through Sept. 30, 2009.

TOP ARENA

Despite a difficult economy, "2009 proved to be a strong year
for concerts and special events at Madison Square Garden."
says Melissa Orniond. COO of MSG Entertainment (MSGE),
whose New York building has captured the top arena honor
for the past five consecutive years.

"From rock to pop to country, the biggest names in music
made the Garden a stop on their tour, including Taylor Swift,
the Killers, Green Day, Britney Spears, Beyonc^, Pink, Ras-
cal Flatts. the Dead and Kings of Leon," she says, noting that
all of the concerts were sellouts.

Among the year's highlights. Ormond notes, was the open-
ing of the recent tour by the Dave Matthews Band at the Gar-
den in April. Another was jay-Z's sold-out Sept. 11 benefit
performance in support of the New York Police and Fire Wid-
ows' and Children's Benefit Fund.

While honored to be among the top-grossing arenas in the
world, London's 02 Arena staffers were saddened by the sud-
den death of Michael Jackson, whose planned 50-show run
at the venue would've been the highest-grossing single-con-
cert engagement. "It is tragic that the world did not get to see
what would undoubtedly have been a series of groundbreak-

ing shows from the King of Pop," says Caroline McNamara,

head of sales at 02 Arena.

Aside from the loss, the 02 Arena has presented major tal-
ent during the past year, including concerts by Turner, Spears,
Madonna, AC/ DC, Beyonc^and Pink. "We arc up 25% ahead
of last year on the number of shows in
the arena, bringing our total up to 175

by the end of the year," McNamara says.

At the Acer Arena in Sydney, "the
global financial crisis seemingly has not
had much of an impact on the level of
concert and entertainment product com-
ing to our part of the world," says Tim
Worton, group director of arenas at AEG
Odgen. which oversees the operation of
Acer Arena. "And even more signifi-
cantly, the fans seem largely unaffected
by it."

Worton says that some of the high-
lights at Acer Arena during the past year
included multiple-.show engagements
by Coldplay (four), Simon &, Garfunkel
(three), Beyonce (two). Pink (two) and
the Pussycat Dolls (two) and single-night
concerts by Fall Out Boy, Kings of Leon, Brooks & Dunn and
the Who.

TOP AMPHITHEATER

On the strength of the summertime outdoor concert busi-
ness, three Live Nation amphitheaters are again finalists in
this category: Comcast Center in Mansfield. Mass.; Susque-
hanna Bank Center in Camden, N.J.; and Molson Amphithe-
atre in Toronto.

"This award belongs to the artists, fans and our great local

IN A GLOBAL
MATCHUP,
VENUES IN
NEW YORK,

LONDON
AND SYDNEY
COMPETE
FOR ONE
TOP HONOR.

teams that make these venues successful," says fason Gai
ner, CEO of global music for Live Nation. "These amphitht
aters enjoyed a great summer featuring the best artists in thi
world and promotions like No Service Fee Wednesday tha
brought fans out in record numbers."

With a 2009 schedule that include
such longtime venue favorites as Phish

)iiiiiiiy DufTcIt, Acrusinith and the AH
man Brothers, the Comcast Center "nit
the challenge of an uncertain cc onorn y.
says Live Nation Boston senior VP Dav
Marsden. "Headlining the venue for tli
first time were Bruce Springsteen & th
E Street Band, Slightly Stoopid aii<
Kings of Leon, who played to over IX. (H)'
fans." The Comcast Center won \a>
year's top shed award.

One of the highlights at Susqu.
hanna Bank Center was "walthiiM
how young, diverse and strong the an
dience was for our country shows,
says Geoff Gordon, president at I i\
Nation Philadelphia. "Country tmii
ing does an amazing job of buiklin
headliners, which makes you feel great about the futur
of the business."

The Camden shed's annual radio shows were another hi^l
light, he notes. "We have four yearly radio shows with slackt-
lineups that are either free or extraordinarily reasonably priced.
Gordon says. "These dovetailed really nicely into all of tli
smart packaging this summer, which gave fans a lot of bai
for their buck."

This year marked the 15th season at Molson Amphitht
atre, and the venue's '09 lineup "re- continued on »p4

40 I BILLBOARD I NOVEMBER 7. 2009

Ccr

lUEAGnCROUPWdyLDLIKEIOnTyLAIE

YOy'RE SIMPLY

CHART-TASTIC!

SP[CIAl MENTIONS
ALSO GO TO;

' I II n THEAIOeORNE i

^ w N h TOXIC EVENT

mmtm

TORONTO MALMO HEPiifSfNIfD WSRlOfflDE i

com

USA TOUR DATES

11/20
11/22
11/25
11/27
11/28
11/29
12/02
1 2/04
1 2/1 0
12/11
12/12
12/13
12/15
12/16
1 2/1 8
12/19
01/20
01/21
01/30
02/01
02/02

CHICAGO, IL
WASHINGTON D.C.
ATLANTA, GA
ATLANTIC CIW^JOUT
BOSTON, MA
ATLANTIC CITY, NJ
DALLAS, TX
HOUSTON, TX
LAS VEGAS, NV
PHOENIX, AZ
SAN DIEGO, CA
SAN JOSE, CA
LOS ANGELE«[)LCA)UT

LOS ANGELES, CA
ORLANDO, FL
MIAMI, FL

NEW YORK, mo OUT
NEW YORK, mo OUT
UNCASVILLE, CT
NEW YORK, mo OUT
NEW YORK, NY

ALLSTATE ARENA

PATRIOT CENTER

ARENA AT GWINNETT

TAJ MAHAL

AGGANIS ARENA

TAJ MAHAL

NOKIA THEATRE

TOYOTA CENTER

HARD ROCK

J0BING.COM ARENA

SAN DIEGO SPORTS ARENA

HP PAVILLION

STAPLES CENTER

ANWAY ARENA

AMERICAN AIRLINES ARENA

MADISON SQUARE GARDEN

MOHEGUN SUN ARENA

MADISON SQUARE GARDEN

AVENTURAW0RLDWIDE.COM

' SONY MUSIC

Cni

(rom >>p40 fleeted the growing careers of young artists

[in| country, hip-hop and classic rock." says Riley O'Connor,
chairman of Live Nation Canada. "Canada's premier outdoor
live music venue continues to be a trendsetter with innova-
tive marketing and fan-friendly ticketing promotions, such
as Mega Ticket, four-packs and the wireless box ofBce.'

TOP VENUE. 10.000 SEATS OR LESS

As the winners of last year's top award in this category. New
York's Radio City Music Hall management team understands
firsthand that venues with 10,000 seats are the sweet spot of
the concert industry.

" Diverse event bookings" contributed to Radio City's con-
tinued success in 2009, including a political speakers se-
ries, a sold-out run of Dora the Explorer performances and
sellouts by Leonard Cohen and Flight of the Conchords, ac-
cording to MSCE's Ormond. "Award shows also contributed
to our success with the return of the MTV (Video Music
Awards] to New York City, as well as the annual Tony
Awards." she says.

Proving that MSG E remains a dominant force in New York,
the company's WaMu Theatre at Madison Square Garden is
also competing in the category, boosted by a year that her-
alded multiple-night bookings by such talents as comedian
Kathy Griffin (four) and Van Morrison (two). Other high-
lights included performances by Keyshia Cole, Jennifer Hud-
son and a number of family shows. Ormond says.

"We have great flexibility in booking the WaMu Theatre due
to its size and expansive stage, while still providing the inti-
mate feel of a smaller venue," she says. "In the current eco-
nomic environment, promoters tend to seek out venue sizes
such as the WaMu Theatre or Radio City where they
have a greater opportunity to sell out and add shows
based on additional demand.'

The Auditorio Nacional in Mexico City will at-
tempt to regain the top award in November. (The
venue won this honor in 2007.) In addition to
family fare, the building hosted shows by Luis
Miguel. It Divo. Gloria Trevi, Chicago, Alanis
Monssettc, Backstreet Boys. Enrique Iglesias,
Sarah Brightman, Yanni and Gloria Estefan.

"We have tried to diversify our talent for 2009
to include every type of entertainment to help
maintain our programming for 2009.' says
Maria Cristina Garcia Cepeda. CEO of Audi-
torio Nacional. "This has greatly helped our
tickets sell over the year."

TOUf?lNG
CONFERENCE

AWARDS
IPUR/NG

TOP VENUE. 5,000 SEATS OR LESS

Last year, with the help of residency stars Cher and Bette
Midler, the Colosseum at Caesars Palace in Las Vegas ex-
•i perienced solid business that helped it earn the top venue
award for 5.000 seats or less. (The building also nabbed a
lop venue award in 2007. thanks to the final year of Celine
Dions five-year residency.)

Between January and September 2009. the Colosseum
"maintained its status as one of the busiest
pi houses in the industry with 139 program
I ! nights." says Harrah's Entertainment VP of
entertainment Scott Schecter.

In addition to performances by Cher. Mi-
dler, Jerry Seinfeld, Jeff Dunham and Luis
Miguel. Elton John's "The Red Piano' run drew
to a close with the final 22 engagements in Feb-
ruary and April. "It was a fantastic run that
closed very strong and with great fan enthusi-
asm," Schecter says.

The programming at the Fox Theatre in At-
lanta "remains fairly diverse and routinely in-
cludes Broadway, concerts, comedy, family shows,
arts events and film," GM Allan Vella says, not-

ing that the venue's primary Broadway clients are Broadway
Across America and Theatre of the Stars.

Along with Broadway, the theater also hosted a number ol
comedians and musical acts including II Divo. Larry the Cable
Guy. George Lopez. Death Cab for Cutie. John Legend. Ryan
Adams. George Jones, Celtic Woman. Robin Thicke and Jen-
nifer Hudson.

Meanwhile, following a seven-month restoration, the
Beacon Theatre in New York reopened in February with two
sold-out shows by Paul Simon. "The momentum contin-
ued with the Allman Brothers Band igniting the Beacon
with 1 5 sold-out shows in celebration of their 40th anniver-
sary.' Ormond says.

The Beacon's primary focus in 2009 was to leverage
MSGE's partnerships to give artists performing at the the-
ater national TV exposure. "The Beacon hosted a sold-oul
performance by the Dave Matthews Band that was televised
on Fuse." she says. "The Beacon also maximized MSGE's
relationship with Fuse and MSG Network to attract an eight-
night run of Steely Dan."

TOP CLUB

Clubs are perhaps the concert industry's most important ven-
ues, because they foster developing acts and help build health)
fan bases that ultimately allow artists to move into larger-sized
buildings as their careers progress. As such, the top club award
is based on attendance and not gross.

Live Nation clubs dominated the finalists in 2008. Thif
year, two of the company's venues compete: House of Blues
in Boston and the Fillmore in San Francisco. "The historic
Fillmore San Francisco and our new House of Blues Bostor
are two of the best live music venues in the country," Livi
Nation's Garner says.

At House of Blues Boston, "we are on track to do more thar
200 shows in our first 10 months in business," says John In
namorata. the club's talent buyer. "So it's been a whirlwind yeai
for the entire HOB team, and we are all honored to be recog'
nized in our very first year of operation."

The Fillmore and House of Blues Boston will compete againsl
the 9:30 Club in Washington. D.C.. which had another stead>
year, according to venue co-owner Seth Hurwitz.

"We're doing as well as we ever say," says Hurwitz, who's
also chairman of I.M.P. Productions. "1 believe that i'
comes from day-to-day hard work and trying not to booV
shows we shouldn't and being saddled with having to sel
them later. Every show should be looked at as a single avai
and a single date."

44 I BILLBOARD I NOVEMBER 7, 20O9

Denver's Premier Concert Venue

The Wells Fargo Theatre
at the Colorado Convention Center
is the perfect 5.000 seat venue for
concerts, family shows and

i. We're certain
II appreciate the
lustic and visual
1. It's the ideal

accompaniment to any perforance.

WELLS FARGO
THEATRE

COLORADO CONVENTION C E N T F R
^^^^ ^1

4» SMC HmiffJ fttilitr THEATRE

For available dales and booking inrorinatinn conlaci:
Greg Lowry (303)228.8022 glowr} @dcnverconvention.coin

» iliUII

• «••■<

Cni

Osbourne Captures
Billboard's Legend
Of Live Honor
BY RAY WADDELL

Unlike most rock music tall tales, stories about Ozzy Osbourne contain mor<
truth than myth. But beyond the diary of this madman is the story of one o
rock's most unicjue and enduring frontmen, with fan appeal that transcend;
generations and popular trends. ^ And for nearly 40 years and counties!
shows, Ozzy has won his fans over from the stage, often with a fire hose ir
hand, wielded with love. ^ "I love my fans more than they'll ever love me,'
Ozzy says. "I'm not one of those guys that would ever say that they're privi
leged to see me. To be honest, and I'm not trying to be slurpy, it's a privileg(
for me to sec them. My job is to give them the best fucking night out the;
could possibly have — that's what we're there for. There's no sex, drugs o
rock'n'roll that could compete with a great gig. It's fucking awesome."

continued on >>p4!

'p ^^^t^ III

s secon

46 I BILLBOARD I NOVEMBER 7. 2009

Cni

so PROUD OF YOU

International
Talent
Booking

Auditorio Nacional

Mexico City

Years at the Top of the

Entertamment h

Industry!

Cni

II >>p46 Billboard will fete Ozzy with
Legend of Live Award at the 2009 Billboard
[>Lirin^ Awards Nov. 5 at the Roosevelt Hotel
1 New York. Tlie honor recognizes an individ-
al who has made significant and lasting con-
ibutions to live music and the touring business
nd acknowledges a commitment to

' art of performing live and
caching fans through the con-

rt experience. Ozzy has
-■ached — and mooned, and
oused — lumdri'ds of thousands
ffans, and rocked them all.

Ozzy's whole thing has
w;iys been touring and per-
irniinglive," says Sharon Os-
om iie. his wife and manager.

Simply put, Ozzy has altered
course of rock music and

L- performance, first through

N work with Black Sabbath
id then as a hugely popular

lo artist. His impact on
vc music, including pio-
ecring with Sharon the

ulli-act hard rock festival

ur Ozzfesl. will be felt for

ai ly years to come.

Ozzy's career has
j;iruu'd four decades and

has sold more than i 00
llion albums world-
ide — 50 million with
tack Sabbath and mil-
ons more as a solo artist,
.cording to his represen-
tivfs. But few would have
ircc;isl such a future for

ni during his humble, gritty beginnings in

nnitigli.uii. England.

"Where I was raised as a young guy there was
3\ much hope for the future," Ozzy says. As a
>uth. he says he loved the Four Seasons. Chuck
en y and "Little Richard was fucking great."

And then, as with so many arti.sts, the Bea-
came along and opened Ozzy's eyes. "They
imc from Liverpool, which was approxi-
lali'K 60 miles north of where I come from,"
recalls. "So all of a sudden it was in my
rasp, but 1 never thought it would be as suc-
'ssful as it became."

Sharon first saw her future husband perform
ith Black Sabbath as a young teenager, as Sab-
itli was managed by her father, Don Arden.

"It was in 1970 at the Marquis in London," she
■Ljtls. "I rememberthat it was absolutely packed
1 the club in London, perspiration was dripping
oni the walls. 1 don't know whether it was the

usic I liked, or rather the atmosphere that the

usic got going when it was performed live. I

The spark in Denmark:
OZZY rocks fans in
Copenhagen during a
1983 European tour.

CONFERENCE

TOURING

'OZZY'S
WHOLE
THING
HAS BEEN
TOURING AND
PERFORMING
LIVE.'

-SHARON OSBOURNE,
WIFE AND MANAGER

was just trying to make it out: 'What is tliis?' "
Sabbath fired Ozzy in 1979, reportedly for
si his legendary excesses. Once again, his
prospects didn't look good. In the wake ofleav-
ing Sabbath. Ozzy did what Ozzy did in those
days. "1 remember staying in an apartment in
Los Angeles ordering alcohol from the local
liquor store and having a single-
minded party on my own. a last
blast," he says. "And one day
Sharon came 'round and 1 re-
I member her saying to me, 'If you
I get yourself together, I want to
1 manage you.' I was knocked out.
J Why would anybody want to man-
age me? 1 was an alcoholic fucking
drugged-out wTeck at that point."

But Sharon saw Ozzy's poten-
tial as a solo artist. "Before the Sab-
bath shows would start, they were
just screaming his name over and
over. So we knew Ozzy had this
huge fan base."

Sharon might have seen
the potential, but the
music businesses didn't,
even if Sabbath had been
a hit for Warner Bros.

"We still have a letter
from [then-Warner Bros,
president) Mo Oslin say-
ing, 'Nice try, Ozzy, but
we're going to have to
pass on the record'," she
recalls. "That would
have been [the 1980
album] 'Blizzard of Ozz'
that went on to sell prob-
ably 6 million worldwide."

Meanwhile, for Ozzy. his legendary onstage
behavior came naturally, includlngsprayingthe
audience with a hose. " I threw a bucket of water
into the audience one night. 1 don't know when,
and it went from there." Ozzy says, "l love all
that stuff. It's 3 bit fucking hokey, it's a bit fuck-
ing slapstick, but getting the people ofTis what
it's all about. I've had some memorable shows
when 1 worked the audience and it's been sort
of a giant party for me. I love that."

GOING CRAZY

Touring was always a key in the strategy of Ozzy's
solo career, beginning with the Blizzard tour in
1980. "We stayed on the road the first three years
of his solo career, louring and touring," Sharon
says. "With Ozzy's music and what Ozzy repre-
sents, that's the way to do it. That's what kept
Ozzy different from all these other groups; we
didn't rely on whether the radio was playing the
lead track from his continuedon »p50

NOVEMBER 7, 2009 www.billboard.biz

With SOyOOO partying
fans and merch
flying off the shelf,
who can think
about payroll?

■

We're always thinking about payroll,
24/7 so you don't have to.

We Pay. You Roll.

UNIVERSAL

THl >IAI< 'V K^^ |{^>l.l si:t<vi<;ES
Salesg>CapsUni versalPayroll.com

West Midwest East

(310) 280-0755 (847) 480-7366 (212) 925-1415

WW w. Caps UniversalPayroll.com

Super sideman: Guttarl;
RANDY RHOADS (right) was
part of OZZY'S top-notch
band before his death in 1982,

from »p49 album, because Ozzy just sold
tickets on Ozzy. People wanted to see him perform .
people wanted to wear his merchandise."

Both in the studio and on the road. Ozzy was
backed by top-flight musicians, initially includ-
ing the late guitar hero Randy Rhoads, who died
in a 1982 plane crash. Ozzy's bandmates since
Sabbath have been among hard music's best, in-
cluding Metallica bassist Robert Tnijillo and Black
Label Society guitarist Zakk Wylde. Ozzy's crite-
ria for bandmates begins, obviously, with the
songs. 'A lot of musicians want to rewrite the
fucking songs, and that ain't right for me — you've
got to do the songs as they were v^itten," he says.
"They'll say, 'If you change the key toC,' I'm Isayingl. 'No, no,
what key is the fucking song in? Play it in fucking D.' "

The songs from Ozzy's solo career remain staples of his live
shows. "Those first two Ozzy albums were magic," he says, re-
ferring to "Blizzard" and the 1981 set "Diary of a Madman." "Then
Randy got killed and the band broke up and so on and so on."

Despite this setback and many other well-chronided struggles,
Ozzy's popularity "never missed a beat." according to Sharon.
" He's gone through flower power, disco, pop, grunge; he survived,"
she says. "Ozzy wasn't one of these people thai had one huge record
and spwnt the rest of his career trying to get that hit again."

Along the way, "I've done my fair share of bad concerts as
well as good concerts, and you kind of remember the good ones
more than the bad ones." Ozzy says. "When I first played Madi-
son Square Garden with Black Sabbath, when I first played the
[L.A.I Forum with Black Sabbath, those memories are good.
Then in my solo career I did Castle Donnington. the festival; I
did that one time and had a great time."

THEOZZFEST

Ozzfcst was launched first as a couple of one-off events in 19%
after Ozzy was rejected from the lineup of what was then the top
touring music festival, Lollapalooza.

"Lotlapaloozaat that time was very experimental, taking
ferent genres of music and mixing it all together, which I thought
was brilliant." Sharon says. 'So when they refused Ozzy be-
cause he wasn't perceived as being cool enough. I was like. 'OK
1 do something on our own, witli our own genre of music,
stick to what we know. We'll do our own harder-edged festival.'
And we outlasted others, we opened the doors for
similar tours, and it's been great."

Ozzy says a lot of luck was involved. "When we
tried to get on Lollapalooza, they said. 'Ozzy's a
dinosaur, there's no room for him.' so Sharon
said. "We'll do our own Ozzfest." " he says. "A
very lucky person, I am."

Ozzfest became the most financially success-
ful ofall touring festivals, taking in nearly $205
million and drawing attendance in excess of 5
million to 313 shows since debuting in 1996. ac-
cording to Billboard Boxscore.

Virtually every hard rock band that has broken
through in the past decade spent time on the Oz-
zfest stages, which is a source of pride for Ozzy.
"I'm proud of the fact (hat we've given a platform for other
bands to have a go, because it's getting harder and harder," he

^ TOURING
CONFERENCE

AW^DS
JOURING

says. "I always tried to be fair with the people w
were working with. I'm not one of those guys [wh
saysl, 'You're on my show. You've got to fiicking bov
when you see me.' That's bullshit."

In 2007, Ozzfest became Freefest, a free versio
of Ozzfest, moving more than 428.000 tickets
which producer Live Nation said at the time wa
the largest number of free tickets distributed i
the United States in the history of the concert bus
ness. tn 2008, Ozzfest was staged as a one-off shov
with Metallica and Ozzy as headliners. grossin
nearly $3.5 million with attendance of 30.000 ;
Dallas' Pizza Hut Park, according to Boxscore. Th
festival took a break in 2009, but Sharon says thcy'r
ing at reviving Ozzfest as a tour, and Ozzy says he's ir
"Ozzy loves doing [Ozzfest]." Sharon says. "He moan
about it all the time, but that's Ozzy, he loves to moan. Bi
he really misses Ozzfest. and that's why we're going to do
again, hopefully next year, because I think the economy wi
be a little better next year and we won't have to worry so muc
whether people will show up."

I WORKING WITH THE OZZMAN

New York promoter Ron Delsener says solo Ozz
I was an arena-level attraction from the beginninf
■ Sometimes, much patience was required whe
working with the Prince of Darkness. "In thos
days if the crowd wasn't going nuts, he'd thro'
I his hands up in the air and scream, "Go crazy, g
I crazy.' It was mostly guys in the audience at th<
time, all young guys, and they would go crazy b
taking the cushions and carving them out of th
seats and flipping them through the air like Fri;
bees toward the stage."

Louis Messina, president of TMG/AEG Live, ha
worked with the Osbournes for decades and wa
one of the original promoters of continued on »p5

HEMPHILL BRO

H COMPANY

Your dream.
Our new ride.

luxury In motion
hemphillbrothers.com 888.876.8999

NOVEMBER 7. 2009

Cni

WHERE HISTORY HAPPENS

AND MEMORIES ARE MADE

For Booking Information. Contact:
Christy Castillo Butcher
213.742.7272
ccastillo@staplescenter.com

Cni

★★★**★*★*★*★
BILLBOARD STARS

It's Your Artisfs Time To Shine!

Is your artist celebrating a milestone?
Launching a major worldwide tour?
Ready to drop a major new release?

Get the word out through Billboard STARS...

The ultimate opportunity to have an editorial section of
Billboard magazine completely dedicated to your artist's
career achievements.

Experience the buzz •when key decision-makers and peers
read about your artist In the pages of BiliboardI

For more information, please contact:

Aki Kaneko • 323.525.2299 • akaneko@billboard.com

Billboard

EXPERIENCE THE BUZZ

VENUES THAT ROCK.

Introducing CDE, a dynamic new entertainment company with a stable of unique and
celebrated venues. Featuring exceptional seating for 1 2.OOO-50.0O0. each venue can
ttost concerts, festivals, and electrifying events of all sizes.

www.cdenterlainment.coin

Churchill Downs

• Louisville, KY

• 50,000 seats

• World-renowned iconic location

Arlington Park

• Chicago, IL

• Great suburban location

• METRA train stop on-site

churcliill downs enteriainment

Churchill Dmms Arlington Patk Calder Race Course fair firounds Race Course
Louis*, KY Cliicago, IL Miami. FL Nc« Orleans. LA

Cni

Festival fever; 'Ozzy really misses
Ozzfest. and that's why we're going
to do it again, hopefully next year.'
says manager SHARON OSBOURNE.
shown below with 02ZY at the 2007
announcement that Ozzfest would
be staged that year as a free event.

om >>p50 Ozzfest. "The wizard of
tz," he .says. "I love Ozzy both on and
ff the stage. There is never a dull
linute, it's a 24-hour show. Working
ith him and Sharon is definitely one of
ly career highlights."

Other promoters express their affection
)r the Osbournes. "Ozzy's devotion to his
udience. as well as his family, is unmatched
nd a standard which all others should strive
)achieve." says Danny Zelisko.
resident of Live Nation South-
est. "I always look so forward
I seeing him and Sharon. They
ere both there for me as 1 bat-
ed colon cancer, right after
haron was getting over the
ime disease. [It is] just one of
le wonderful examples of how
ur lives have interwoven."

Promoters love working with
'zz>'. and seemingly not just be-
mse he makes them money

"Wc don't break their balls,'
'zzy says. "Some bands go, "The
uarantee is the guarantee. I don't care if you
ad four people there, that was our guarantee."
/ecu! them slack. It's always a crapshoot, re-
ly. Sometimes you win, sometimes you lose."

Mostly they win. and Ozzy has also won re-
ject as a performer. "No one turns it on like he
oes when he hits that stage." says Randy
hillips, CEO of AEG Live, producer of last year's
'zzfest, "And remember, with Ozzy. it's the
)zzie and Harriet" show — you get Ozzy and
haron. and they're an incredible team together,
he's a great manager for him and he is iconic,
le invented metal in a lot of ways."

Along the way. Sharon has earned a rcputa-
on as a sa\'vy, tough-as-nails manager, a repu-
Ltion she shrugs off. " I t's expected to be a hard
usincsspcrson when you're a man, especially
1 this genre of music that we deal in." she says.
iVe're not like the Philharmonic Orchestra,
here people are gentle. But when a woman's

TOURING
CONFERENCE

AWARDS
TOURING

biz

An extended version of this profile

cAn he found online at billboafdxom/ezzy.

hard, it's like. 'Whoa, she's a bitch.' Women are
not supposed to tough, but you have to be."

Being married in both career and life has its
own dynamic. "Sometimes I wonder. 'Is she
telling me this as my wife or is she telling me
this as my fucking manager.^' " Ozzy says.

"Sometimes it's great, sometimes
it ain't. But you know what.^ She
ain't done such a bad job with me
over the years."

Ozzy recently moved his book-
ing responsibilities to William
Morris Endeavor Entertainment,
where his responsible agent is
contemporary music head Marc
Geiger. ironically one of the
founders of Lollapalooza.

-WM E is thrilled that we get
to work with Ozzy." Geiger says.
"1 don't even know what lo say.
as he has accomplished so
much in so many areas, let alone
his influence on thousands of rock musicians
and fans. We are just lucky to be able to work
with him. He will show us all how it's done live
again next summer. Ozzy rules."

Ozzy rules, sure, but he would be the first to
admit he's not perfect, and the road can become
a grind these days. "1 want to give the audience
rny heart and soul every night, but sometimes I
pull it olT, sometimes I don't." he says. "We're
human. I don't use any tricks. I don't lip-synch
my voice. What you see is what you get. 1 "ve done
my fair share of fucking bad gigs. I ni not em-
barrassed to say that."

Such honesty is typical of Ozzy. who's clearly
in a good place these days. 'People ask if I have
any advice to give them, [but] the only thing I
could say really is. ' 1 f you've got any dreams of
a better life or you want to do something, hold
onto the dream because sometimes they come
true,' " he says. "That's the case for me. My
prospects for the rest of my life weren't that
good when I was a kid. The whole journey for
me has been magical." ••••

NOVEMBER 7, 2009 I www billboard.biz

WC saiuoe you Kevin.

Keiin lijaian • 2 0 0 9 Huirianltarlan niiiaril honoree

T^ltrMjojcyiCirajcJi.

uiiiiu plineBrcBich com

Mozes

CONGRATULATES

Our valued customers selected as

Billboard's "Top 10 Wireless Artists" of 2009!

Cri

BOXSCORE

iJConcert Grossesi^

GROSS/

If I'l I if,"

$13,503,345

ARTIST(S)

Vmiuo, Date

AUSTIN CITY LIMITS MUSIC FESTIVAL

Zllker Pitrk. Austin, Oct. 2-4 .

C3 Presents

■■ $4,190,448

DEPECHE MODE, THE RAVEONETTES

Foro Sol. Mexico City. Oct. 3-4 ^^'^^9

OCeSA/CIE- Mexico

■■ $3,734,928

BETTE MIDLER

TTw Coloiseum at Camars Palace, 32.601
Ua Vtigay Oct M. l6-ia 20-21. 2J-25 '

Concerts West/AEG Uve

■■ $2,805,195

STEELY DAN, SAM YAHEL

Beacon Theatre, New York, July 20,779 v > .> -
2B, 31. Aug. 1. 3-4. 10-12 /a-, f. --ir ■i.-i.-jf

Live Nation

H $1,428,058

H '-" ''^

JONAS BROTHERS

Mohegan Sun Arena, Uncasvllle. 21,840 21 iif^'^'
Conn., Ocl. 9-10 :f ort-s Uvo sellouts

Live Nation. in-l>ouse

■■ $1,261,941

AKON, T-PAIN, PHINESSE, DIZZY DOOLAN, D.O.M.E. A OTHERS

Acer Arena. Sydney. Oct, 27

Paperchase Touring A Entertainment, Entourage
Martagement

■I $1,253,820

OEPECHE MODE

MM 06 922.938 pesos 1
^1 f1SS2V$2SI!i

Arena VF6, Guadalajara. Meilco, 14,234

Get. 1 leioLit

OCESA/Cie-Mexlco

^( $1,090,009

MILEY CYRUS, METRO STATION

III (79«>/S39 5r

Palace of Auburn Hills. Auburn 16.142

Hilts, Mich.. Oct. 6 . ,„,•

AEG Live

$1,043,433

MILEY CYRUS. METRO STATION

BrwJIey Center, Mihwukee. Oct. 10 ^f'^^^

AEG Live

■f

MILEY CYRUS. METRO STATION

Wellt Fargo Arena. Des MoJnet, 14,174

Iowa. Oct. 9 ,1 . :.jt

AEG Live

£972 592

MILEY CYRUS, METRO STATION

Nationwide Arena. Columbus. 14.191

Ohio. Oct. 7 v-_ 1 - t

AEG Live

M $937,265

MILEY CYRUS, METRO STATION

UJ $70 "x^. 1:^9 so

BOK Center. Tulsa, Okla.. Oct. 12 }}-}f]

AEG Live

■H $853,150

KYLIE MINOGUE

Hammersteln Ballroom, 9,650 )U KX) H'rv-
New York, Oct 11-13 nowb t/,o ssUcjIg

Lhfe Nation, Bill Sllva Presents

■I $848,180

VAN MORRISON

^1 $}9SS<).sasfo

WaMu Theater at Madison Square 5,131
Garden. New York. Oct. 25 ^ 1°

MSG Entertainment

m $845,211

MARCO ANTONIO SOLlS

Uj] Ot,i%,4.'>7 pesos)

Audttorio Naclonal, Mexico City. 19,151

Sept. 18-19 ■ , 1 .

OCESA/CIE- Mexico

■■ $724,391

■T^ (9.413788 pe«3s)

KINGS OF LEON, THE FEATURES

m S75 41/121 S5

Patacio de los Deportes, Mexico 19,506

City. Oct. 22 -^r

OCESA/CIE- Mexico

Rl $718,727

MILEY CYRUS, METRO STATION

Ui S7!iw.'s;s

EnergySolutions Arena, Salt 10,885
Lake City. Sept. 29 :^

AEG Live

^4 $673,219

DAVE MATTHEWS BAND, ROBERT RANDOLPH & THE FAMILY BAND

Toyota Pavilion, Scranton, Pa.. 13,145

Sept. 23 ]-\p?

Uve Nation

■I $672,639

THE TRAGICALLY HIP

IKJ (S73l92SCJr^]dta^i
^1 SS22V$3eS3

Centennial Concert Hall. 6,684
Winnipeg. ManilotM. Sept, 7. 9-11 . :,h, a-

Live Nation

R $669,882

BRAD PAISLEY. DIERKS BENTLEY, JIMMY WAYNE

USANA Amphitheatre. West 16.856
Valley City, Utah. Sept 19 ]P. .< t

Live Nation

■I $668,757

TAYLOR SWIFT, KELLIE PICKLER. GLORIANA

til $4950/55110/

Time Warner Cable Arena, 14,298
Charlotte. N.C.. Sept 5

The Messina Group/AEG Live

$667 085

DEF LEPPARD, POISON, CHEAP TRICK

New Orleans Arerta. 10,079
New Orleans, Aug. 18 i. S7'i

Live Nation, In-house

$660,253

ROBIN WILLIAMS

RoMmont Theatre. Ro»emofil, 8,S77

HI., Oct 2-3 uZ:^'. ,r =

Jam Production*

$659,577

DAVE MATTHEWS BAND. SWITCHFOOT

nil S'.'.r'.,>$,.,;,«i

Verizon Wireless Amphitheater, 13.713
Irvine, Calif.. Sept. 13 < ' '

Live Nation

RS $658,892

DEF LEPPARD, POISON, CHEAP TRICK

|fii il.'S.'»3S

Cynthia WcK>ds Mitchell Pavilion. 15.070
The Woodlands, Texas. Aug. 19

Live Nation, in-house

$658,824

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

Fiddler's Green Amphitheatre, 16,7BO
Englewood, Colo., Sept. IB -.^

Live Nation

HI $655,507

BRITNEY SPEARS, JOROIN SPARKS

Z£M S129/$^.'$49 50/
^1 S39SO

Philips Arena. Atlanta. Sept 4 ".900

Concerts West/AEG Uve

■■ $654,332

KEITH URBAN, LADY ANTEBELLUM

^1 S/8 47/$|»S7

John Labatt Centre. London, B.778
Ontario. Oct. 1 t- ii n.i

Live Nation

■I $654,089

TAYLOR SWIFT, KELLIE PICKLER, GLORIANA

E£J $49 50/$39.50/
^1 $20

Verizon Arena, North Little 13,978
Rock. Ark.. Sept 26 . i' <ut

The Messina Group/AEG Live

|M $652,695

WPOC SUNDAY IN THE COUNTRY: DARIUS RUCKER S OTHERS

Hjl $ 'S'S'':- »4C

Merrlwoather Post Pavilion, 15,000
Columbia. Md., Sept 27 ■ ; , t

I.M.P.

EH $649,228

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

mM j<.,'.i. i.'s

Shoreline Amphitheatre. 17,859
Mountain View. CaKf., Sept 25 i - ski^'

Live Nation

R| $646,999

Bfil $'2S7''SI980

LIL WAYNE, YOUNG JEEZY, SOULJA BOY TELL'EM A OTHERS

Dar^ Lake Performing Arts 15,144
Center. Oarlen Center. N.Y,. Aug. 27

Live Nation. Haymon Entertainment

R $646,914

DEF LEPPARD, POISON, CHEAP TRICK

EM si2S/s.;47s

USANA Amphitheatre. West 15.406
Valley City. Utah. Aug. 2S . '

Uve Nation. United Concerts

IH $645,086

BLINK-182, FALL OUT BOY, PANIC! AT THE DISCO, CHESTER FRENCH

Em $«9/$26

Post-Gazette Pavilion at Star 22,044
Lake. Burgettstown. Pa.. Aug. 14

Live Nation

BS $643,369

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

Hi SS9/$2S

Ford Amphitheatre, Tampa, Fla., 17,812

Oct. 16 ^n?7j

Live Nation

RAY WADDELL

rwaddetl a billboard.com

UN 1 HI!

VANS WARPED TOUR
FOUNDER HONORED

Kevin Lyman Recognized For Social Activisnr

Vans Warped tour founder Kevin Lyman, who
marked the traveling festival's 15th anniver-
sary this summer, has long been known for in-
novative touring concepts. His projects,
including Taste of Chaos. Rockstar Mayhem
and others, focus on creative partnerships, di-
rect-to-fan marketing and succeeding with ris-
ing bands in a tough artist development
environment.

What's less well-known is that Lyman's tours
always carry a heavy focus on humanitarian and
environmental issues.

For considering the needs of others along
with the need to produce profitable tours,
Lyman will receive the 2009 Humanitarian
Award Nov. 5 at the Billboard Touring Awards
in New York.

The award recognizes the philanthropic ef-
forts of a touring professional. Lyman's recog-
nition as the 2009 hanoree reflects his
involvement in a wide range of humanitarian
and environmentally conscious efforts.

"After 1 5 years of working together, and six
years as partners together on various proj-
ects, there is no one more deserving than
Kevin for this award," says John Reese,
Lyman's partner on the Mayhem tour. "Kevin
consistently thinks of others first. It is an
honor to work with him on a daily basis, and
I am proud to have the opportunity to enjoy
his humanism daily."

The portfolio of Lyman's humanitarian ef-
forts is deep. This summer, the Vans Warped
tour began working with MusiCares, the foun-
dation created by the Recording Academy, to
assist musicians in times of financial, personal
or medical crisis. On Sept. 6. at Warped's 1 5th-
anniversary show in Los Angeles. Lyman pre-
sented MusiCares with a check for $50,000. A
theatrical film, CD and DVD of the event will
further benefit MusiCares.

Since the inception of the Warped tour in 1994
(Vans came on as title sponsor a year later). 25
cents from every ticket goes to Los Angeles-based
Hollywood Heart, which provides recreational
and educational opportunities to at-risk youth.

54 I BILLBOARD | NOVEMBER 7, 2009

In the wake of Hurricane Katrina, Lyma
started the Unite the United Foundation to c
ordinate philanthropic efforts by fans, artis
and industry leaders. Between the Warped ar
Taste of Chaos tours, nearly $500,000 has bee
donated to charity through Unite the United.

Lyman has created blood drives with Mus
Saves Lives on the Warped and Taste of Chac
tours for the past three years. Warped has bee
named best independent blood drive for 20(
and 2009 by Music Saves Lives and the Red Cros

On the environmental front, the tou
funded Warped Eco Initiative includes rec
cling, a solar stage and the use of biodies
fuel in all production trucks and buses. Tl
Warped tour works with Earth Echo to int
grate more environmental activities into WE

Warped has long provided free space on fe
tival concourses to nonprofit groups. Includir
Rainforest Action Network. People for the f'th
cal Treatment of Animals, My Friend's Plat
Music Saves Lives, Music for Relief, Invisib
Children, Keep a Breast, Create a Skate. Cm':
peace, Boarding for Breast Cancer, Amnesty I ;
ternational. Shirts for a Cure and To Write l.m
on Her Arms.

This year, for the first time, Warped workt
with Living the Dream, a nonprofit that hclf
make dreams come true for children with lit
threatening diseases. In 19 cities this sumnu
kids came as Warped guests, where they in
artists and received VIP treatment.

"Music has been in my heart, and to have tl
chance to be around it on a daily basis is ama
ing, and to actually make a living at it is even Ix
ter," Lyman says. "Given that music has mac
my life better, I am honored to have the cIkiik
to give a little back on a daily basis."

Lyman, president of 4fmi Productions, ft
lows previous Humanitarian Award honoret
Jon Bon Jovl for his Philadelphia Soul proje
(2008), Kevin Wall for Live Earth (2007), Bo
Ezrin and the Edge for Music Rising (200r
Dave Matthews for his Bama Rags Foundatic
(2005) and Clear Channel Entertainment for i
hurricane relief efforts (2004).

CrGativGArtistsAgency.

congratulates "our 2009 Biilboafci TOiffihg AwarasnnaiisTs

Top Tour
Top Draw

JONAS BROTHERS
JORDIN SPARKS
HONOR SOCIETY
WONDER GIRLS

U\DY ANTEBELLUM
SUGARL7\ND
MONTGOMERY GENTR

Breakthrough Artist
Top Comedy Tour

Concert Marketing & Promotion

OCKST

KEITH URBAN

GY DRINK MAYHEM FESTIVAL

EventflP

Jhoice f

•1 mmtm srsK) avni ntK' ■

FLEETWOOD MAC

IL DIVO
JONAS BROTHERS

and salutes our friend

Humanitarian Award Recipient

Jrepreset
1 represef-Lu.w

FVear

CAA

Cni

Sprint Center. Kansas city, Missouri.
Two Years. 250 Events. More than 2 million guests

Breaking Records and
Exceeding Expectations

Thanks to all promoters who have shared in sustaining
Sprint Center's fabulous opening run.

AEG Live
Andre Rieu Productions
Another Planet Entertainment
Arena Touring Operations
Beaver Productions
Big 12 Conference
Blue Deuce Entertainment
BT Productions
Cirque Du Soieil
Emery Entertainment

FELD Entertainment
Get Motivated
Goldenvoice
Harlem Globetrotters
IMG

Immersion Edutainment America
Joyce Meyer Ministries

Live Nation
Madison Square Garden
Madstone Productions
Mammoth Entertainment
NCAA

NFGYM
R-Entertainment
Rush Concerts
Sprint Center
Varnell Enterprises
VEE Corporation
White Horse Productions
Wiggles Live
Women of Faith
WWE

Sprint J*"

Center | I
^11

For booking information:
contact Brenda Tinnen at 816.949.7110
or btinnen@sprlntcenter.com.

Cni

B m

MS. GOLDFINGER

Bond babe Shirley
ey return'-

EASY RYDER
Singer Serena Rydpr
heads soi

BROADWAY BABY

STORM WATCH

Switrhfoot rp.Tdip^

LEADING LADY

Girts Aioud's Cheryl

■ BY LAURA LEEBOVE

Best
Of Both
Worlds

Dashboard Confessional
Releases Two Versions
Of The Same Album

Dashboard Confessional's founding singer/song-
writer. Chris Carrabba. was liaving a hard time
deciding whether Iiis next alburn should be a
fuII-on eleclrit rock project or a stripped-down,
acoustic affair when he came up willi a novel
solution. On Nov. 10. when llie band releases
its sixth album. "Alter the Ending" {hilerscope).
fans will l)e able to buy Iioth vi-rsions of the same
collection of songs.

While the regular edition of the release con-
tains electric versions of songs, the deluxe ver-
sion comes with a second recording of the same
songs done acoustically, for an extra S3. "If
you're a Dashboard fan, it either gives you in-
sight into how these songs began or is a stnp|X>d-
down version of these songs." says Dennis
Dennehy. head of marketing and publicity at
Interscopp. "It's just something different — a
broader exploration into what Dashboard is.
both the acoustic and tiie electric sides."

Carrabba says the acoustic set still features
tlie full band, but with a minimalist approach
more reminiscent of when the group was mostly
a solo project in the early 2000s. "1 can even
point lo one track, and I won't tell you which it
is, that was my least favorite track once com-
pleted on the full-band version of Alter the End-
ing," even though other people love it." Carrabba
says. "And the acoustic version has become my

lavoriu- sotigoti the rctoid."

Deniu'liy adds that he hopes ihe double-album
w ill exiK)se thi- band lo a broader audience. "|1
brings a value to somelwdy who might first be
getting into the band and knows that Dashboard
Confessional started with an acoustic lean to it."
he says. "And 1 think it showcases both sides of
Dashboard Confessional, which is important to
the people who have been fans for years."

The two versions of "Alter the Ending" strike
J l>alance between Carrabba's 2007 release, "The
Shade of Poison Trees" (Vagrant) — which his
manager and Vagrant Records founder Rich

Egan calls a "fans-only" record — and the 2006
"Dusk and Summer" (Interscope). " 'The Shade
of Poison Trees' was kind of a between -records
record for the fans. It was an acoustic record
that we decided to put out on six weeks* notice
and we didn't involve our partners at Inter-
scope," Egan says. "We weren't going for big

sales debuts, wc weren't playing the chart jiame.
It was really more of a solo record."

" Poison Trees." which didn't havea conurier-
cial single or extensive promotion, still readied
No. IS on the Billboard 2O0 and lias sold 1 52.000
copies, according to Nielsen SoundScan. Dash-
lM)ard's two records prior to that, "Dusk" and "A
Mark, a Mission, a Brand, a Scar." both debuted
at No. 2 on the Billboard 200 and sold 559.000
and 922.000. respectively. " "Poison Trees' was
meant for the diehard fans that had been with
us from tlie get-go. and 1 was confident that they
would find out about it without a lot of gregar-

ious marketing." Carrabba says.

Dcimehy says that in the past. Dashboard has
also benefited from using songs in other out-
lets, wliich has included placements in "Spider-
Man 2." the MTV show "Laguna Beach" and the
videogame "Madden NFL 07." The band cur-
rently is featured on the soundtrack to ")en-
nifer's Body." and Egan says its music also will
be featured in upcoming episodes of "One Tree
Hill" and "Melrose Place," as well as on the
iPhone game "Tap Tap Revolution."

As for the band's upcoming tour with New
Found Clory. NeverShout Neverand Meg^i Dia,
Carrabba says the performance style of the new
songs will be decided on the fly. "We made an
agreement the other day that we were going to
do very little planning now for this tour," he says.
"I guess we'll just take our temperature in how
we feel about the music that night and decide."

He says fans can also expect Dashboard and

New Found Glory to play some of each other's
music and. according to New Found Glory gui-
tarist Chad Gilbert, the two bands will release
a covers album.

Carrabba. wliosays his interaction with fans
has traditionally been one on one. has also been
active on Twitter. Although he says he"s "very-
late" to the microblogging site, he's become a
prolific tweeter with more than 13,500 follow-
ers. (After this conversation, he posted. "The
wait here at Conan is filled with interviews bill-
board and spin. It starting to feel like we have
an album coming out!")

"It's interesting to have that kind of access to
the audience that has embraced you, and you
know as well as I do that you don't get to choose
the audience tliat embraces you," he says. "I've
been lucky m that I feel that I can actually relate
lo the people that do listen to my music on a per-
sonal level. "

NOVEMBER 7. 2009 www billboard.biz , 57

J3U7Z

»>CHRIS BROWN
TWEETS RELEASE
DATE

Chris Brown has
announced on Twitter the
long-awaited street date
for his upcoming album,
"Graffiti." "Official album
date: December 15.
Graffiti. Now blog about
this. Lol," Brown tweeted
in all caps about the Jive
Records release; the label
confirmed the date. As
previously reported,
Brown will embark on a 19-
city, smalt-venue Fan
Appreciation tour starting
Nov. 4. His latest single, "I
Can Transform Ya,"
featuring Lil Wayne and
producer Swizz Beatz, is
No. TK on Billboard's R&B/
Hip-Hop songs chart.

^>>TRAINBACK
WITH ALBUM, TOUR

After a two-year hiatus
following a support tour
for the 2008 "For Me It's
You," Train is back with its
fifth album, "Save Me, San
Francisco," which arrived
Oct. 27. To reintroduce
fans to the band. Train
stripped its lineup back to
the three remaining
founding members, along
with some adjunct
musicians; brought in new
management and a new
producer (Martin Terefe);
and wrote dozens of songs
with writers like
OneRepublic's Ryan
Tedder and Better Than
Ezra's Kevin Griffin. The
group is touring North
America with Uncle
Kracker and expects to
tour abroad in 2010.

ALICIA KEYS'
ALBUM DELAYED

On the heels of presenting
her latest single, "Try
Sleeping With a Broken
Heart," during a lecture
and performance for New
York University students,
Alicia Keys announced
Oct. 25 on her Twitter
page that her upcoming
album has been pushed
back two weeks.
Originally slated for a Dec.
1 release— which is World
AIDS Day— "The Element
of Freedom" will now be
available Dec. 15. "Luv
having the freedom to
create beautiful music, so
I'm pushing the album
back to DEC 15th. So
many more amazing
songs!!!" she tweeted
about the J Records
release. Label reps
confirmed the new date.

Reporting by Mariel
Concepcion and Gary
Graff.

OUES'I'IONS

with SHIRLEY BASSEY

With global career sales estimated at 135 million by her label and a legacy as one of Britain's most
beloved entertainers, Shirley Bassey hardly needs to make albums.

But on Nov. 9 in the United Kingdom. Geffen/Universal will release "The Performance," pro-
duced by James Bond soundtrack master David Arnold and featuring songs predominantly cus-
tom-written for her by Take That's Gary Barlow, the Pet Shop Boys, Rufus Wainwright, KT Tun-
stall and others.

Bassey's manager, album executive producer Paul Carey, suggested the project after the
"incredible" reaction to Bassey's 2007 Glastonbury Festival performance. In July 2008, he met
with the 72-year-old artist to explain the concept of "a true Bassey album: classic-sounding
yet contemporary."

Carey took the idea to Geff en U.K. president Colin Barlow and. with Arnold onboard, the album
took shape. A U.S. release is under discussion.

1 You've had compila-
tions and remix albums, but
this is your first all-new
record in more than 20
years. Is that because the
material wasn't right for
you before?

Well, not only that. I'd really re-
tired, to tell you the truth, and
was just coming out for special
occasions. These writers have
broiif^ht me back. Only that
could have done it, and it was a
challenge, because you would-
n't have thought they were my
songs. I took them on holiday

with me. and 1 would say. "I
can't do this, they're too difTi-
cult." But I was listening to the
way the writers were singing
them, and tr> ing to sing in their
key, which never helps. It was-
n't until I actually went into the
studio, with a piano, and put
my voiceon.that I started to gel
excited. I could hearmyself. I'm
always up for a challenge, and
it paid oft

2 How was the experience
of working with David Arnold?

He's very gentle. He lets you

find your own way. And I love
him for allowing niy music
director. Mike Dixon, to be in
the studio, because Mike
knows me. He knows the
notes I would watti lo hold.
If I hit a note and I like it, I
want to stay on it — you can't
get me off, but Mike was able
to do that.

3 What are your expecta-
tions for the album?

We would all love to have No.
Is — oh, my gosh, yes. It would
be great, great, great.

4 Will you tour after your
Electric Proms perform-
ance Oct. 23 at the London
Roundhouse?

No. It's very tiring, it takes so
much out of you, especially now
in the September of my years.
You wake up and the whole day
is concentrated on llie perfortn-
ance, so you have no life. You
do your performance, get on
your bus and go off through the
night to the next town, and
that's what it's like until the tour
finishes. Then you're in bed for
twoor three days. I loved it. but
i doubt I'd do it again. 1 say
"doubt," because you should
never say "never."

5 Whydoyouthir
you still draw bl
crowds and have
loyal fan base aft<
all these years?
My down-to-earth nes
I think. But if I kne
what makes succes
I'd iKJttle it. That's tl
magic of this bus
ncss — you don't knc
\ why you're successfi
• I Those critics who s.
\ it's an all-gay audien

IT/n mums and dads, ai
their children brir
their children, so it's a fami
audience.

6 Do you have a favorh
song on the album?

I love all of them. But the P
Shop Boys' song ["The Perfo
mance of My Life"] got rigl
into my head and made n-
sob, and not many songs
that. You can get too carri'
away with a song, especial
onstage, but you can't be cr
ing during every one. When
heard that, after doing all ll
other songs, it was just tc
much for me. I don't need
write a book. The record is n
autobiography.

GLOBALARTIST
SERENA RYDER

CANADA

By ROBERTTHOMPSON

Not only was Serena Ryder blessed
with a remarkable voice and a gift for
live performance, but the Canadian
native also apparently received a gen-
erous helping of patience.

Ryder needed all of that fortitude
while she awaited the Nov. 3 U.S. ar-
rival of her third full-length studio
album, "Is ll O.K., " on Atlantic Rec-
ords, almost a year after its Nov. 11,
2008, release on EMI Music in Canada.
The album's rootsy, soulful pop was
a solid success in Ryder's home coun-
try, peaking at No. 22 on Billboard's
Top Canadian Albums chart and sell-
ing 35,000 copies, according to
Nielsen SoundScan. The album also
picked up the 2009 Juno Award for
adult alternative album.

Ryder spent the wart setting up
the album in the United States with
numerous tours— including sharing
stages with the likes of Paolo Nutini.
Eric Hutchinson and Marc Broussard—
visits to radio stations and press in
publications including USA Today and
the New York Post. It's an approach
that perfectly suits the record: a col-
lection of gutsy, bittersweet songs
that showcase the impressive range
of Ryder's voice but take a few listens

before revealing their full charm.

"I keep thinking, *Wow. I haven't
seen a record set up like this for a long
time,' " Ryder says. "Over that time—
and it has been a while— I've found a
lot of my success has come organi-
cally through meeting people and de-
veloping relationships."

According to Atlantic U.S. GM/ex-
ecutive VP Livia Tortella, the label de-
layed the release to allow Ryder to
build her live fan base. Meanwhile, fu-
eled by that touring, the album's lead
single, the gruffly emotional "Little

Bit of Red," peaked at No. 8 on Bill-
board's Triple A chart.

"We were set to release the record
a little later than Canada, but she was
creating a lot of traction with her live
show," Tortella says. "She comes from
a very cool indie pedigree and we
thought it was important she live in
that space a tittle longer."

The album was further delayed to
tie in with Ryder's selection for My-
Space's "Introducing" program, de-
signed to spotlight new artists. That
saw the U.S. video for the second

BILLBOARD

single, "All for Love," premiere c
the site Oct. 16, and the albu
streamed Nov. 2, alongside other e
elusive content,

Atlantic now hopes to crack
radio formats as well as triple A wi
the chiming, strident anthem "All f
Love," which goes to radio Nov. 3.

"This is where time and patien(
works well," Tortella says. "We kno
triple A is about music lovers and v
know they'll love Serena. But they ah
like to be first and it can take tim
She's taken the time to play the
shows, getting to know the prograr
mers, and that takes time."

Ryder has further U.S. and Can
dian dates, booked by the Toront
based Paquin Entertainment, throu<
Dec. 5 before heading out for mo
touring in 2010.

And while Ryder's early recording
may have been issued on indie labc
in Canada, she has nothing but prai
for the way in which Atlantic has d
veloped her U.S. career.

"You hear tons of things about he
it doesn't work out with major label:
Ryder says. "But I feel very blessed
have worked with Atlantic. All the I
tie steps have worked out Ideally."

MUSIC-

FELABRATIONTIME

-ela Kuti's Music
\nd Legacy Find
\ New Audience

(arting Nov. 23. musical theater fans
silinp New York won't just be an-
ling for tickets to Broadway produc-
ons of "Chicago," "Mamma Mia!"
id "Rock of Ages.' Tliey'll also have
ic chance tosee"Fela!" — a new mu-
cal at the Eugene O'Neill Theater
>out the influential Nigerian artist
ela Anikulapo-Kuti — and choose
frobeat music over show tunes. Dis-
ey songs and ABBA hits.

What's at slake in this Broadway ven-
ire. however, is much more than
•creationa! tourist dollars. The show
ill help find a larger audience for Kuti,
ho pioneered Afrobeat from the
)unds of James Brown and West
frican high-life music, became a po-
tical icon in his native Nigeria and
irned the admiration of everyone
om Paul McCarmeytothe Brazilian
nger Gilberto Gil before dying in
J97. Rikki Stein. Kuti's former co-
lanagerand the executor of his estate,
ans to capitalize on this exposure to
'ment his legacy as one of the great-
it artists of the 20th century.

"I have an abiding regret that Fela
?ver achieved the recognition he de-
•rved during his lifetime," Stein says.
Ve have a long row to hoe in terms
'general knowledge and acceptance."

In addition to greenlighting
■ela! Kuti's estate has hcensed his
italog to the newly revived Knitting
ictory Records. The well-timed deal
ill result in the reissue of Kuti's
)mplete catalog — 45 albums — dur-
ig the next 12 years.

"The industry always talks about
ho the next big legacy artist will be,'
lys Ian Wheeler, label manager of
nitting Factory Records, "l! should
)ve been Fela years ago. We're really
ying to bring a new audience around
le world, and particularly in the U.S..
• his music."

Up first is the Oct. 27 release "The
est of the Black President." a compi-
tion of Kutfs best-known material,
he set is being sold at previews of
■ela!" and at Felabrations. a series of
frobeat DJ parties organized by Knit-

ting Factory Records and its market-
ing partner. Giant Step.

"We're a conduit for raising aware-
ness of Afrobeal,' says Dl Rich Med-
ina, who founded the Kuti tribute
party )ump N' Funk in 2001 and head-
lined four of 18 Felabrations nation-
wide. " It's a way of helping the cause."

"The first thing we're doing is gal-
vanizing the core base of Fela fans."
Giant Step founder/CEO Maurice
Bernstein says, "then using the mes-
saging to make him relevant in a uni-
versal way. You can live in Detroit and
understand what [the famous Kuti say-
ingl 'Music is the weapon' mean- just

like you would Bob Marley's 'One Ijove'
or Marvin Gaye's 'What's Going On?" "
The first batch of reissues, to be dis-
tributed by Sony RED, arrive Feb. 2.
2010: "The '69 Los Angeles Sessions."
"Live With Ginger Baker." "London
Scene" /"Shakara." "Rodoforofo Fight."
"Open & Close'/'Afrodisiac" and "Gen-
tleman"/"Confusion." It's not only the
first time Kutfs early London record-
ings with Koola Loobitos will be reis-
sued but also the debut of his catalog
on vinyl, which Knitting Factory hopes
will attract a new generation of music
collectors who listen to African-influ-
enced bands like Vampire Weekend.

"Everyday there are traces of new
people discovering Fela's music."
Wheeler says. "But there has never
been a swell of activity around him
like this."

Though MCA reissued Kuti's cata-
log in 2001, Bernstein, who also
helped market that series, says its po-
tential wasn't fully realized. "MCA
was a major label, and no matter how
much they said they loved Fela and
how important he was. he was defi-
nitely lost in the shuffle." he .'?ays.

Stein is all too familiar with labels'
conflicted admiration for Kuti. In the
mid-'80s. he says he met with every
major about the prospect of a deal.
"They all received me respectfully
and saw Fela as akin to Miles Davis
or any of the jazz greats.' Stein re-
calls. "Bui they'd ask: "Rikki. which
three minutes of this 1 8-minute song
do you want me to put on the radio?' "

'I'd ask Fela to write me a small
tune.' Stein adds. "He used to say. 'I'm
writing African classical music. Don't
mess with Tchaikovsky.' "

A deal nearly came to fruition in
1993, when ihen-Motown Records
president Iheryl Busby offered Kuti
a five-album deal under his new
Africa-oriented label, with a $1.3 mil-
lion advance for each album and an-
other SI million for full ownership
of Kuti s catalog. Stein says. But after
talking to his spirit advisers. Kuti re-
fused to sign until April 1995. Busby
left Motown the week of the sched-
uled signing, and Andre Harrell's first
action as Motown's new president was
to axe the African label. "[Andre] came
from Uptown Music; we needed
downtown music." Stein jokes.

In Knitting Factory Records and
the producers of "Fela!," Stein has
found partners who are more faith-
ful to the cause of growing Kuti's
legacy. "Fela!" re-creates the Shrine —
the Lagos. Nigeria, nightclub where
Kuti played multiple nights each
week with his band. Africa 70 — in
startlingly accurate detail. A collec-
tive of singers, dancers and musi-
cians perform Kuli songs including
"Shakara." "Zombie" and "Teacher
Don't Teach Me Nonsense" behind
lead actor Sahr Ngaujah. who has al-

ready won an Obie Award for his
spot-on portrayal of Kuli in the
show's Off-Broadway run last year.
The effect is less stufTy theater and
more raucous concert — just as its cre-
ators intended.

"The Broadway experience can be
likesittingwith blinders on." "Fela!"
director/ choreographer BillT. )ones
says. "This is a show you enjoy as
much with your body as with your
mind. It's free and communal."

"There was a constant struggle be-
tween keeping Fela's music pure and
deconstructing it for the audience."
says the show's musical director
Aaron |ohnson, who translated Kuti's
Yoruba and pidgin lyrics and is also
the conductor/trombonist of the ac-
claimed Afrobeat band Aniibalas.
"I've been very pleasantly surprised
with the response so far."

Nor have the most controversial
aspects of Kuti's life been smoothed
over, from his simultaneous "wed-
ding" to 27 women to his clashes with
the Nigerian government that led to
a brutal 1977 attack on his Kalakuta
compound. "It's all out there,' Stein
says. "Fela has not been sanitized."

That hasn't done anything to quell
the show's hype, due in no small part
to the fact that tastemaker musicians
like the Roots' Ahmir "?uestIove"
Thompson have sung its praises. |ay-
Z called it "fantastic" after attending
a show, fueling reports that the rap-
per will become involved with it in
an official capacity. "There's going
to be an enormous incentive for peo-
ple to investigate Fela when they
know that |ay-Z. Will Smith and Ali-
cia Keys are all rabid fans." Stein
says. "It's a sign that the under-
ground is moving overground."

And there's even further proof that
a Kuti revival of sorts is under way;
A screenplay for a biopic is in the
works, to be directed by the U.K. film-
maker Steve McQueen ("Hunger").

"I believe that with the show, the
film and the reissues, a lot is going
to change," Stein says. "We'll see a
much wider audience for Fela. There
were a million people at his funeral
shouting. 'Fela will live forever.' Of
course, they were right.' •

NOVEMBER 7, 2009 I www.blllboard.biz

Cri

ALBUMS

BON JOVI

Th« Circle

Producers: John Shanks, Jon Bon
Jovi. Richie Sambora
Island Def Jam

Release Date: Nov. 10 I
Bon Jovl had great crossover
success after putting a little bit of country into its
rock'n'roll with the 2007 "Lost Highway." But the New
Jersey group gets back to the business of rocking on its
11th studio album, "The Circle." The band hits a classic
Bon Jovi stride out of the gate with the first single, "We
Weren't Born to Follow." The song is a common- man
anthem that announces, "This ain't about giving up or
giving in," drawing its buoyant chorus straight out of its
1988 song "Born to Be My Baby." Also in that mold are
tracks like "Work for the Working Man," "Thorn in My
Pride" and "Broken Promlseland." Meanwhile. U2's
trademark ambient dynamics can be found on "Love's
the Only Rule." "Happy Now" and "Learn to Love." Bon
Jovi gets political on "Bullet," while "When We Were
Beautiful" is wistfully nostalgic, right down to the sha-
la-la backing vocals, with its own brief social commen-
tary about living on a continuing prayer. The country-
friendly elements are still there— the fiddle and steel on
"Live Before You Die." for example— but "The Circle"
rides closer to the New Jersey turnpike than the band's
"Highway" run.— GG

SOUNDTRACK

VARIOUS ARTISTS

The Twilight Saga: New
Moon Original Motion
Picture Soundtrack
Producers: various
Atlantic/Chop Shop Records
Release Date: Oct. 16
Given that last year's "Twi-
light" soundtrack sold more
than 2 million copies, accord-
ing to Nielsen SoundScan. it's
not surprising that the sequel s
companion album largely re-
produces the first set's alt-
rock grab-bag approach—
albeit wtth bigger names
befitting the higher profile of
"New Moon." Music supervi-
sor Alexandra Patsavas landed
top-shelf exclusives from the
Killers (the spacey, piano-led
"A White Demon Love Song").
Thorn Yorke ("Hearing Dam-
age." a tense piece of digital
electro-funk) and Death Cab
for Culie ("Meet Me on the
Equinox, " guitar-guy melan-
cholia at Its prettiest)- But Pat-
savas" real accomplishment ts
using "New Moon" to intro-
duce mainstream listeners to
hipster-beloved indie acts:
Gnzzly Bear contnfcHjtes a typ-
ically gorgeous psych-folk in-
cantation called "Slow Life"
(with guest vocals from Beach

House"5 Victoria Legrand).
and Bon Iver's Justin Vernon
duets with St. Vincent on
"Roslyn," which could warm
even a vampire's heart.— MW

KRISTINA TRAIN

Spilt Milk

Producer: Jimmy Hogarth
Blue Note Records
Release Date: Oct. 20

Sorrow over a breakup rarely
sounds as exalted as it does
on singer/songwriter Kristina
Train s debut album. "Spilt
Milk," where her lyrics are
often awash in isolation. "I
start out each morning full of
good intentions." she belts
on "You're Still Going to
Lose," over sparse acoustic
plucks that soon give way to
exuberant strings. "And
watch ail those people go
home with happy endings/I'll
keep on pretending." The
album draws from Tram's
background as a church
singer in Savannah, Ga..
which would account for the
gospel-informed ""Call in the
Maker" and the soulful "No
Man's Land." where a post-
breakup Train laments, "I'm
so ashamed you're still living
rent-free in my brain." The

songs on "'Spilt Milk" have a
tendency to rely on lush
orchestration during the cho-
ruses, but ultimately Train's
words resonate with the
listener. -MH

TINY TIM

I've Never Seen a Straight
Banana: Rare Moments,
Vot. 1

Producer Richard Barone

Collectors ' Choice Music
Release Date: Ocr 20
Consider this a 16-track wake-
up call to those who consider
Tiny Tim— tip-toeing through
the tulips with his ukulele-
little more than an entertain-
ing novelty act. Recorded by
a 16-year-old Richard Barone
at a motel and nearby studio
in 1976, "I've Never Seen a
Straight Banana: Rare Mo-
ments, Vol. 1" showcases the
late Tim as an ace musicolo-
gist. He rips through a vari-
ety of early-20lh-century
ragtime. Dixieland and folk
tunes. The most mind-
blowing of the lot IS the "Tiny
Meets Dylan" medley, a re-
creation of a dialogue with
Bob Dylan for which Tim per-
forms "Like a Rolling Stone" a
la Rudy Vallee and Vallee s
"Vagabond Lover" in Dylan's
nasal cadence. Barone took

the title track back into the
studio for some overdubs
from famous friends like Terre
Roche and Steve Addabbo.
But it's hard to improve on
the unbridled joy of Tim
doing his thing alone that the
rest of this set so arrestingly
captures— GG

MARIO

D.N.A.

Producers: various
J Records

Release Date: Ocf. JS
Mario has a broken heart
and he's pouring it all out on
his latest set. "D.N. A." Over
simple violin strings on
"Stranded," he sings. "All
that we had is gone in a sec-
ond/And I'm sad baby/What
am I gonna do now?" Ac-
companied by a drum ma-
chine on "I Miss My Friend."
Mario belts out lyrics about
feeling despair since his lady
friend left him. while "Get
Out" finds the artist cursing
the woman who ripped a
hole inside his chest. Even
uptempo songs like the first
single. "Break Up"— where
guest collaborator Gucci
Mane raps. "Swag so stupid,
stiti the bitch straight
dumped me"— touch on

heartache. But the best rep-
resentation of Mario's des-
olation comes courtesy of
the appropriately titled
"Soundtrack to My Broken
Heart," where he gripes over
a piano-based beat, "This is
how It sounds when my
heart cries/You won't even
come to my rescue."- MC

CONCHA BUIKA &
CHUCHO VALDES

El Ultimo Trago
Producer: Javier Limon
Warner Music Latina
Release Date: Oct. 20
It s not surprising that Ih
Afro-Spanish singer Concf"
Buika is a favorite of the ftin

STEVEN CURTIS
CHAPMAN
Beauty Will Rise
Producers: Sfeven Curtis
Chapman. Brent Milligan
Sparrow Records
Release Date: Nov. J
There's no denying that sorvgwriting is among the most
cathartic professions. And never has a writer's pain
sounded more achlngly raw than on Steven Curtis
Chapman's new album, "Beauty Will Rise," a collection
of songs written about the death of his S-year-old
daughter. (Maria Sue died in 2008 after her brother acci*
dentally hit her with a car in the family's driveway.) The
new set examines unfathomable grief, but also cele-
brates an extraordinary young life. On the song "Heaven
Is the Face." Chapman looks forward to seeing his
daughter someday in heaven, while on "Just Have to
Wait," he sings, "1 can't wait to watch your brother's
face/When he can finally see with his own eyes/That
everything's OK." The track "Questions" asks, "Who are
you God?/'Cause you are turning out to be so much dif-
ferent than t imagined/And where are you God?/'Cause
I am finding life to be so much harder than I had
planned." The lyrics are heartbreaking yet hopeful.
Though he's t>een tested, Chapman's faith remains
strong and shines through on songs like "Our God Is in
Control," "Faithful." "I Will Trust You" and the comfort-
ing "Jesus Will Meet You There."-DfP

BILLBOARD I NOVEMBER 7. 2009

VARIOUS ARTISTS
Glee: The Music Volume 1
Producers: Adam Anders. Ryan
Murphy

Columbia Records
Release Date: Nov S
The great thing about "Glee"— Fox's new glammy
musical comedy series— is that when you see the cast
has covered "Somebody to Love" on the show's first
soundtrack, you know straightaway that they're doing
the hit by Queen instead of Jefferson Airplane. Co-
created by Ryan Murphy, who put together the high-
camp cult fave "Popular," "Glee" speaks to the same
constituency that recoiled in horror when Kris Allen
beat Adam Lambert on this year's season of
"American Idol." And as on "Idol," that aesthetic is
most appealingly expressed here in the material that
seems the least suited for it— i.e., mushy heartland
rock ballads like Journey's "Don't Stop Believin' " and
REO Speedwagon's "Can't Fight This Feeling," both
of which these kids transform into stylish jazz-hands
anthems. Spirited glee-club versions of Rihanna's
"Take a Bow" and Jazmine Sullivan's "Bust Your Win-
dows" are nice, too. but they lack a certain revenge-
of-the-nerds triumph.— MtV

Cni

™^^RIEVIIEWS-

laker Pedro Almodovar. Her
usky handling of the copla.
Spanish torch song with fla-
lenco flourishes, and other
:yles suitable for late-night
stening are as knowingly
ecadent as Almodovar's
lovies, And with her street-
'ise style, she could easily be
ast in one of theni. Like the
irector. Buika has gained a
ult following since her self-
tied debut albunn in 2005.
•n the new release. "El
Itimo Trago" (The Last
ound). she pairs up with the
laster Cuban pianist Chucho
aides for a set of jazz
oleros with Afro-Cuban
lythms that honors the
ipertoire of the Mexican bo-
emian legend Chavela Var-
as (another Almodovar
ick). On acoustic arrange-
ments, Valdes' subtle playing
as the retro elegance of an
oisode of the TV show "Mad
icn," setting off Buika's more
motional vocals. While nei-
ler artist really stretches
ere, together they create a
Tiooth and potentially ad-
ictive musical cocktail.— JCW

;t*T*!!l

HE FLAMING LIPS

mbryonic
roducers: various
farner Bros Records
elease Date: Oct 13

or some longtime Lips fans.

le band's 12th studio albunn.
:mbryonic." will be hailed as
welcome return to the ex-
ertmental. psychedelic form
f its early years. But the
roup's newer fans who only
TOW the Lips" recent pop-
fused tunes and obtuse but
armless lyrics may be sur-
hsed by the new album's re-
irn to atonal Krautrock jams,
uried vocals and a notable
ck of memorable melodies,
le act should t>e credited for

SINGLES

not hewing to the trled-and-
true formula it pretty much y
invented with previous re- i]
leases ("The Soft Bulletin,"
"Yoshimi Battles the Pink Ro-
bots." "At War With the Mys-
tics"), but many of the dou-
ble-disc's 18 tracks feel like
they are embryonic rather
than fully formed. The excep-
tions include "Convinced of
the Hex" and the closer
"Watching the Planets." which
should fit nicely into the
band's always-entertaining
live show.— OJP

BEN ALLISON

Think Free

Producers: Ben Allison. Matt
BdlHsaris
Palmetto Records
Release Date: Oct 15

A New York underground jazz
scene mainstay, bassist Ben
Allison has broken away from
traditional jazz into crossover
hybrids and developed a dis-
tinctive voice, Allison's latest
release. "Think Free," is a
seamless follow-up to last
year's "Little Things Run the
World" and delivers sensual-
to-mystical lyricism with sub-
tle grooves. His easy-flowing
quintet includes the trum-
peter Shane Endsley and vi-
olinist Jenny Scheinman. who
is a remarkably imaginative
leader in her own right. But

It's the contributions of gui-
tarist Steve Cardenas that
help shape and color "Think
Free." Case in point: his slow
solo through the poignant
"Broke." Larger-than-life mon-
sters lurk in Allison's music,
with the word "Godzilla" ap-
pearing in two song titles. But
the sweet-sounding closer,
"Green Al"— perhaps Allison's
strongest and most alluring
composition to date— dis-
perses all fear— DO

3ITED BY MITCHELL PETERS
iLBUMS) AND MONICA
ERRERA {SINGLES)

3NTRIBUTORS: Judy Cantor-
ivas, Manel Concepcion. Gary
aff. Ron Hart, Mo^^ca Herrera.
ichael Menachem. Dan
uellette. Deborah Evans Price.
9vid J. Prince. Mikael Wood

aiTICS' CHOICE *: A new

lease regardless of chart
jtential. highly recommemded
r mustcal rnerit.

PICK A new roleose predicted

to hit the top half of the chart in
the corresponding format.

All albums commercially availaUe
in the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard. 50S5
Wilshire Blvd , Seventh Floor. Los
Angeles. CA 90036 and singles
review copies to Monica Herrera
at Billtmard. 770 Broadway,
Seventh Floor. New York. N.Y.
10003. or to the writers in the
appropriate bureaus

THEM CROOKED
VULTURES

New Fang (3:47)
Producers: Them Crooked
Vultures

Writers: O. Grohl. J. Homme.
J. P. Jones

Publishers: Board Stiff
Music/MJ Twelve Music
(BMI). Cap Three CASCAP)
DGC/lnterscope
Ever since Them Crooked
Vultures cranked up their
own hype machine with a 14-
second YouTube clip and a
brief club tour for which no
one could seem to score
tickets, people have been
clamonng to hear the band's
recorded material. "New
Fang"— the first single from
this collaboration among
Queens of the Stone Age's
Josh Homme, Foo Fighters'
Dave Grohl and Led Zep-
pelin's John Paul Jones— fi-
nally proves that all the buzz
is justified. Though the song
leans a little heavily toward
Queens of the Stone Age's
sound due to Homme's dis-
tinctive voice, it chugs along
on a monolithic blues riff
that's more aligned with Blue
Cheer than Led Zeppelin.
Enhanced by the seamless
chemistry of its principles—
who currently make up the
most anticipated power rock
trio since Cream— this track

rocks hard — ffH
ADAM LAMBERT

Time for Miracles (3:49)
Producer: Rob Cavallo
Writers: A. Johanryes.
N. Shneider
Publishers: various
19/RCA

His debut album and single
are just weeks away, but
Adam Lambert is giving fans
an early taste of his post-
"American Idol" material by
lending his voice to the
"2012" film soundtrack. Re-
cording rock anthems for
Hollywood is a move that
has worked well for Linkin
Park and Aerosmith in the
past, and Lambert is well-
suited to this power ballad,
which wavers between ten-
der and painful. The track is
also a bittersweet reminder
of the talented late song-
writer Natasha Shneider,
who was best-known for her
and co-songwriter Alain Jo-
hannes' work with Chris
Cornell and Queens of the
Stone Age, Thanks to epic
orchestration and an oc-
tave-straddling bridge— one
that Lambert sends home
with his impressive vocal
theatrics— no miracles are
needed here.— MM

ELECTRONIC

LCD SOUNDSYSTEM
Bye Bye Bayou (7:11)
Producer James Murphy
Writer: A. Vega
Publisher: Saturn Strip
DFA

In honor of Vinyl Saturday
(Nov. 7). the dance-punk out-

CHRIS BROWN

Crawl (3:SS)

Producers: Adam Messinger Nasri
Atweh

Writers: various
Publishers: various
Jive

It's probably no coincidence that Chris Brown pre-
miered his new single— a ballad that departs signifi-
cantly from his recently released "I Can Transform Ya"
—on the same day Rihanna debuted hers. While both
songs obliquely refer to the demise of their relation-
ship, Brown's Is all about his hope for reconciliation.
"Where do we go from here/With all this fear in our
eyes?" Brown wonders. "And where can love take us
now/We've been so far down, we can still touch the
sky if we crawl." "Crawl" might be the most straight'
forward pop song Brown has ever recorded, with a
production that's missing the rhythmic appeal of
"With You" and "Forever." Removed from the con-
text of his real-life troubles, its lyrics feel cliche, but
Brown still displays a deft ability to convey passion
and sincerity in his delivery, ultimately selling his mes-
sage of redemption.- MH

fit LCD Soundsystem is
targeting discerning music
collectors with an exclusive
12-inch single: a cover of Alan
Vega's "Bye Bye Bayou." The
very different-sounding
original song is from the Sui-
cide frontman's 1980 solo
debut, but here LCD's James
Murphy transforms it into a
hazy dancefloor workout.
Murphy takes the swampy,
art-damaged rockabilly and

anxious delivery of Vega's
track and replaces it with a
razor-sharp club beat and
dubbed-out vocals. What
saves this new edition from
becoming a generic rump
shaker is Murphy's loyalty to
Vega's paranoid vision. With
masterful synthesizer work.
Murphy brings the "helicop-
ters flyin' "and coiled "rattle-
snakes" of "Bye Bye Bayou"
to life.-ffH

RIHANNA

Russian Roulette (3:44)
Producers: Chuck Harmony. Ne-Yo
Writers: S. Smith. C Harmon
Publishers: various

DoF Jam

Rihanna has yet to publicly discuss the February alterca-
tion with her ex-boyfriend, Chris Brown. But on "Russian
Roulette"- her first single since the incident occurred—
she seems to touch upon the agony it caused her. "Say a
prayer to yourself/He says close your eyes, sometimes It
helps," Rihanna sings over a steady pulse. "And you can
see my heart beating/You can see it through my chest/
That I'm terrified, but I'm not leaving/Know that I must
pass this test." The song recalls Rihanna's previous dark
ballad "Unfaithful," but it's far grittier in tone— it ends
with the sound of a gun being cocked and fired- and her
vocals are heavier with emotion. When Rihanna takes a
final, dramatic breath before the song's haunting conclu-
sion, the listener Instinctively braces, too, wondering
what will happen next.— MC

NOVEMBER 7, 2009 I www billboard.biz

Cni

HAPPENING NOW^

BY SARAH MacRORY

'Hurricane' Sigliting

Switchfoot Prepares First Release For Atlantic Records

Best-kiiown for tlic hits " Dare You to Move' and " Meant to Live," San
Diego's Switchfoot is back with its first single in three years: "Mess
of Me." It's also the lead single from the alternative rock band's sev-
enth album — and first for Atlantic — "Hello Hurricane" (Nov. 10).

During the three years that Switchfoot lias been off the commer-
cial radar, the group has made a dramatic shift from the aforemen-
tioned romantic ballads from its 2003 muhlplatinum album, "Tlie
Beautiful Letdown." Tlie shift is most evident on "Mess of Me,"

whose raw, forceful somid and edgy. Introspective lyrics reveal Switch-
foot's darker side on an album that deals with life's stormy side.

"I am my own afTliction/l am my own disease/There ain't no
drug that they could sell/There ain't no drugs to make me well,"
vocalist/guitarist )on Foreman sings. "1 made a mes.s of me/I
wanna get back the rest of mc."

Foreman notes the "shock element" of "Mess" is what origi-
nally drew the group to the song. "We wanted to do something
that was a drastic change from anything we'd done before." In
addition to Foreman. Switchfoot's members include his brother
Tim Foreman (bass), Chad Butler (drums), Jerome Fontamillas
(keys/guitar) and Drew Shirley (guitar).

While "Mess' and another track, "Free," showcase the group's
expanded musical range, other songs like "Enough to Let Me Go"
are reminiscent of the original Switchfoot. Another song. "The
Sound," has been selected by Verizon Wireless for its national ad
campaign for the BlackBerry Storm 2.

Signed to Columbia until 2006. Switchfoot's last album for the
label was "Oh! Gravity." However, the band left the label because it
wasn't in tune with its restructuring. "Our music is very communal

and toasseinble a now team of people to represent it ev'Ct>' few montJ
was very counterproductive." Foreman says. "We also wanted th
-iutonomy to explore and rediscover what we love about what wcdo
After leaving Columbia. Switchfoot built its own studio in Sa
Diego. During the next three years, the band tracked 80 songs b-
fore narrowingthe list down lothe 12 that appear on 'Hello Hii
ricane." Atlantic approached the group after listening to the projec
recorded wUh noted producer/bassist Mike Elizondo (Dr. Dp
Eminem. Pink). Although Foreman says the band was leerv' abot
dealing with another major label, 'it was a dream to have peop
who are passionate about songs that you've spent months an
months working on."

After a busy summer — co-headlining with Universal Motown
Blue October on the Crazy Making Summer tour and openuig f<
Dave Matthews Band — Switchfoot is gearing up for an even busic
fall. The group will kick off its headlining tour Nov, 8 in San Dieg'
Ending Dec. 9 in Boston, the 18-city trek includes stops in U
Angeles. Houston. New Orleans and New York. Along the toi
route. SiAitchfoot will collect donations for local food banks.

In addition toa Nov. l2appearanceon ")immy Kimmel Live!
Switchfoot is relaunching a new Web site: ThcWorldYouWant.con
Fans are being asked to contribute stories about people who ai
making the world a better place. The band plans to read some i
those contributions onstage during the tour. Upcoming appea
ances include Yahoo Music's new live concert program, "Ma>
mum Performance Guitar Hero 5." Fans who preorder "Hel!
Hurricane" will immediately receive a free download of" Mess <
Me" and four videos. They have five preorder options: a standai
CD; a deluxe CD/DVD, with 60 minutes of special footage; vin
with a CD; a collector's edition (CD, DVD. an additional CD wit
studio outtakes, a limited-edition poster and a 84-page hardcovi
book); and digital download.

Switchfoot isn't worried that fans may dislike its change i
sound. "There's a moment when wc come aaoss sometliing bea'
Hfril," Foreman says. "Maybe it's a sunset or we're reminded ju
how fragile life is. These moments remind us that we're alive,
want this album to be that for people."

HOLDING ON

This week, as Taylor Swift's self-titled debut album logs its 157th straight week on the Billboard 200 at
No. 60, it becomes the longest-running album on the chart this decade since 2000. The previous record-
holder, Nickelback's "All the Right Reasons," spent 156 weeks on the chart. ^ The feat is remark
able not only because of the set's longevity, but also because it has become increasingly difficult
for albums to stay on the chart. In previous decades, it wasn't unusual for an album to spend
hundreds of weeks on the tally. However, in January 1997, Billboard changed its charting
rules, making it harder for an album to linger. ^ First, a little history about the Billboard 200.
On May 25, 1991 , the chart converted from ranked sales reports submitted by retailers to point-
of-sale data from Nielsen SoundScan compiled from the actual scanning of album bar codes. It
wasn't until Jan. 18, 1997, however, that the recurrent policy — similar to the one now in place — was insti-
tuted. As of the latter date, albums that were more than 2 years old were removed if they ranked below No.
100. Last year, the two-year limit was changed to 78 weeks. — Gory Trust

CUD THE TOP 10 LONGEST-RUNNING ALBUMS SINCE JAN. 18, 1997
1997 1

1998
1999
2003

SHANIA TWAIN, "COME ON OVER"

BACKSTREET BOYS, 'BACKSTREET BOYS"

DIXIE CHICKS, "WIDE OPEN SPACES"

ORAH JONES, "COME AWAY WITH ME" :

151 WEEKS

133 WEEKS

134 WEEKS

148 WEEKS

2004

GUNS N" ROSES, "GREATEST HITS"

138 WEEKS 1

2005

CARRIE UNDERWOOD, "SOME HEARTS"

137 WEEKS 1

2005
2007
2007
2008

NICKELBACK, "ALL THE RIGHT REASONS"

FLYLEAF, "FLYLEAF"

DAUGHTRY. "DAUGHTRY"

TAYLOR SWIFT, "TAYLOR SWIFT*

156 WEEK

133 WEEKS

147 WEEKS

1S7WEE

62 I BILLBOARD NOVEMBER 7, 2009

Cni

In demand:
CHERYL COLE

iMifl BY TOM FERGUSON

tar Trek

iris Aloud's Cheryl Cole Steps
to The Solo Limelight

Girls Aloud singer Cher\'! Cole's U.K.
profile couldn't be mucli hif^her. But
that's still not enough for Polydor
U.K. president Ferdy Unger-Hami!-
ton. "We're not selling her profile."
he says. "We're selling her music."

Cole is a tabloid fixture in the
United Kingdom, thanks to her mar-
riage to the soccer star Ashley Cole
and her role as a judge alongside
Simon Cowell on the TV ratings-top-
per "Tlie X Factor." She's also a model
for the cosmetics brand L'Oreal and
still a member of Girls Aloud, which
has enjoyed 20 U.K. top lOhitsingles
since 2002.

At the moment, though, the focus
is firmly on Cole the solo star. Her
debut single. "Fight for This Love"
(Fascinalion/Polydor), entered the
Ofikial Charts Co. listing this week
at No. 1 with sales of 293. 000 copies,
according to the OCC. Cole per-
formed the track Oct. 18 on "The X
Factor." with ITVl claiming an audi-
ence of 9.3 million viewers. The
biggest-selling single of 2009 to date,
it set up the Oct. 26 release of Cole's
debut album. "Three Words." Unger-
Hamilton expects first-week sales of
120.000-1 50.000 copies.

Unger-Hamilton handled A&R
chores on t fie album himself and ex-
pects it to produce "at least four" U . K.
singles. The next one. due before
Christmas, is the title track. 1 1 was co-
written by Cole with session guitarist

George Pajon and ifie Black lived
Peas* Will. i. am. who also produced
and duets on it. "That's a really as-
tounding track." Unger-Hamilton
says. "It feels like the next step for
pop music."

The title track will be followed in
early 2010 by a third single. "Para-
chute." helmed by the production
team Syicnce. The album will roll
out internationally early next year
as well, starting with Europe. Unger-
Hamilton says. A U.S. release
through I nterscope will follow at an
as-yet-unspecified date.

"Globally, this music has a place."
Unger-Hamilton says. "The writers
and producers alt have enormous
track records."

Tlie U.K. Ciimpaigri involved a heavy
online factor: Cole conducted a live
video Web chat on MySpace; Bebo
users were offered a chance to inter-
view the singer using Twitter to ask
her questions. Polydor also targeted
online retailers with exclusive content.

At the market-leading retailer
HMV, head of music Rudy Osorio
reports the album has been "out-
selling its closest rivals by a margin
of nearly two to one" this week. Cole,
he says, "has a fantastically broad
demographic appeal: kids, moms
and dads all like her, as do guys and
girls. We always felt this would be
one of the best sellers of the Christ-
mas period." —

.7 A

^ Coming alive;
DAVID NAIL

vid Nail, whose single "Red Light" Is No. 15

Billboard's Hot Country Songs chart after 35
;el<s on the tally, proves that the phrase "over-
ght sensation" oversimplifies things.

Nail's first single, "Memphis," peaked at No. 52
I Hot Country 5ongs in 2002. But the Mercury
ibut album he recorded was never released. He

d signed with the label eight months after
oving to Nashville from his birthplace, Ken-

tt. Mo. The town is also home to Sheryl Crow,
lose mother taught Nail piano.

Ginny Rogers, music director at country

KLB Boston, remembers meeting Nail on a

Mercury promotional visit. "I liked his songs
back then, but thought he was ahead of his time
musically," she says.

When his producer and head of A&R Keith
Stegall left Mercury, so did Nail, who moved
t>ack to Missouri. The singer/songwriter returned
to Music City two years later and eventually
signed with MCA Nashville, a Universal Music
Group sister to his former label.

Still, success eluded him. Then Nail released
a cover of Train's "I'm About to Come Alive" in
2008. which hit No. 47 on Hot Country Songs.
But the release of his MCA debut album of the

same name, produced by Frank Liddell and Mike
Wrucke (Miranda Lambert), was pushed back.

"Red Light," a song about a breakup in un-
likely circumstances, was released in March.
Weeks later. Nail finally had a slow-but-sure hit.

WKLB is one of the stations having success
with the song. "Listeners like story songs and
this one is no exception." Rogers says. "Although
I think it took them a little longer to catch on
because it's a new artist. They got it. though,
and that's the sign of a true hit."

The single has sold 132.000 copies, according
to Nielsen SoundScan. For the week ending Oct.
25. it sold 11.000 downloads— Its best sales week
yet and fifth straight weekly gain. Meanwhile,
the "I'm About to Come Alive" album, released
Aug. 18, has sold 22,000 copies.

Nail promoted the single by embarking on a
Red Light Road Trip tour across the United
States, tied to the Major League Baseball sea-
son. While on the road, a camera-toting Nail
tried to convince locals he was a major-label
artist who wanted to perform for free. The often
hilarious webisodes premiered on CMT.com and
are also posted on DavidNail.com.

"There's reality TV and there's what we were
doing," Nail says. "There was no editing, no
crew. You can't script some of the stuff we
were doing."

At a recent celebration with friends and fellow
artists for his top IS single. Nail got a little emo-
tional. "There were a couple of moments when
I had to take a deep breath and soak it in," he
says. "There's no greater feeling than accept-
ance by your peers." —Ken Tucker

DRAMA
LOVER

Four years and as many albums after
taking second place in a televised
reality competition, the Mexican pop
star Yuridia's magic number Is still
one. Her latest Sony Music release,
"Nada Es Color De Rosa," topped
Mexico's album sales chart this
month. It's also No. 4 on Billboard's
Top Latin Pop Albums chart and No.
14 on the overall Latin albums tally,
although her single "Irremediable"
has yet to be promoted in the United
States. (The song is in the top 10 on
Mexico's pop airplay chart.)

Yurtdia rose to fame as the break-
out star during the 2005 season of
TV Azteca's "La Academia," a Mexi-
can singing competition/reality show
that was also broadcast in the States.
Her first two covers albums have sold
more than 1 million copies; her first
album of original material, 2007's
"Entre Mariposas," went platinum on
sales of more than 100,000 copies
in Mexico.

Yuridia has ramped up her touring
by tapping into her "La Academia"
experience. "I've performed over a
hundred shows in the last year," says
Yuridia, who grew up in Arizona and
now lives in Mexico City. "I consider
myself a very shy person; I used to get
embarrassed about everything. But
I've grown out of all those things that
kept me from doing what I do now."

Possessing a voice both big and
sultry, Yuridia Is known for her soaring
power ballads. And "Nada Es Color
De Rosa" is chock-full of them. Ital-
ian producer Ettore Grenci's sophis-
ticated, string-laden production lends
a more elegant touch. Collaborating
songwriters include pop star Julio
Ramirez of the band Reik, Monica
Velez, backup singer Cecy Leos and
^Ajridia herself on a duet with the Ital-
ian act Sonohra.

"People think of n>e as the girl who
sings power ballads," Yuridia says. "I
enjoy them a lot but I've also been try-
ing to grow profes5»nally and do other
things." Still, she confesses she'll ahvays
connect with "songs that dig inside
your heart and make you cry. I really
love the drama." —Ayala Ben-Y^uda

www.bill^ard.biz I 63

Billboard connect with the music industry's most important decision maker

For ad placement in print and online call Jeff Serrette 800-223-7524/iserrette'a'billboard.com

WANTED TO BUY

Immediate Payment

American Royal Arts, celebrating 24 years in
business, Is looking to purchase music memorabilia .

Set Lists

Autograplis

Memorabilia

Concert Awards
Concert-Used instruments
Signed Contracts
Original Posters

Contact Jerry Gladstone 561-869-0600

AMERICAN ROYAL ARTS

SIGNEDR0CK.COM » entertainment fine art * since 1986

jgladstone@americanroyalarts.com

BUSINESS OPPORTUNITIES

Hello my name is ALVIN W. IRVING and I recorded a
song called SEXSOLISIOUS I DID IT to buy my mother
a house and I won't stop until I do. I am also a member
of many charities like ASPCA AND THE RED CROSS
AND MARCH OF DIMES AND JERRY LEWIS MDA
AND CITY HARVEST so please dear people I beg you
to help me get my mother that house this Christmas
please go to itunes, amazon.com and cd baby.net
and buy one of my songs. I really want to make my
mother happy this Christmas so if you can help please
do and from my heart GOD BLESS YOU AND YOUR
FAMILY'S ervingn@aol.com 347-843-7781

MASTERING

tangerineMASTERING.com

Grammy winning

CD mastering

REISSUES &
RESTORATION
201-865-1000

MUSIC
MERCHANDISE

BUY DIRECT AND SAVE!

Whilp r.:\'i! pegpie sre rjijing ineir prices, we ate
■■ ir.li'ii; cirs CDs LPs. Books, CassBtlesas low JS
50 a''!l^ Vaur choice liom Uw most extensive list-
■-■■■.I aDio

f uf 'lee c:Jl3loo Oil] (609) 8904000.
fox (609) 890-0247 or write
Scoipla Music, Inc.
P.O Box A Trenton. N.J. O869I-OO20
email: scorp<omus@soLcom

BILLBOARD CLASSIFIEDS
www.billboard.com
for more info call: 800-223-7524

MANAGEMENT
WANTED

Established New Jersey based
"kid-friendly" rock band is seek'
ing a booking agent/manager.
Booking experience and/or
experience in the kid's music
industry a plus. StarFish will
release their second CD later
this year and their debut disc
was Cookie Magazine's "Album
of the Month" for May 2009.
For fTiore information go to
www.sonicbids.com/starfish.
Please send resume and

cover letter to
w h i rldrecordS'a>gmall.com

CALL US TODAY AND ASK

BILLBOARD CLASSIFIEDS

INTRODUCTORY OFFER FOR

NEW ADVERTISERS!

1-800-223-7524 or

jserretteObiUboa rd.com

Billboard Classifieds Covers Everything

DUPLICATION
REPLICATION
VINYL PRESSING
CD ROM SERVICES
DVD SERVICES FOR SALE

PROMOTION & MARKETING
SERVICES
MUSIC DISTRIBUTORS

AUCTIONS
RECORDING STUDIOS

REAL ESTATE
INVESTORS WANTED

STORES FOR SALE
EQUIPMENT FOR SALE
STORE SUPPLIES
FIXTURES
CD STORAGE CABINETS

DISPLAY UNITS
PUBLICITY PHOTOS
INTERNET/WEBSITE

SERVICES
BUSINESS SERVICES
MUSIC INSTRUCTION
BUSINESS OPPORTUNITIES
COMPUTER/SOFTVi/ARE
MUSIC MERCHANDISE
T-SHIRTS
EMPLOYMENT SERVICES
PROFESSIONAL SERVICES
DJ SERVICES
FINANCIAL SERVICES
LEGAL SERVICES
ROYALTY AUDITING

TAX PREPARATION

BANKRUPTCY SALE
COLLECTABLE
PUBLICATIONS

TALENT
SONGWRITERS
SONGS FOR SALE
DEALERS WANTED
RETAILERS WANTED
WANTED TO BUY
CONCERT INFO
VENUES
NOTICES/
ANNOUNCEMENTS
VIDEO
MUSIC VIDEO
POSITION WANTED

LISTENING STATIONS ^
FOR LEASE ]
DISTRIBUTION NEEDED j
EDUCATION OPPORTUNITY
HELP WANTED
MASTERING
AUDIO SUPPLIES
ROYALTY PAYMENT

PRINTING
MUSIC PRODUCTION

METAMUSIC
STAGE HYPNOTIST
CD FAIRS & FESTIVALS
MUSIC WEBSITES
NEW PRODUCTS
DOMAIN NAMES

Jeff Serrette: 800-223-7524 or j»errGt(erabi(lboard

64 I BILLBOARD 1 NOVEMBER 7, 2009

Cni

THE

BOX

^ WEEKLY ROUNDUP
DF NOTABLE CHART
ACHIEVEMENTS

reena McKennltt bows at
on Top World Albums
'A Mediterranean
sey," her ninth
Kutlve top 10 hit. That
her ahead of Ang^llqua
as the female artist with
o*t top 10 albums in the
's 19-year history.

w Whispers return to Top
HIp'Hop Albums with
ikful" at No. 25, the act's
st-charttng set since the
'Toast to the Ladies'* hit
All told, the group has
ed 26 albums on the
stretching back to 1972's
t Story" (No. 34).

the Hot Dance Club
s chart, Whitney
ton earns her 13th No.
1 "Million Dollar Bill,"

rst chart-topper on

1st since the 2003
I That Man." Her first
e No. 1 was the 1987

Wanna Dance With

body."

'Moon' Rises, WEA Rules, Jackson's On Deck

The "Twilight Saga: New Moon" sound-
track rises to No. 1 on the Billboard 200
with 153.000 copies sold (up 33%) in
its first full week of release. The Sum-
mit/Chop Shop/Atlantic album de-
buted on last week's chart witli 1 1 5 ,000
sold after an early release on Friday.
Oct. 16, pushed it onto the list with just
three days of sales. Meanwhile. Tim
McGraw's 10th studio album. "South-
ern Voice," arrives in the runner-up
slot with 137,000 copies.

"New Moon" is the second sound-
track this year to top the Billboard
200. following "Hannah Montana:
The Movie."

"New Moon" is the sequel to "Twi-
light." whose soundtrack debuted at
No. 1 on the Nov. 22, 2008, Billboard
200 with 165,000 sold.

McG raw's opening frame of 137.000

sold for "Southern Voice" is off a bit
from the 325,000 first-week copies sold
of his last studio set. the 2007 "Let It
Go." The new album's arrival is the
smallest debut sales week for a studio
set from the country artist since his
1995 album "All I Want" began with
110,000 sold at No. 4.

Sales for "Southern" are enough to
give McCraw the No. 1 slot on Top
Country Albums — his 12lh chart-top-
per on that list. All 1 3 of McCraw's Bill-
board 200 entries — 10 studio albums
and three greatest-hits sets — have
reached the lop 10.

FANTASTIC FOUR: With the "New
Moon" soundtrack. Tim McGraw.
Michael Bubl6 and Jay-Z at Nos. 1-
4, respectively, on the Billboard 200,
WEA Di.stribution holds down the top
four slots on the chart for the first time
since the Sept. 7. 1991 . list. That's
when the company held court with
Metalllca's "Metallica" at No. 1 fol-
lowed by Natalie Cole's "Unforget-
table." Color Me Badd's "C.M.B."
and Van Halen's "For Unlawful Car-
nal Knowledge."

It's also the first time a distribu-
tor has claimed the top four spots
since the June 30, 2007. chart. That's
when Universal Music Group Distri-
bution ruled with Toby Keith's 'Big
Dog Daddy," Fabolous' "From

KEITH
CAULFIELO

THIS IS REALLY IT:

Next week the Billboard
200's Hot Shot Debut
will likely be Michael
Jackson's "This Is It."
the companion set to the
music film of the same
name. Industry prog-
nosticators say the Epic
Records album — which was released
on Monday, Oct. 26 — could shift
275,000-300.000 copies.

With numbers like that. Jackson
could be a sure thing for the No. 1
slot on next week's Billboard 200. If
the King of Pop hits No. 1 , it will be
his sixth chart-topper, following
"Thriller," "Bad," "Dangerous." "HIS-
lory" and "Invincible."

Jackson already owns the best-sell-
ing album of the 2009 calendar year
with "Number Ones." with 2 million-
plus sold and counting. "Thriller" is
the year's 11th best seller (1.1 million)
and "The Essential Michael Jackson"
the 15th biggest (986.000).

"Number Ones" is the only album
to sell more than 2 million copies
in 2009, though Taylor Swift's
"Fearless" (with 1.9 million) is nip-

OverTTie
Counter

Nothin' to Somethin'," Paul McCart- ping at that threshold. And, with the
ney's "Memory Almost Full" and expanded "platinum" edition of
Maroon 5's "it Won't Be Soon "Fearless" impacting the chart next
Before Long." mm^^^^^^^m^^^ week, expect the al-

bum to sail past the 2
million mark.

A year ago this week,
only one album had sold
more than 2 million
copies: Lll Wayne's
"Tha Carter 1 1 1," with 2.6
million through the
week that ended Oct. 26.
All told, only 13 sets had
sold 1 million copies at this point last
year, compared with the 14 to do so this
year. Of those 14. two are catalog sets
from Jackson.

TAKE A BOW: This week, our still-
young Top Cast Albums chart (view-
able at billboard.biz/charls) turns 200
weeks old. At No. 1 for the 58th non-
consecutive week is the original Broad-
way cast recording of "Jersey Boys,"
which spends its 198th straight week
on the 1 5-position chart. The album ar-
rived on the list two weeks after the tally
bowed in the Jan. 14, 2006, issue. Two
sets have stayed on the tally since bow-
ing in the chart's premiere week: the
original Broadway cast recording of
"Wicked" and the original cast record-
ing of "Mamma Mia!," which are now
Nos. 2 and 3, respectively. ••••

Mai'ket Watch A Weekly National Music Sales Report
Weekly Unit Sales

UIUK UBtIK'

lUCKS

ThHWctk

5.729.000 1,301.000

18.628,000

lislWtek

5.849.CX50 1.3B4.000

19.188.000

Change

-2.A% -6.0%

-2.9%

This Week Ixtyw

7.078.000 1.143.000

17.988.000

Change

-19.1% 13.8%

3.6%

Weekly Album Sales (Million units)

Year-To-

Date

OUNCE

OVERALL UNIT SALES

ABHims

325.406.000 281.287.000

•13.6%

DtgrtsI Tracks

869.038.000 960.735.000

10 6%

Store SinglK

1.390.000 1,498,000

78%

Total

1,195.834,000 1,243,520,000

4.0%

412.309.800 377.360.500

-8.5%

'inciudM irAck (iquiw^ieiM .ilbum Mi«i (TEA) with 10 1'ack downioMH eguiv^l^
to on« ttbum uia

For twooti ondno Oct 3S, 2009 Figurn am rz
CarTip4ed (rom d national unxAe ol nrtdil More and raLk
s.-»i« teooft^ co<««ct«) *nd ivovKlKl by

Year-To-Date Album
Sales By Store Type

120 million units

iiiclscn

SoundScan

30
25
20

2008

200»

DIGITAL TRACKS SALES

■Oe MiHI^...^ 869.0 million J

•"" W^^Bjiiifc— 1 1 iiiiiiiTnil

SALES BY ALBUM FORMAT

CD 271,828,000 218.127.000 -19,8%

Digital 52.038.000 61.125.000 175%

VOYI 1.428.000 1.987,000 391%

Olhei 111.000 48.000 -56.8%

Indies Non- Mass Chain
traditional Mercliant

Go to www.billboard.bjz for complete chart data

JHART
BEAT

lah Carey notches her 20th
on Adult Contemporary
1 Want to Know What Love
■ce1990, the year that
first reached the upper
It with "Vision of Love," she
with Elton John forthe
d-n>05t AC top 10s, trailing
elineOion{21).

V tweet It i&: The "Glee"
iturns "Sweet Caroline" to
Iboard Hot 100 at No. 34.
}l) Diamond classic rose to
n 1969. and a cover by
■ Womack & Peace reached
In 1972. At No. 10 on the
O, Bayonet's "Sweet
IS" Is the third such-titled
o reach the lop 10,
Ing hits by Air Supply (No.
B2)andEurythmlcs(No.1
I).

-a
Hi

S5 AHTIST

US y""!'.! .1 r(L*IFi(R filSTMWnWtAMUPmCd

Tdle

KB[?lTn^ SOUNDTRACK

*6(iS«i^* Twilighl Saga: Now Moon

IBB

, TIM MCGRAW

Soulh«m Vole*

■W MICHAEL BUBLE

H ' . ' BADS [IS 991 *

Crazy Lovo

■

m jAv-z

H . ,.1B9B».*

Ttie Blueprint 3

■

H MILEY CYRUS
U .... as,

TIM Tlmt 01 Our Uvos lEP)

■

■El

n THE BLACK EYED PEAS
liJ Ml ' an,

The E N D,

Q TAYLOR SWIFT

Fearless

— mm

PR OWL CITY

Ocean EvM

■i

g BARBRA STREISAND

Lova Is Thfl Answflr

■

■IS

g JOSS STONE

Cotour Ms Free*

n ZAC BROWN BAND c«,.n/4..i«n
E! . . '.■ti.qc*i.»ruiiTK:jiM3i.«nj»i Th« Foundation

BEBE & CECE WINANS

;■>.., ■■ t

Still

■

H RAMMSTEIN

H -: ' F,^VKe)um |1I 981

Liebe 1st Fur Atte Da

■

PI MARIAH CAREY

MfifTtoirs OF An Ifnpetffict An^el

■

M BREAKING BENJAMIN
II'-""''

D*df Agony

■

Ifl LADY GAGA

kiJ iV'ii'.v.na •.jvuuL uiAnnir7<i[£.MT£Rscapi aiiao&-.'KiA

iizMi The Fame

H KISS

Sonic Boom

■

n TOBY KEITH

II ...... ■,.--,M.H,,;,Fr;:,.....

■

■Kf

■1

IH FLIGHT OF THE C0NCH0RD5

1 Told You 1 Was Freahy (Soundtrack)

■i
■

n WHITNEY HOUSTON

# 1

III KINGS OF LEON

Only By Tr>e (J.cjhi

MIRANDA LAMBERT

Revolution

■

Hj DRAKE

U ' 1!.-. . 1' 'r,l .. I.'. I'll < UMVinSAL UUIaUIN0<.1«M.UII

R5,3 98> So Far Gone (EP)

Q ALICE IN CHAINS

Black GIvas Way To Blue

■

1^ PARAMORE

Brand New Eyes

■

LADY ANTEBELLUM

■it^ti ■ ■

Lady Antebellum

■■

fen

g SELENA GOMEZ A THE SCENE

Kiss And Tell

■

H LUKE BRYAN

9-* ■■ ..'iiiMi

Doin' My Tiling

■

F*J LYLE LOVETT

bL; 11 lUWN 11390

Natural Forces

■

^ SOUNDTRACK

Hannah Montana: The Movie

■■

1«

PEARL JAM

Bachspacer

■

Q JASON ALDEAN

Wide Oper>

n VARIOUS ARTISTS

'■ ' ' iMEstuTv iw;.EMaiGii;ui

WOW Hits 2010

■

,'1

~ ' HARRY C0NN1CK, JR.

Vour Songs

■

2«

Q THREE DAYS GRACE

at* Slarts Now

■

M MUSE

Um rir.ll.M i ^:'n)i)'W«HNCH BROS (18.96)41

The Resistance

■

W% TREY SONOZ

' ~ -'h.'i-I AG .'181)8;

Ready

■

; ROSANNE CASH

The List

■

ifll VARIOUS ARTISTS

tim ■'■ ■ -''HOMT MUSIC (iB.esi

NOW 31

H - -

D.N A

■

^ NICKELBACK

Dark Horse

]

It Is Well

fiZ

D ""^"r :° ™f ™» lSound.r.ckl

■

■)3

MAXWELL

B LACKsummer s ' n Ig h 1

THE BEATLES

' ' 1 .' .'AI'"OL (771 9B»

The Beatles In Mono

■

m PINK

lilJ Lima i^-'.'- AGinsB)

Funhouse

■f MADONNA

Celebration

■

GEORGE STRAIT

1Wang

A-i

iJP« COLBIE CAILLAT

■J Mvi'i..n liLHuHiC ojiM/uwns (13 901 *

Breakthrough

ff NATAUE COLE

■J DW'.'ETCO!:in79-iflHm<1B9RF

Still Unforgettable

■

witii n,m ioi>ies
The singet last
grand tlte (ally In
2007, when
"Inliodudng ion
Stixw" dtbuled ant)
peaked ai No. 2
dDi nS.OOOuld.

Thts Is the Gennan
KKfc band's higtwsl-
(toting alHim

(ZZ.O0O copies).
Prevtoustr. ttK
group's best rank

msltlI«Biti,rl
Mnt. ::
whlctipe^iiH
4Sontheiif. 1
ofSsontyU-'i rtoiii
dart hit. -Du rtiif

K\ new siodi ot tM\
boxed sel reaches
tetaHers, il returns
to Ok (Dart, wih
nearlT 11.000 (opies
sold.

The singet pet-
rormedoflH^Od

n topronnf' ■
slvoiipli>g
exclusive v> :
this album v
tomes wit''
bonus Clinsiai.-^i
songs- The set sells
10,000 copies,
tctunilng to ttw lisl
after Marty a fear.

»S

WtCKS

ARTIST

■.; -, M [>$lBtfciIi»eiAMi(PBiCi|

Tiile

THE FLAMING LIPS

Embryonic

LYNYRD SKYNYHD

.I'jr.i.'-HEa 119981

God & Guns

PEBA

II vtLOnv (IS 98)

Keep On Loving You

OAUGHTRY

Leave This Town

BROOKS A DUNN

■ ■ ' 1 4«|

#1* ... And Then Some

BOB DYLAN

\'UU3IC|13 9«i

Christmas In The Heart

SOUNDTRACK

- "tumic siMzi"»B|iaM| r^.

Twilight

■

S*^'^"-^"^ Awake

CARTEL

C^les

TAYLOR SWIFT

Taylor Swift

■1

KID CUDI

"iriwK OtHMVUlM

(is«j* On The Moon: The End 01 Day

Helaose

-Loi»w.iS*|tJ9ej Meiapse

THE AVETT BROTHERS

1 and Love and You

■ ■■i

DARIUS RUCKER

Learn To Live

■

DETHKLQK

Melalocalypse: Dettwibum II (Soundtrack)

/PS

CHRIS YOUNG

The Man 1 Want To Be

5H1NED0WN

■ .'.r. rsMi

The Sound Of Madness

0',

BEYONCE

.. ^...iLJ.. I jUUI* 19««.«IIIY UUStC iH 9B|

1 Am.-Sasha Fierce

■

FOREIGNER

Muvii. ],1 risn*0(i»9aC0.W0t ♦

Can't Slow Down

FIVE FINGER DEATH PUNCH

MnWCI PWK iOlM* r13 98. •

War Is The Answer

DAVID ARCHULETA

ChriabTtas From The Heart

PETE YORN & SCARLETT JOHANSSON Break Up

■IF

THEORY OF A DEADMAN

Scars & Souvenirs

CONVERGE

Axe To Fall

FRED HAMMOND

Love Unstoppable

MONSTERS OF FOLK

Monsters Of Folk

5«

SUGARLAND

M!-, 1.. . . . . ■.'..M1J9BI

Gold And Green

.-f

KEITH URBAN

.tt M, . r 11 :•■ \K'm\

Defying Gravity

•

H
m

PHOENIX

■ ivii ;i r,-:;. ,-,,i:^K0Tf (11 «B|

Wolfgang Amadeus Phoenix

711

VARIOUS ARTISTS

NOW That's What 1 Call Country Vol. 2

•t

DAVID CROWDER BAND

Church Music

RASCAL FLATTS

Greatest Hits Volume 1

H
U

RASCAL FLATTS

Unstoppable

125

147

CAGE THE ELEPHANT

Cage The Elepriant

•7

•i

KENNY CHE8NEV

^u- ■■:>;■: .n sbi

OroalesI Hlla il

?,"-"'^.^P"^!S|« „y ,8, Glory lr» The Highest: Christmas Sor>gs 01 Worship

■

BOMSHEL

Fight Like A Girl

SUGARLAND

I'i-". N-M'..Li:()n2;a-'UM0«IUJMl

Love On The Inside

■

eras 9«> ^^tormm: Revvnge 0( The Fallen: The Album

GREEN DAY

~,[.--r-.i ■nmntfi BROS lIB9Sl

21st Century Breakdown

•

186

SOUNDTRACK

Disney: Phlneas And Ferti

138

125

□

CHRISETTE MICHELE

Epiphany

KELLY CLARKSON

All 1 Ever Wanted

BRANDI CARLILE

Give Up The Ghost

LIL BOOSIE

T~ '.: '.-.'...<.! -<:..'ai mRMB BHOS iiiaii

SuperBad: The Return Of Boosie Bad Azz

□

FIVE FOR FIGHTING

JA.-.u, . .( iliiii.i rirM.-saWT MUSIC |tZ«i

Slice

PITBULL

M.' !!!■ !■ Ill II w:. Jim> n»5 iumi

Rebelutlon

□

DEAD BY SUNRISE

Out Ot Ashes

DAVID GRAY

Draw The Line

159 168

RISE AGAINST

AppMl lb Ruson

ATI

Tw e£Aa£5

SHDCMS i airiN

JMkONlUIFAH

icvONCE aa

MmmMD 1

'«

mCEKCHUtS

WnKSM. ...Mi

LliU BKTAN

:«

aAvnucHuiiA

IHEBUnmDPW .B

MlCIMELBLOLC

ATLAS SOUND -

KMHWL «T

AV1NTUHA

177

UtOOOE Jl

aUV to SPtL

1J7

•munwu ...w

CQtfilECJHUJCt
tMKM CJUIIV
IHMOCWIIU
MTU

ROSMWECASI

KEMIVCfCSICr

ocvau . -

kEllt OMKSCN 93
COlOPUBf 164
Ut.TKli CUE .SO
nAmr coNHiCK. jn i*
uiMttnof u

DnMOOt u

IflLOWHQW 1».IM
OfWKE .21

meofUM 56

GWRO loy
IKLMKRCNA m
nvffWGtflOUtH

PUNCH 70

m FOR tiemm 96

car FOflP lei
foneoMF) o

laOUELHUtNTIS
SFEMHCAD IN

mtm m

MID aw «

CREfNOAV so

175

J^JHIES 1U

JflH. .4

KJDCLO fit
KINGS Of UCn 21

WfLfSS
LAffrtMA.

awDCHMDEflaWCl 81

BlUTCumnGTON m

MtFVCYBUS 1

™eflam#iglp5 S1

(lIGMIQrTMt
CCNCHOKIS t3
FLOntNCE . THE

QHOSIMaKUAH 1U
QUVHUIA m

tfUfueouoAnc

SCEW V

FKOHMIMOW 75
WEBAEfO la;
MOGEfi HEAP 1 re

KEDiFfLSOtii iei

KUlvnCDLMXMl tO)
nmWYHOUSTEM 20

JGABM m

Mtctjomsm i»

JONASaRQTI«ftS lU

joufMv in

KINGS WCOAtrUMCt

It?

UOBI . .

UTon. .

lAWRM

0E«1 HV SlJ»HI5f 96

JliVFMVURktlEIUAMN

UUCMW '-Jn

jomtOGOnv.^aue

FUDGE FtAKEHS rd?

KX/H ... It]

iuno . .

MNLOWn .
IWIVUMUSS ..

66 I Go to www.biilboard.biz for complete chart data

Data for week of NOVEMBER 7. 2009 I CHARTS LEGEND on Pagi

Cni

is §1

Tilte

10:

r4 Q HOLLVWOOD UNDEAO

Swan Songs

Scl-FI Crimes

■

137

13* 0 ^'^'^ PUPPIES

Tri-Polar

Crash Love

■

102

iM n SOUNDTRACK

iw m Wi.' oi--i<f .:n.-5:n .'IS iBi

Hantiah Montana 3

■

iiu Rl BRAD PAISLEY

lli nnKii,HASi'.ii.i- I-!'-:' •,u>, MlBSi

American Saturitoy Night

Q ^^^^ ^"^^ ^"^^^

Love Drunk

^ MATTHEWS BAND

Big WhlBkey And The GrooGrux King

MTFARIURlsmjAMtNGaauO Oi«F8MMo««<>rmGowMuacFremKenxac'sagSiriS(UK<rach}

nO^CE DA 5'9"

Street Hop

110

,,^rABO.OUS ^^^^

Loco's Way (Soundtrack)

■

KINGS OF CONVENIENCE

DvctBTMIon 01 Dependence

■

IS3

12i Ifl ^'^'^^

t OM Around

■

9 Q BACKSTREET BOYS

This Ib Ub

■

ffi

121

177 Q THOMAS

Cradlesong

■

IDS

101 Q J*SON MRAZ

We Sing. We Dance. We Steal Things.

m n VARIOUS ARTISTS

^ U -.^ . . ..'.IE.. ,1198.

Now That's What 1 Call Oub Hits

114

^ JUSTIN MOORE

Jualki Moore

t
W

"Hi [^AVib BISBAL

Sin Mlrar Atras

,„ BILLY CURHINGTON

.'.y? .'. .... .;rr::.in.MliNI1lMi

Little Bit 01 Everything

, relient k

- " . ■ 'If SmS'AG 111 Mi

Forget Arx) Not Slow Down

.p JEREMIH

■ iiMit30«'iojwcii;«i

Jeremih

138

M WAYNE

Tha Carter III

■ 1

122

lis 0'"^"".,, „,„,„,„.

The Fray

•

119

Here We Go Again

135

121 Q , ,*Mv,[«ft,iRiLH(iiASCC*totrti2ia(ioflei Party Rock

131

,3jpAVE«TURA

The Last

i^"^ MELANIE FIONA

ifl ' ' U'UIMSISM)

The Bridge

11?

^ 01 RAEKWON

Only BulH 4 Cuban Llnx., Pt il

132

No Line On The Horlion

130

imI!! sugarland

LIVE On The Inside

31 Q I^AYDAY PARADE

Anywhere Bui Here

■

111

M n RODRIGO Y GABRIELA

nil

Want

143

136 Q JAMEY JOHNSON

Thai Lonesome Song

• ■

"T" NEIL DIAMOND

.-JM . lit 9e.

A Cherry Cherry Christmas

^ KEVON EDMONDS

Who Knew

127

67 U KNOPFLER

Gel Lucky

t6S

n MANNHEIM STEAMROLLER

Ctirlslmas: 2Sth Annhrersary Collection

100

M H TIESTO

" U "1 1 '- -■ :L JUMB1.1IIIIU117 MI

Kaletdoscope

113

m n B^AND NEW

Daisy

11s

,„ ZAC BROWN BAND Tlw. F«.,r«(a(inn

'^^y .H.y«BiGGfRP.:>jflL.ML.NiicHiirBE*'«iiiw, The Foundation

147

1*3 0

Kjdx Bop 16

118

82 Q QhoMdlnl: Wizard Ol Poetry In Emerald City

1SS

m n INGRIO MICHAELSON

mmn) e.»ybod,

3o Q "OTEL

Humanoid

50 Q ^^''-^ SPILL

There is No Enemy

150

139 SI

Skinny Jeanz And A MIc

I^QMEGADETH^^^^^^^

Endgame

•

Revelalion

100 11'

TtK album wa^

of1end»a$1.99
dallv deal in
Umann's NPJ 5tn'^
Oft. Z5. giving It j
60^; overall gjin
anil ] 171% jumn ir<
dommloails.

ThB SKk PUDPIK
album, whith n up

mimlHrolrele,::.!:
0(1 the diart Ic
benefit from a SI'-?
pnte at B»l Buy.
Other »le-
Influtficed tiller
iiKluile Nos. B. ?9.
191 and ZOO

Following thf
singer's perfcmi
ante on I^^ (k[ ' .■
edition ot "Gooa
Hornin? Amwi(,3,'
her album teliounds
on the tattf tnth a
SSgam.

T>ie band'i new
■■iTun« Ofigia^h
s«tW£promir«^r: ,
placed In Ihe ilim-; :
stote's*eehI> c-
iMilblast,wtiite
■■|fsMte"wis
priced it $7.99
O.OOOraptPSStifj
up 86*4 0¥era;i
«\6m% In
limntoads).

US
a>

flit

ARTIST

Mf-Kist •.v;iUS!<l OlSIMuTlllE LU£L (iWE) ^

Tide

YEAH YEAH YEAHS

It s Bllt2!

■

I« 145 ^

JONAS BROTHERS

Unee. Vtncs And Trying Times

197

180 Q

THE USED

- ' 'A^R^it^^ BROS ' tB BB CQiQVDl

Artwork

REGINA SPEKTOR

Far

■

174

.6SB

GLORIANA

'-■ (' . -((SLWWhtli MOS iMiMVlUl 51t;8ll *«Hl 113 941

Gloriana

LEDtSI

Turn Me Loose

■

isr

1S2 141 Q

MIKA

i-i'Z'UMdi; (11 Ml

'Hie Boy Who Knew Too Much

■

JESSIE JAMES

Jessie James

HALESTORM

i ■ ■, ■. n-. : »G in Ml

Halestorm

i:£i

let ■ ■■■

LETOYA

Lady Love

iai

161

KERI HILSON

In A Perfect World...

130

JOHN FOGERTY THE BLUE RIDGE RAN0ER8

-:Li.;i ilD.'ltt.Vti 1U9«J *

Rides Agam

laa

175

1S2Q

MICHAEL JACKSON

■1 : ,■ , 1 ■ m

The Delinitive Collection

1fl4

171

COLDPLAY Viva La VIda Of Death And All His Friends

Its

i4d

SEAN KINGSTON

■ ' :: '-■ 5J)N1 MUiK ill SBI

Tomorrow

lae

154

NEIL DIAMOND

■ '■■ - -« -.ON. vuw m «cO'0«oi *

Hot August Night'NYC

l«r

176

166 Q

VARIOUS ARTISTS

NOW 30

las

IGO

151 IS

UNCLE KRACKER

Happy Hour

rap

TINA TURNER

TIrui Live

170

JOURNEY

Revelation

■

ESii

SUFJAN STEVENS

BQE (Soundtrack)

THE WHISPERS

Thankful

173

157

182 2

KELLIE PICKLER

Kellie Pickler

174

149

lisp

SOUNDTRACK

'■■-n.' ■ -.I'l.- 1 '.Trif(.vi.iHf lhI[sisei>l Oliwrio* ii.i Mi

More Than A Game

MICHAEL JACKSON

" .i- iM ■■ tjWH^j .1J 981

The Remix Suite

17B

1G6

IMOGEN HEAP

. i'v:, (■!

Ellipse

187

VARIOUS ARTISTS Songs 4 WorsNp SO: 50 Greatest Praise And Worship Songs

■■1 ,19 9S|

182

191 Q

FRANK SINATRA

i ■ \'<'0h '16 Ml

Nothing But The Best

•

FLORENCE + THE MACHINE

" auWIi 11194)

Lungs

131

MARY MARY

The Sound

1S1

179

,75 0

COLT FORD

Ride Through The Country

ATLAS SOUND

Logos

1S3

167

STEEL PANTHER

.1, ..ii-.i.juR.i , to UBI

Feel The Steel

1S4

Ifi?

MICHAEL FRANTt & SPEARHEAD

. lilt ■ sCIWPMlllttI

All Rebel Rockers

las

164

SOUNDTRACK

Wizards Of Waverly Place

laa

140

149 H

BUILDING 429

1 ..■-■Jin j»i2iai:«i MWJC (tlMj

Building 429

188 Q

Tl.

.iH"',_ "1. r'l: ivrL»Kii^ imtj'Mi tiBSB) *

Paper Trail

TIM MCGRAW

Greatest Hils 3

189

-31

NEEDTOBREATHE

The Outsiders

172

i»Q

PHISH

.iW Kir 1- 3&1

Joy

NICK SWARDSON

Seriously. Who Farted?

la:

155

HATESREED

Hatebreed

1SS

116

91 Q

SOUNDTRACK

■ ■■ --:\ . iOSi? I'« Ml

Fame

THE XX

106

163 137

PATTY LOVELESS

1 <ji),

Mountain Soul II

CHARLIE WILSON

Uncle Charlie

188

-D

KATY PERRY

One Of The Soys

««■

168

CHICKENFOOT

Chicken foot

•I

199

194

WISIN & VANDEL

La Revotucion

CAVO

Bright Nights Dark Days

WCMKTH

nOnOMOifCLSON I4S UCxSWMIJSOtj
CHK£TnMIC»CU » MOOLEUX

l» HQKSTBtSOfrOLK

W JUSTWHOOM

11U jkswunu

W W9E

14S ppuuim

131 KARLJ«M
<1 KAJVPEflnr
fMSH
PHODIK .

31 fiAscALfLAns ilii muKsnumA

.197 «at> -xS SKILUT

190 flEUENIK '21 REONASPEKIOn

n nisEMAuer m snawttHER

173 flOVCflHST MO SUFJWStEVEHS

« OWUSRUCKU M JDSSSTOW

•a ijfOteEsnwT

MPSWSTnCiSAMI-

se DisiCv ninEAS ako

tS4 91 M/AAOSiyiWVHtLY

tu fAMt m »ua IB

in y^UtOMWmiM 105

10 MWMAH WKTWt

48 TKHOVK

..« WOOETHANAIUWE

nEfflKEOFTICFiUiEir THKEOAYSIWCE

1HEJUUU N 11

ivnuoHi .57 hesio

TX rMUHI MQ* WW TOKW HOIR
tlOCM

153 WtATlSrPftfcSS-VW
WTJW HITS 201 D

CHWS TOMitl
IBFT SONW
TlfW TljnflEU .

-V TUimmirCAHS

B reitnnHAscMUTi

J0HMS90N . 72
CMHSTQUfG M

:a for week of NOVEMBER 7, 2009 1 For chart reprints call 646.654.4633

t» WWII

BUWrMrSWKATICMi aEUF ft CtCI WNAHS

auBlfTS 117 WSlHlVUMja II

NOWIiUTSWMIICMt

CDUNIIWWlLa 80 '

Go to www.billbodrd.biz for complete chart data

EXCLUSIVE CHARTS

{ BillbMril

nielscn

FROM BILLBOARD

TOP POP CATALOG"

ARTIST

I MICHAEL JACKSON

MICHAEL JACKSON

Title
NumbBf Ones i

Trie Essential Micnael Jackwn

ADELE

U tlC-.UUS ^ liaSS'.SONYMUM 112991

•

KINGS OF LEON

^1.* lis,'.'!:- Mvi., .dan.

Because Of The Times

THE BEATLES

Love

■

DAUGHTRV

Daughtty

CARRfE UNDERWOOD

Carnwai Rite

«■

MGMT

Oracular Speaacuui

LED ZEPPELIN

Mottierstiip

■

THE BEATLES

Please Please Ue

■

Sufjan Slnens' "BOC'a.i
Ouwns UpKsnnr, bowwl Ha \:, lop litdetiendeni Albums
(viewiMe tl Mabwltti/diam) ai
R's atM the SMiiiback to SlncK' <
MiiK.TIttclibonl(|»dugefeilure^i:i'.- a. '... . .i.u'.^
fltai, a Mhmi booklet wHb Hncr notes aad photognptis and i
ftereotfoplc ^D V)emiust« ml.

68 I Go to www.blllboard.biz for complete chart data

TOP DIGITAL

£5

i is

ARTIST TtlleSi ji

1'.' ^''1(1 iii^iKim lABu aa 5

K| SOUNDTRACK TTie TwAgM Ssga. New Moon , i

WTM ITIAHIIC IIA 1

TIM MCGRAW

Southern Vaicf! j

OWL CITY

Ocean Eyes ^

MICHAEL BUBLE

Cmy Luvd 2 H|

THE BLACK EYED PEAS

Tti^E'JD

"joss STONE

Coiojt W. F'lec' ^1

JAY-Z

Tl'.e Blu^p-ifil 3 ^ ■

FLIGHT OF THE CONCHOROS I Told Voj 1 Was Fre>c, iSo/xltraih) ■

LYLE LOVETT

Natural Forces

KAREN 0 AND THE KDS Where The WId ThmgsJire (Soudtiach) ^ ■

CARTEL

■J

LADY GAGA Tlte Fsmt- . H

•.a

BREAKING BENJAMIN

Our AtKinv HI

■

KINGS OF LEON

Only By ThR FiKim B

RAMMSTEIN

LWtke 1st Fur Aile D;i ■

MELANIE FIONA

■-■;( .iNK'fMiAL PilDfOWN .IJMBIi

The BiidgG WM

KUTLESS

It Is Well 12 H

" S

PARAMORE

■ ..I.-': 'AG

Brand New E>€s 25

PEARL JAM

Backspacef ^

■t t

MUSE

The flesisiarce ^ H

SOUNDTRACK

Iw^-'jri! S7.B

5 48

TAYLOR SWIFT

Fearless ^ H

KID CUDI Man On The Moon: The End Ot « ■

RISE AGAINST

A^ipeal To Redison jqq

PHOENIX

volganQ Amjdeus Pivv^nx _ ^1

TOP INTERNET

ill

ARTIST

T„„l| 1

1^ SOUNDTRACK

dgd: New Moon ^

THE "BEATLES "

1 11^ flealies In Morif/ ^ ^1

MICHAEL BUBLE

Crary Icivir ^

TIM MCGRAW

souiliern Vo«e H
TkiUstE

nOSANNE CASH

BOB DYLAN

. .L'lT MUilC

Cnrlslmas In Tne Heart ||||

RAMMSTEIN

Lietie tsl Fur AJie Oa Hg

BARBRA STREISAND

LovB Is The AisHief H

CONVERGE

Axa To Fai ^

LYLE LOVETT

Halural Forces

■ M ■■.■.1¥C'1V4-JMGII

THE FLAMING LIPS

Efittryonic Hj

MARK KNOPFLER

GM Lucky B

FLIGHT OF THE CONCHORDS r T:}k)>bu 1 Was FrcAy (SoundncM |^

e s

HARRY CONNICK. JR.

Voiir Sanys .j^..

DAVID ARCHULETA

Christmas Ffom The Heart ^

THE BEATLES

TiiB Btiallcs 1^

H-ernr

TAYLOR SWIFT

Fearless ^

■

THEY MIGHT BE GIANTS

Heie Comes Science _

THE BEATLES

ADoey Road ^^B

KISS

Sonic Boom

" 1

Hi.iilU ! 5:'«)i;-iV«aHfRH«t>S ♦

The Resistance ji^Hj

JAY-Z

i ■ ■ ■ ■■■:=••,*<;■*

TtiG Blueprnia j|^^S

TOBY KEITH

Amer^an Ride ^|||

MONSTERS OF FOLK

©ILIKE PROFIL
MOST ADDED

— S 22

TITLE 1

AnriSr (IMPWKI 1.MIELI ]

KM MEET ME HALFWAY
MEM tx lutCK im KU imrEftscQPE)

FIREFLIES

OWl Cl'l 1 I'.ILI

1 GOTTA FEELING

IWE HACK EYED FfAS -r :r.'jZOPtt

PAPARAZZI

IAD- UAOA ilA'^UIv. n:il-(»lCHEPlBrr(l£ilMtE«SCOPE)

., POKEfl FACE

SWEET DREAMS

lEfCICL " 'jlJUeiAt

USE SOMEBODY

•m&i LiF lECi.

DOWN

JAv liATJHin:. Lii AATHt <CMM WOWVlKIIVEItSAl RIPIMUCt

• '1

BOOM BOOM POW

tHt liAC" EYFn Ff AS ,■, "i.' i'." = ^-!i:OP|l

YOU BELONG WITH UE

TAiiOH tivirr i.

WHATCHA SAY

5 3 '

BMITNIT W'UdS JIVE.JL&l

EMPIRE STATE OF MIND

UPRISING

HUH -I- . •■ ^=<I)E.

It 3

PARTY IN THE U.S.A.

tuirTCVHUl.-ii-'i ■/.■nor.

1 ;i

ItoWMh^ mcMt putohasM wor^
TITLE dIflMW m>M wataM wHh an Mi

1 vi'Ciht ;ifla, <il«0rt(|«««lli6*»»pa¥. buy. *

Rl FIREFLIES

■GfloWL cm 11.11.'. RfiAl flEF-jtlilC UMTiOSAU

KttfiM* ontf

2 1

FOREVER

mm n>T um not it wn« t mmm ■ w^n AvnuwMtnwmmmn

DOWN

MYUiUtFUTUnMLILWiral il AhHHONEVAWIVEREH lEI'l

WHATCHA SAY

MM MMM It r. 1.1. HI .w.. ■/ti»M!\ sncs 1

PAPARAZZI

UtOTUU slu-AVilM K&HllvE'CHEnnTTRfMKIERSCaPti

IB 2

EMPIRE STATE OF MIND

rr ; - M :iA IttJ iftOC 'lALOM

ONE TIME

•

1 GOTTA FEELING

THE ILUj: f no PTAl ::.C3r^t

YOU BELONG WITH ME
miontwiFi L

ID t

BEST i EVER HAD

DWtK ' V.1M- UAS«ilKIMT,'UNIVEKAlMD10WN)

I'M GOING IN

DRWEF«[UWnrM4tnilHfliEI/Yiv MGHEV'CUHMaiCViUMmill Mtlll

14 3

LOL :■)

mn lOMGi FiikTunMO eucti haw « wuut lov rana iJoaid bowktlai

13 10

RUN THIS TOWN

HIHMWA « KAim WST ■■-■.Mi

- 1

MEET ME HALFWAY
TW KACI FTH) PIAS .

TOP BLUES ALBUMS

TITLE

AHIliT IMi-BiWt DSTBIiUma

10 33

niTHE BALLAD OF JOHN HENRY

CADILLAC RECORDS

soiiNa--.A;> ■ ■. - ' 1 'ii ■.n;-.h:

ACQUIRED TASTE

□ELHiflTMCCUMTIM A 3iC>^:

TELL EM WHAT YOUR NAME ISt
<LA(.K . Jl UWI> A THE WMETtUM

THIS TIME

THC ROum CMT MMD

HARD BELIEVER
TDHirrCASnu

, LIVE FROM ROVAL ALBERT HALL
^ JOE BONAMUSl A P -

SPEAK NO EVIL

tlHStEr EUIS

•

ALREADY FREE

IW DSRtJI THLCAS MKD i : ■" ['.M MliaCj

12 11

HAVIN' THE LAST WORD

WFIRE IKE UPPITT BLUES WntH .:. .liiAtOftl

13 13

THE DIRTY DOZEN

GtC^ui t.li;- 11,1.:,'. I'll- -l-l L!-;IHOtlM ICAPIIPV.

Ifi 12

TOWN AND COUNTRY BLUES

THE WOODSTOCK EXPERIENCE

jOM^Ht 'iN'min . ■ " 'IV «i;e.ii:i

BACK TO THE RIVER
tUSMniKKMI

14 11

SOUL ON TEN
WMetHFono

Data for week of NOVEMBER 7. 20

Cni

Ucii nid^cn
SoundScan

Billb«aril

M HEATSEEKERS ALBUMS

tifiM ARTIST TWe

tav Firrar and Ben

ARTIST ^^^^^^^^^^^^^^^^^^1

«»UT

Gibbtrd, mpK-

44 2

YURIDIA

Nada Es D« Color ROM

ROYCEDA 5 9- Stree, Hop

Uwly the lead
sngenofSonVolt

EDWARD SHARPE & THE MAGNETIC ZEROES

Up From Bahmr

j KINGS OF CONVENIENCE QtOiMm 01 Depend.no

aRdDcUkCabior
CiHe,palmliptir
UiliswMRrMkto

WOMEN OF FAITH WORSHIP TEAM

A Grand New Day

NfW

1 MELANIE FIONA Th, Bncm.

ALVIN DARLING & CELEBRATION

You Can Mah* R

M-IHTt

1 FLORENCE + THE MACHINE Lungs

Ibe documctilarv <K
dw wMiurae.

P '

MAYER HAWTHORNE

'i \ l!

A Strange Arrangement

COL- FORD RkJe Through The Country

47 43

CAROLINA LIAR

Comirtg To Tenra

•1 3

1 ATLAS SOUND

16 4

AUSTRIAN DEATH MACHINE

Doubt* Brutal

9 !

NICK SWARDSON S.riously. Who FarWO'

31 I

DON CHETO

El Kim* D* U*t*dts

M 9

HilJiVtij THE XX

pjirniM (0 iwKsw iMMi

n It

TRAILER CHOIR

1 . ii'i .aim I.' Ml

OH The HIJIbllly Hook (EP)

1 BAND FROM TV ^^^^^ _ Hoflging All Ths Covers

irwaH'ivsuf
band. wtikFi

MOZELLA
1 lkV^0134eci'UWflOr10«*)

Boll* ISl*

• 2

NELLIE MCKAY Normal As Blueberry Pie: A Tribute To Dons Day

ndudK Hugh
Liude o( "Kww."
luditsAiiun>n-

!7 i

LA ROUX

-.Ii- . ■ II >- "i ■■^ii.lNItBSCOPtOIJJWi'lOAHOBBI

La RouR

1 GUSTAVO DUOAMELijre AMcae mii^ no i f>,» in. na^o conon

GWEN STACY

Dialogue A

JOSHUA 8ELL Al Home With FrlencJs

i^SOKYWSTESiWIWSi'i^a.

f Klusrve albutn
prked at Sl.HOct,
Zl, prtKupting itt

11 3

LUCERO

1372 Overton Parte

RANDY HOUSER ^ j„^^,^ 0^

DAVID GARRETT

1 '/ivCRS*!. CUSSICS MOUP |M Ml

Davkt GarreR

•

1 ?

B*«ONESS Blue Record

aeoifl wiin L.xm
topi«.

JOE BONAMASSA

The Ballad 0( John Henry

THE RAVEONETTES ,„ Qut Of Control

TOT

ADELITAS WAV

Adelilas Way

49 S

f 3

THE »«0,<^NT*1N GOATS Th. LUe Ot The Wo.l<l To Come

3S S

DESPISED ICON

Day Ol Mourning

REW

1 FUCK BUTTONS Terol Sport

TIMOTHY B. SCHMIT EnpandO

1 SCAR SYMMETRY Oark Matter Dimensions

1 1 lip Ml

12 m

4« 1

SIDEWALK PROPHETS

These Simple Trulha

?D ft

THE AIRBORNE TOXIC EVENT AWiome Toxic Event

, -un ! i»ciii«vis,i«oDi?«!r-ioji«G,i;mi TheAKDome lonccvent

R'sthetecHidNo i
on Iiv Tradriional

S) 4

BOB SCHNEIDER

■1 > i ■ 9fi!

Lovely Creaturaa

IS 5

Album

, -O- IBUt PiMirltR SOUNDS Hi B»l

Oassial AlbiHTi^ in
a little nHMetlia:!
a year lor the

■EW

AARON SLEDGE

Aaron Sledge (EP)

<3 3

^^^'^'r,..™...., MusicForMen

■EW

SAM BUSH

Circles Around Ma

■

17 3

.„„.ci>,w,„. Couttttyl. AS Country Ooe,

IK Angeles
PWIhannonk and

18 Z

THAO WITH THE GET DOWN STAY DOWN

Know BeUer Learn Faslsr

1 RUSSIAN CIRCl^S G,™„

Itsnevfonluttw.

KRISTINA TRAIN

Split MIM

Gustavo Diidamel.

to !

'■'"P*,™"..,. Soundtrack

□

2 2

SKELETONWITCH

Breathing The Fire P

HEATSEEKERS SONGS

REGIONAL HEATSEEKERS "1 ALBUMS

lllrn.

H^H^B umrr itwpnmi PRCMstm LUiii

llM RUNAWAY

RED LIGHT

1 ^

LA LiV LA

H/:en Ml 1 1 AMCHEBRVlRtilMEHSCDtt 1

1."

AIN T NO REST FOR THE WICKED

CASi I'll mi^Mti ■ jl&i

WHITE LIAR

MIRilMI'il UWURT 1 L.i.'i.JMBI«.

SHOTS

IMIAII EEirwWB III JOM iMArv ftOCK WlU. 1 WCHEIUVTRa.'lHIERSCDPf i

1901

<-MO£iiu riM.--: jLisrMT!'

|14

2
9

KINGS AND QUEENS

jn sECiiNOb TCI NWS i".jiMC*fHC-,i

EIGHT SECOND RIDE

J*»( OWIV ■

MEET ME ON THE EQUINOX

(KilTM C*l fOP tJTll '1 m!' ML*NIICi

i»

SAVIOR

BISi *CI.INST : .1 ll/fRtitOPtJ

3 It
• 13

DOLLHOUSE

I'luiCiuii WW» r .'.riroil

BOOTS ON

A^NDT HMtEn illMVFRS&l ^OIIIMI

CITY ON OUR KNEES

'OS'MiC FCfltfHWir EMI CMOI

JARS

|,S

YOU RE GOING DOWN

SICH PUPFIli ■"'■H . "■ii'i ■ ■■- :')L,

|,.

§ tl

1M IN MTAMI irilUK
IMFAQ ■"- ■ .'L-.

5 STAR CHICK

CL03E TO YOU

flEB! lUCE WlhWS iA;:-«Ji.*ca!

•) 28

LOOKING FOR PARADISE

C1>J1I.C'4D FLA)UI<:MIi JILICIA KEYS (nAKNER I'TINAI

SOMEBODY TO LOVE

LLiSHTlfi ttEtiTEi) FOIUflJNC MJBIIt TMCn (tWIWSRSW. FtEPUfltlt,'

LOVE YOUR LOVE THE MOST

tmc ci-uPCM 1-1

ESCLAVO OE SUS BESOS
umoiitau. iV£L[.i."<i'j:r-'^.hL m'.'^ii: lktinci

8U VENENO

II»EIIT11»|PH£WI1IMI*1IK|

TE IRA MEJOR SIN Ml

jOANSEaunM Mu^ARr ai.LBQ'ii

The Ballad Of John Henry
Joe Bonamassa

street Hop

Aoyce Da S'9"

Street Hop

RoyceDaS'9"

MID ATLANTIC

Ride Through The Country

Coll Ford

SOUTH CENTRAL SOUTH ATLANTIC

Declaration of
Independence

Kings of Convenience

NEW ON THE CHARTS

Jalcko. "Oh Yeah"

The IS-year-old Barbadian singer makes his Billboard chart bow
with this breezy hip-pop single, entering at No. 38 on the Rhyth-
mic airplay tally. The track, produced by the Stereotypes, is from
his debut album, "Can I," due in January.

The Bridge

Melanie Fiona

■ JayFai

Jay Farrar & B«n|amln Glbturd
I RoyceOaS'9'

[

Kings Of ConvenwrKe

Dvclaralion Ot Depomlence

Th* V**r Union

Aoamst The Oram

Nick Swsrdson

Carolina Liar
Conwtg To Tttms

YUrkNa

Mda £s 0» Cotor RDM

■ JonSchmhtt
1 BonaTncka

H Baroness

■ Melani* Fiona
1 nwamti*

NORTH EAST

Royco Da 5'9'

Slrw) Hop

Kings Of Convenience

Jay ^3^fa^ & bcn]amin GibtNird

■ '.■■vi.agii.SuMhW

Allils SoLincJ

Florence i TheHaGMM

Nellie McKay

Baronet*

Bluefleooni

The Mountain Goats

T?w UfB or Th« KtvM ra Conw

Russian Circias

P^ier Rmrte
AbMoca

la for week of NOVEMBER 7, 2009 I For chart reprints call 646.654.4633

Go to www.billboard.blz for complete chart data

Cri

Billboard

MRPIAT SUES 01

MOHFTORtS BY COMPIUI

nklscn niclsci
BDS SouodS

^THE BILLBOARD HOT 1

is ^1

7 9

2 J

1 Z

3 ,i

4 5

5 7

11 u

10 a

U 14

12 13

1& 15

13 10

21 25

/».
w

20 19

77 24

1»

16 n

23 21

19 20

55 79

16 23

27 b2

K 29

25 28

24 18

28 27

31 39

30 26

92 -

?9 ??

32 31

33 36

34 42

43 47

38 i-3

35 32

43 51

50 53

51 56

45 4a

WHATCHA SAY

RUN THIS rOWN
PAPARAZZI
MEET~ME HALFWAY
3

visit WILSOKflKIT**

WARIIH SMlLBACK t AWtm

UUl I A FEELING
^^IJQSj||p| SWEET DREAMS
YOU BELONG WITH ME

46 4S
36 34
39 36

®
I®

47 41

53 55

42 35

62 71

60 66

Bayonca

Taylor Switt

REPLAY

EMPIRE STATE OF MIND

' ■i;CAWW«>lCWlH5»iJSPW»-Ui"

FOREVER

Jay-Z + Alicia Keys

USE SOMEBODY

Drak* Fulurlng Kjnyc V^«J51, Ld Wayno * Errnnom

iAL3WILL.JtOLl[WiH-MtlXtl>W.l.N^OLLOWIUI

ALREADY GONE

Lady Antebellum

* StEWWl.j aiNTtWC COU TWHSflEiNVtl

Justin Bieb«r

Carrie Underwood

'•ltd jK siami.L fconwmn I KV'i

Mario Featuring Gucci Mane & Sean Oarreti

I CAN TRANSFORM VA Chds Brown Featuring Ut Wayne & Swtzi Beau

, . ' SRC AS J flO>D ■ MtH J B'HE^l □ ffl ;rr: ILi:

TOES

FALLIM" FOR YOU

SAY HEY (I LOVE YOU}

LOVE DRUNK

Boys Liko Gl'ls ^ 22

EVACUATE THE DANCEFLOOR
THROW IT IN THE BAG

"■HEIU DOiaOW* MAIWISI

HOTEL ROOM SERVICE

J aFtEnEn j Hiu.SENCKnni

• 11

SWEET CAROLINE

aim Cavt FBBlurlng Mark Salllrtg

GLI irN YOU HOME <THE BLACK DRESS SONG)

ONLY YOU CAN LOVE ME THIS WAY
WASTED

"dropTTlow

GOOD GIRLS GO BAD

WELCOME TO THE FUTURE

• 22

BOOM BOOM ROW

A.SfEHGUSWIJ GOMEfl

The Black Eyed PtMy

SUCCESSFUL

KNOCK YOU DOWN

* COSSOM.S SWI'H.M JW*)C*,t< WESTi

K«ri Htlson Ftaturing K«nye West & Ne-Yo

.•'[SNEi' i« ChESMH' D 1)I1.L0W,H TMIBUHMOt

Kenny Ctietney Wllh Dave Matthews

NEVER SAY NEVER

MttK SCMUUZ'PE' I.

AMERICAN RIDE

BODY LANGUAGE Jesse McCartney Featuring T P

It. c cixt j McmmirfMiUBi o >■ .u ; ■ ■•

FUNHOUSE

Go to www.billboard.biz for complete chart data

Tlie "Amefitan Idol'"
rufinei-iip'i (iril
l>oM-sliow clian
eflorl sUrb witti
41.000 dwriOMb.
TlMiMiiiilnaHH

Available as an
euhistve Verlnn
downkiad lor two
weHu. the liMk
»ib 19.000 down-
loads and abo opens
on Hot Digitjl
Songs at No. 44.

»s

TITLE

PSrOLiCER 'SMGWRITEH)

Artist

ntnm ■ raowotiON labei

59 do

HEY SOUL SISTER

Train

v-< 8 AWARE cuMwaiA

GANGSTA LUV Snoop Dogg Featuring Ttie-Dreain

SS 62

SMILE

'1 .... iMSHitfER.B OAUJHAADtNGJUSti

Uncle Kracker

8 )0P 30G ArLAllllC

37 33

BE ON YOU Ro Rida Featurirtg Ne-Yo

M II UH» I' ;". fn »!;tMt MtRM»MSHI| 8 PM BO' *'L*>I1IC

■ I

61 63

DOESN T MEAN ANYTHING

Alicia Keys

e MBK, i AMU

SOUTHERN VOICE Tim McGraw

'1 '-..■>. LiV JPi IWC&HAA D SMitil UDDy&UlS B OIWOl • CURB

6/ 77

FIFTEEN

■, .'■■.I'M.-.M^Ain iTSWlfTl

Taykx Swift
8 B<G UACMHE

■

;d -

GOOD MORNING

•.i.iFRAMS.LJEffESY.IEltrr*)

ChamllkMiBira

« CHAMILUlARTMIVEItSAL REPuauC

^4 100

MONEY TO BLOW Birdtnan FMlurlng Lit Wayne ft Drake

. ..jjius»aiiAHJui.DCAmER.ceHOisoin •ushmoufvuhi^rsuwoiown

■

63 61

FACE DROP

Sean Kingston

8 BELJ&A HEIGHTS tSMC

» 70

UPRISING

Muse

8 HEUUM IWARNER BROS

80 96

CONSIDER ME GONE

RebB

8 STAASTn()Ca.VAl,OIIY

as 58

ALL THE RIGHT MOVES

OneRepublic

8V0bib-1N'-'-l. "-^

75 68

NUMBER ONE R, Kelly Featuring Ken Hllson
■ ■. s HAUlirwi |B i;ElLV,HHMIiL1M,RHAI«.I0H* L MtSOM 0 1I[ . ..

66 72

STAHSTRUKK

1 ■ ■riEMSN.NUOmi

30HI3 Featuring Kaiy Perry

8^L''J-ll.':-AllASIlK»HP

e j

73 75

RUNAWAY

■ ■ - ;l, ^ . I .s a ir,;s C SMITH H SI if;;

Love And Theft

li-A, & n-i.irM-jr.T

74 74

1 M GOING IN

i 1 [i^JHAM i> ."imit ,1 * iMi"

Drake Featuring Lil Wayne & Young Jeezy

ai 33

1 WANNA MAKE YOU CLOSE YOUR EYES Dierhs Bentley

70 65

GOD IN ME

Mary Mary Featuring Kleria KiKt Sheard

RED LIGHT Davtd Na>l

1 ■ ■! ; smtiLilON M Plinct 3«AUDS"I © u: J M M- ■ . . , ^

86 8?

BONFIRE Cratg Morgan

1- ".i.th itHOKiH* nENHFVC l*3fiOAH U RlXiESSI Q W

78 73

1 WILL NOT SOW

Breaking Benjamin

8 W/.OWOO!!

57 90

HAVEN T MET YOU YET

Michael Buble

8 BEPRI5E

72 54

LA LA LA

LMFAO

8 PARTY flOCK. «llt 1 AW'CHEBBnf:!£.'lhItRSCOPE

TAKE YOUR SHIRT OFF

', : " Mir;!

T-Paln

8 KONVICI 'NAPPY BOY JIVE JlG

;:|

a: 88

BAD HABITS

Maxwell

e -mnvm

52 16

ONE LESS LONELY GIRL

Justin Biebei

' ■■■ t! ■! H SH.M It LiWI

a WUHAIWAfi.S PHAUIUON.K 5Hn|-. 8 IM IV >.' ,

AIN T NO REST FOR THE WICKED

Cage The Elephant

• D-.f JIVt JL.i

82 7S

UNDER Pleasure P

* mon I etflEAl « N[«jfR*NtiLIH t jDIES « S'EPKWSOh M CWPERl 8 MLAHHC

59 59

LOL ;-) Trey Songz Featurirtg Qucci Mane ft Soulla Boy Tall'am

M-- ', ri t l-iiifflM« THinM.TSC*LtS.D»*rBO*VISl 8S0IIGW0IIAIIMIIC

98 -

WHITE LIAR

> . 1 '.' -1 W UtMBEnTM Hfueri

Mtranda LambM

8 COIUMU

?7 -

TIE ME DOWN

■ VD AlHOIUS)

Naw Boyz Featuring Ray J

8 SHCTl* i-'i II.' -; '■■>. ■

95 8S

BREAK

1 ' -. ^. ij.ft»::E H siocn)

Three Days Grace

90 61

WHEELS

■■

Foo Fighters

1 iNVENteo 5ex irvy Songz Featuring Drake
■ 'i^.i- ■ jCAUSIWVWSOIIA.GMHAUI e luSt, -.iL^ ULi-,''.

36 -

REGRET

.■ ^Sf£PHfNSOI<JVAUNllW,L

LaToya Featuring Ludacns
tUCmiRNEWT.SR JERAMl^n l ::Hii:-_,i :-. 0

TEMPORARY HOME

■. . .■.■•nrUAiClYi

Carrie Underwood

0 ■V4F [,T^ :^ .[-.. .

BUST A MOVE

Qle* Cast Featuring Matthew Momann

- . ■ ■■ ■■AtaMYOUWGJVIAArtRSI O -1 ' ' *-

HQ a-i

YOU RE A JERK

1 >' JM.kS i i> StIUAMIH V.B AUUIS

Ne.v Q^^z

• SHOrrV ASYLUAt .'. .

•

VANILLA TWILIGHT

8umvi.-.',..r' .

•6

100 97

HONKY TONK STOMP

Brooks & Dunn Fealurlng Billy Gibt>ons

® AR MJ Mil......

91 67

1 WANT TO KNOW WHAT LOVE IS

Manah Carey

O iSL'-,;-.

HAPPY

•-iT 1 I tWtS,

Leona Lewis

HISTORY IN THE MAKING

„ Li- , yiiis;.

□anus Ruckcr

0:,Af-:.-.l

RUSSIAN ROULETTE

Hiti.inn.i

sdF Tt' .■■ ;. V .

BETWEEN THE BULLETS

OWL CITY BANKS FIRST NO. 1

Miruiesota riati\'e Adam 'ibung. better-known as Owl City. siLs atop the Billboard Ho
100 with his debtil chaning song as "Fireflies' rises 7-1. The track earns the Creates
Gainer/ Digital honor, moving 2-1 on Hot Digital Songs (1%.000 downloads, up 26%
and enters the lop 30 of Hoi 100 Airplay in just its third week (61-42-28) with an audi
ence bump of 21%. On the Billboard 200. the act's album "Ocean Eyes" has a compa
rable spike (up piLshing it into the top 10 for the first time (20-8). Owl Ci!>'"s label
Universal Republic, which liadnl scored a Hot 100 No. 1 until three weeks ago. goe;
back to back as 'Fireflies' replaces lay Sean's "Down" at No. 1. — Silvio Pieiroluongt

Data for wmk of NOVEMBER 7, 2009 i CHARTS LEGEND on Pa9«

Billb«ord HOT lOO

HOT 100 AIRPLAY

§i is

TITLE

«Rllt> < I'Ji-'-ttfNI ' PMOMOTIONlAHELI

Si
SS

TITLE

ARTltl iiWP«lini PROUOtlCNlUEll

a£
S3

TITLE

XnillT I'MPn.'AII , PROMDTIOH LABEL)

KIdown

2fi

WASTED

GUCCI MMt Ft)t PUE!; I.' /Av.sOiCEr.'ViAnMne'iOS >

CONSIDER ME GONE

RUN THIS TOWN

A' I m-'AMhi i IMIf WIST II. )i«1ll>N

SEXY CHICK

OAIDD GUEIU FUT WON < i;jU'ASIRltL1MRKS.'CAPnOL)

UNDER

PLEASUHtP .'.'il'4ll[:i

3 26

YOU BELONG WtTH ME

MrLOII !wfT -...filiAI. Rt^BUCI

RREFLIES

owiciiT '.irmEnsAi nPuAiici

BE ON YOU

FID mo* FEAT NE-TQ iPDE SCr> itlLANTIC)

S B

PAPARAZZI

IMrt C*r,> ■"H.WfRSCOIT.

LOVE DRUNK

■on LIKE GIRU ^COtllMBUi

BIG GREEN TRACTOR

JASON XIDEAN H-i -r: -■ \\

e 6

SWEET DHhAf>"^.

ia-.

SUCCESSFUL

. 1 WANNA MAKE YOU CU3SE YOUR EYES

; iG

WHATCHA SAY

jAiOh DLUIO . illllXISi'WAnNtN BROS 1

REPLAY

, RUSSIAN ROULETTE

t
r

4 23

USE SOMEBODY

KINGS DI LEOM ■ '■

1 KNOW YOU WANT ME (CALLE OCHO)

PlIBULt H.'.

BOOM BOOM POW

IHt6t«K(YEDfE*S . AWlNlERSCOPfl

PARTY IN THE U S A

MiiEi cans ■

- PAPERS

UMEfli-'-;^CL._G,

GOOD GIRLS GO BAD

•

1 GOTTA FEELING

IML BLALU'SE P£*S Mi

DO 1

lUKf mM ■■■ ■■"i| '.■-.■^Hi'lUt 1

REGRET

inOYAFUr LUDACnti:A<->TGLi

run C VC n

CRMT ■■■ . - ■ V ., ■,,- /f *^J*OtKigeOKi

■M

AMERICAN RIDE

TOBY KKIh .11 .'. ■iA.:'IVILLLl

RED LIGHT

OAVID NAIL 'UbA riA3HVIUEl

ii '

1 CAN TRANSFORM VA

Chiir. iiL mrif t ivuittm ijri'L jtci

SOUTHERN VOICE

TIMNCGRAW m\

BREAK UP

KUniD flAT GUCCI MUt 1 SUN BURin IJ.ftMGi

HOTEL ROOM SERVICE

PITSJll ' ■ -II ■." ■ ^yii)

SHE WOLF

SHARIFU i " MJiiC LATIN.'EPIC)

MEET ME HALFWAY

THE BLU* EIEO FIDS iiSTERSCOPf i

DOESNT MEAN ANYTHINQ
WJCttHm iMBi-.'j IMti

DROP IT LOW

[BW Fee OM BM NA^f wsnzM t?iauK«IT3Kirf

ALREADY GONE

mil CURMON "1 k AflMlii

I'M ALIVE

KEMNT CMESNEY WITH [MVE lumiEWS I9HAI

BABY BY ME

M CENT FEAT NE-IO i ;."A3f AITtRWUK l^-^RS^:a« i

OBSESSED

tUfliAH 'yfln ii- INT ininr^.

ONE TIME
JUttmMitn t:l.<'ii'|[ II.'.,.

IMMA STAR (EVERYWHERE WE ARE)

JEHEMIH iM^i." '-1 ■■!iii; -iH i.V',

EVACUATE THE DANCEFLOOR

MSCAOA |F-':i£{ilK',|

ALL 1 ASK FOR ANYMORE

tiWa«)nNS r'-"ii!; 'i-ivMEi

THROW rx IN THE BAG

twouxR run i>f-tMmn<"- ^Tr>mrcF mnMii

4t-.

GOD IN ME

HART MARY FEAT RIERRA IMEARD iMi BJ :r LI .. 'J- '

HONKY TONK STOMP

BRDCWS A DUMM FU1 BlUT eiBBONt iAH'^IA NASM-.'.. 1 F

Ifl

FALLIN FOR YOU

COlBIl UUUI lUKt'fEftSW HEPUBLIC*

- FIFTEEN

* muDnnwi l.i= »/m ..Nti

21 GUNS

GREEK DAY ^ ^-.-.l i

TOES

»c BmwN MO MM wrcsiXR 'irrRFfi

SAY HEY (1 LOVE YOU)

HISTORY IN THE MAKING

OARtUt RUaUH il^PHUL NASH-.tiLlI

22 13

WELCOME TO THE FUTURE

BRIO I»J(.£Y 1 '.n i.ui ',•:,„. ,.F

BAD HABITS

MAmU ' ILl;MBIli

SMILE

UnClE KRACKER ..TOP DOd AIIANIICI

■T'

17 13

ONLY YOU CAN LOVE ME THIS WAY

iitHM UFiM ■ ■ 1 ' 1

NEVER SAY NEVER

TMtrHAr i^'ici

4 WHEELS

' FMIWHTEU iII<.i^V)[lLRCA.qMGi

23 7

COWBOY CASANOVA

BONFIRE

CHDIG MOMAN iliNAi

CHECK MY BRAIN

ALICE in PIIIM V- HI. H ( mUM i

GErm YOU HOME rT>« BLACK DRESS SONG)
CHfft n<uNr> ' '

1 INVENTED SEX

IMY 10<l« FEAT DRAll !10K0 MOP,' AIL AN IK)

WHITE UAR

HinAMDAUMHRT .i:aiJM(im |MI^>IVIL1E|'

NEED YOU NOW

UUIANTEULIUM i ' i. :.Fi

NUMBER ONE

H dElH (UI IIEHI MivSW ■ JI'jE .llli.

LOL :■)

TWY HM02 FBI aca MUI t nULlAiOr .-IMi nTX.V.Mtt ■: 1

KNOCK YOU DOWN
KmUMFUlNMnTwOTiianj >

,„ RUNAWAY

, WHY

HASCKLfUm i;>>1IL SIMtit.

)HOT DIGITAL SONGS

Ii •

M
27
®

! TITLE

\ *HTIJI iiMi'li 'il i v.C'Jul
OBSESSED

Wil^UHCAWT .."1

USE SOMEBODY

EVACUATE THE DANCE FLOOR

I I 3

^ 9 to

6 16

I 11 20

> a 9

J 1 11

I 12 1

J 14 13

5 31 3

I 13 6

J 17 10

BRlThfY JPt»Ri

tLUG*HE1GllTS.-HiPWIStl

-1

DOWN

JPMJWHAI LA WUVL ij^MaffUWSIlHBUUJ

I GOTTA FEEUNG ^

THE SI.AC« inoPU

PAPARAZZI

EMPIRE STATE OF MIND

j»i ; ■ Ai'Ci* >,ETt I'n: : .■i/Htawi

SEXY BITCH
iiAmi GUEm riAi akoh 'jiiMAS'HAiiMnaOvrTai

FOREVER

^ 16 1?

I 15 13

) 27 3

) ?5 13

I 2S 2E

I 19 13

I 18 5

1 10 2

SWEET CAROLINE

SWEET DREAMS

BEYDKCE ■.' .■. K ; :r

ONE TIME

yilSm BIEBER ■ ■■■•iV '

CAN TRANSFORM YA

YOU BELONG WITH ME
SAY HEY <l LOVE YOU)

• 6S

D iHWt GHMMJlAHTCaeGEH BCT«i

GOOD MORNING

HEY. SOUL SISTER

ALL THE RIGHT MOVES

' i.«i» i.ii>

GANGSTA LUV

IHOCPDOGCfE;!! T>f ORUN '

MMA STAR (EVERYWHERE WE ARE)
BREAK UP

HA»OfUT OUCCIMAHf A SEAN CAftRETT n<ji;.i

— -

WEEKS

TITLE

AHT1SI l'U-~'ll^' (■nOlMTlMl.ABCLl

ONE LESS LONELY GIRL

JUSTIK BlfflfJI 1 :.>. 1 .-> Mr.'

SMILE

UHCIE »FWC».Efl . 1 "!■■ •■.".•■iFii 1

STARSTBUKK

30«'i. HI. II .■. ''iM.

•

, TEMPORARY HOME

CAJ=;Rii ll^^[.^*nno i ,'- '..

BIG GREEN TRACTOR

.J.SDh ALDfAN < ' •[ '. : ,',

•

, BUST A MOVE

GlEi CAS" ■ ' " ■ -

BATTLEFIELD

.■OHD-N SPARKS ■ 1 H .-il. JLlil

- UPRISING

' MUSE 1 ■! .. >.>t|WR SROS 1

MONEY TO BLOW

nwUKLII LL *'fU«nMI ■ -fi|(.i-.l-yilJ|[;W%

VANILLA TV/ILIGHT

om ciiY

POKER FACE

lADYGACA ■, ."r-TiiT.iBfi;TjTTS»>T>

THROW IT IN THE BAG

F«»OlOUi.FfJ" IM-(«(A" ■ 'I'l"."! ;-;',li',l.

SINGLE LADIES (PUT A RING OnTt)
BEYOhCf ■ .

AiNT NO REST FOR THE WICKED

CAGE TME ElEPMAKT ^.r .ivl . j

GETTIN' YOU HOME

CHRIS YOUMD I*. - ■*.> " . LI

«e

I M GOING IN

FIRE BURNING

SUNNimSTON le'LLI* WtOK^tPICi

SOUTHERN VOICE

TIM MCGRAM .I'l'i^H.

00 1

Lum tRYW ' 11 i.;,',MiiiL .>i

YOU RE A JERK

h(WBOYI 1 iTT , -.1 ■A.:tM.1 -HOL. .

•

, EVERYBODY LOVES ME

1 M ALIVE

KFNK» CHfSNFY WH" [l*»f MHTMfWL

WASTED

- HAVEN T MET YOU YET

MrcmEl BUBLE '■ ■

1 KNOW TOU WANT ME (CALL£ OCHO)

PIIIULI ■ '

ALAUM CHARTS

Sales data compiled frcHn a comprcftMltfo pool of U.S. muilc
merchantt by NiaiMn Sound Scan, Salas data for RtB/htp-hop
retail charts is comptled by Nketsen SoutxlScan from a nalton^l
tutM«t of core itorvt that tpvclaliia in IhoM ganrat.
9 Albums witti the graatvst ulat gains this w«flk,

I Where Included, thii award indiCBlH the mie
I with the charts largest imK Incfsase.

PRICING/CONFIGURATION/AVAILABILITY
CD/Cassette prices are wggested IM or equivalent prtcM, which
K. Iff after prica irKfcalas altxjm
1 CO/DVD altar prIca "fxfccates CtVDVD
available, 'f- CO/DVD oomtxi
3 vinyl LP ii available. Pricing and vinyt LP avail-
ably are rtot lr>cluded on ai charts. EX after catalog numtier indi-
cates tMe Is excluihre to one account or has llmrt«d distribution.

SONG CHARTS

RADIO AIRPLAY CHARTS

Hot KM Airplay, Rock Sor>gs, Hot Country Songs, Hot Rap
Songs. Cfwictian Sor^s, Hot Latin Sor>gs and Latin Airplay charts
are compited from a national sample of data suppli*d by Nioteon
Broadcast Data Syitems. Charts are ranked t>y number of gross
impttnstons. corrvuled by cross-rderDncing exact fkrm ol air-
play wtth Arbitron IMmr data. MaimtrMm Top 40, Adutt
ContemporarK Adult 1top 40i AftamalNa. Triple A. Active Rock.
Harttaga Roch, Hakwtravn RtB/Hto*Hop, Rhythmic. Adult R&B.
Hot Christian AC Songi. Hot Goapal Sengs. Hot Dance Airplay.
«r>d Smooth Jazz Sortgs ara rankad by total datactiorH.
9 Songs thowfing an Irtcrease In audience (or detectlont}
over the prevtous week, regardlew of cttart movemertt.

I Where Included, this award Inhales Itw title
with the durt'f largcnt airplay ncroase.

RECURRENT RULES

Songs are removed from Itie B«lltx»rd Hot lOO ar>d Hot 100
Airplay cturls simuttarteously after 20 weeks on the Billboard
Hot 100 and It rankirtg below No. 50. Songs are removed from
Hot RAB/Hlp-Hop Songs after 20 weeks If ranking below No.
SO. Sor>gs ara removed From Hot Country Songs after 20 weeks
if ranking behm No. 10 In detectioru or audwnca, provided that
they are not still gainir>g enough audience points to bullet or if
they rar* below No 10 and post a third consecutive week of
audMTKe decUne. regardless of total chart we«ks. Songs are
removed from Mainstream Top 40, Rock Songs. Altemaliva,
Active Rock. MjUnstroam R&a/Hlp-Hop, Rhythmic. Hot Laltn
Songs artd Latin Airplay charts after 20 weeks If ranking below
No. 20. Descendlr>g songs are renwved from Adult
Contemporary and Adult Top 40 after 20 weeks If ranking
bohiw No. IS, after 26 wosks if rankng below No. lO, or after S2
weeks if ranking below No. 5. Descending songs ara removed
from the Triple A. Herftage Rock, Adutt RftB, Christian Songs,
Hot Christian AC Songs. Chrtttlan CHR. Hot Gospel Songs, Hot
Dance Airplay and Smooth Jazz Songs charts after 20 weeks
ar>d if ranking below No 15.

CONFIGURATIONS

• CD single available. O Digital Download available. O DVD
tingle available. O Vinyl Maxl-Slngl« available. « Vlr>yi tingle
availabia, O CD Mail-Slrtgle available. Configurations are not
Irtciuded on all singles charts.

HOT DANCE CLUB SONGS

Compiled from a rtaUonal sample of reports from cU> DJs.

# Titles vrith the gnMe9 dub play ricre*se ov«r tfw prevtout week.

AWARD CERT. LEVELS

ALBUM CHARTS

• Racerding Mustry Ann Of ArTterk:a (RIAA) certification for
net sNpmant of SOO.OOO albums (GoldX ■ RIAA certification for
not shipmorrt of 1 miWon uniti (Platinum) ♦ RIAA certificirtion
for net shipment of K) million units CDlamor>d). Numeral within
Plaiinum or Diamond symbol irtdicates aRjum's multl-olatlnum
level. For boxed sets, and doubl« aJbums with a runnlrYg tlrrve ot
100 mlr>utes or more, the RIAA multiplies shipments by Uw nunv-
ber of disc* and/or tapes, certification for net shlpmeoii of
ICXXOOO units (Oro). Certification of 200.000 units (Platino).
ii; CertlFtcatton of 40O.O00 units (Multi-Pfatmo).

SINGLES CHARTS

• RtAA ovtfficBtkxi for SOOuOOO paid dowitoads (Gold).

■ RIAA ceitincabon for 1 ndlkm paid downloads (Platawm)-
Numorsl wittwi ptattrum syn^wl incfcales song^ mutttpMvwm lewl.
I . RIAA certmcabon fOr net shipmerK ol SOaOOO $lr>^ (Gold)

MUSIC VIDEO SALES CHARTS

• RIAA gold certincatKm tor rtei shipmant or 3S,000 umu For
video s^let. 'I< RIAA gold certification tor net ihiprYient of
50.(K>0 units for sttorttorm or lortgform videos. ■ RIAA platinum
certification for rwt shipment of SO, 000 units for video (ingles.
U RtAA platinum ccrtlflcaOon for sales of lOO.OOO wwu tor
shortform or longform videos. Numer^ within plalinm symbol
indicatos ior>g's miMlpUlinum kival.

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA goW certificabon for net shipment ot SOiOOO units or $1 mil-
lion in sales at suggested retail prtc« ■ RIAA platinum certification
lor sales of 100,000 \ntti or $2 mtton In sales ai suggested rt^ail
prKe. ~ IRMA goM certrflcatkxi tor a min^num sale ot 12S.CXX) units
or a doHar vokm o( S9 million at retafl for thaatricaffy released pro-
grams: or of at least 2S.O0O un*s and SI MMon at uggested retal
lor non-che«ncal titles. KHA plaOnum cartMcalton tor a nnMmum
sale of 25aOOO u«s or a dolar vokm Of SIB tiMon at retai for
theotrkally relcaiod programs, and of at lean SOOOO mlt* and $2
rrdnon at suggeitDd retal for non-tfwatriol titles.

a for week of NOVEMBER 7, 2009 < For chart reprints call 646.654.4633 Go to www.billboard.biz for complete chart data i 71

^^^■^ Billboard

TITLE

AHIIST •MPnihl ' nomiOH LAOELl
WSM PARTY IN THE U.SJk.
■Rfl mui cma .;kil litwoodi i

t 14

DOWN

MT SEMFUI Ll WUfflE ■0'.:'* Ur.ftVMNMMAl SfPtPtCi

PAPARAZZI

lUnStCli ' ..».(.mL'iOKLALDCIVr<TnEL«TEflSCO>(!

WHATCHA SAY

MSON DtllUlO 1 : r . iiW. ii[ iMIS -WtRKER BROS 1

■#

SWEET DREAMS

USE SOMEBODY

KlHim Of lEOM 1- >iM..

YOU BELONG WITH ME

1»¥IWSWIFI I" .■' = .r,',- JMktRML RtPmiCI

RUN THIS TOWN

J«y-f HMAHHA » »»m «'fST HOC MATION)

111

LOVE DRUNK

eon LiKt iiiR:s

ALREADY GONE

ItUfCLAHKSOW ■

1 GOTTA FEELING

(

MEET ME HALFWAY
THE ntu mo PUS uMiioscDPri

FIREFLIES

DWl Cin 1 ll'JU'fBiH RIPISUCJ

OBSESSED

20 6

REPLAY

ifu i'.'^ '.(0^■:' mjf,h mejgmis hepaisc .

ONE TIME

JUStIN HtMB II. ..Mlii

GOOD GIRLS GO BAD

FALLIN' FOR YOU

COIM aUUJT IIMIVERSU. REPUBLIC >

aATTLEFIELD

JOBOIN 3MR« r - :r<^

EVACUATE THE DANCEFLOOR

CAICAD* 'F-.'.lill..-'

SEXY CHICK

akm GUETlk FEAT IIKIW lUUU UTRALIVEflH&'CAFrilr. i

FUNHOUSE

SAY HEY (1 LOVE YOU)

IMHHI RUmtniNMW'iK' tl''- ■■VUl'- ■.»1MB'« W^'r, ■

STARSTRUKK

JIWaFEAI rMVPERfiT " -H n tlWSK *'l HKIIC'RIF i

BODY LANGUAGE

.is« MCCunTKiY iiAt ' mn .■iouvwcock

•r

HOTEL ROOM SERVICE

WIBUlL 11.

FACE DROP

UAH uHUSruN II... luu'i: it'i..

BE ON YOU

HO niD* FEAT w-rn Ii 1 'Ilwticp

BEST 1 EVER HAD

DAW ■ 1 V . 1 ■■ VI 'Scy.'UvivEdSAi uotowm

IF YOU ONLY KNEW

SKJUEUCAtH . ". 11

32 7

DROP IT LOW

HAPPY

LIONi) lEW;t < 1. " .

3li

DOLLHOUSE

EPl

T1K TOK

KEIH* ■

RUSSIAN ROULETTE

THROW IT IN THE BAG

FAMUius 'u: THE am*!/ ■ ■ " t ■ ■' i-! .isM-Tixwiii

BAD ROMANCE

LAOTWu* KLMItHSCOl^)

ill

EMPIRE STATE OF MIND

JAt ; • AUCiA UTt IROC Mitmt

LA LA LA

IMf AD ■ -;L'_' WIU I AM'CMtflWVIPELlNJtH^-Ctft 1

NhV Cpw nhhilii her nm durt-iopp«i an HainirHin Top 4fl
m Hk Mr'! lOOth Wo. 1. Tlx Ihl launihtd inihe OdJ. I9!2. Issue
(Mm neks before (yriis wis born).

"Ml k ne U.SJL" is Ok lecoad No. I oe the dun tor
Mpatl liaiiL nt Mel, ■Hdilw weneil on IlK snrvn linii
m, imleiali Ripelli XMiin Jeae MCiitneii's "iNiin . "

liiliniei Ite Wirt im In 41 af s amtr tier. Wi
CMwieklielkeiWi

atunslHI.

lli«Mli|4i,IMe
lndWKlmib*ele»1t

twHwOnlMBwiiiKe
September 200J, « -'Vniie"
rises ll'l. llieleodlrKt
from the slttper's fourtti stu-
dio album, "liaopY Hour,"
Hso labs tlx Hot Stiol Mot
eilMMiiSemilllo.
aoteeOellmlllw
(km caste utenlillia-
bMid.bii/tbarts.)

72 I Go to www.billboard.biz for complete cliart data

eS B5
Sli iii

1 i;^

2 33

3 24

TITLE

»niifiT ,iMeiwr r pnoMomN IMEU
V3I YOU BELONG WITH IME

BS3 MnOH IWlTT Itllu IMCWIC'ljmERSAL KPuOLICl
THE CLIMB

HER DIAMONDS

nOBTHDMA.S ■.! ,-,\iiiiiri

COME ON GET HIGHER

r^MT H*TH*N10H .'VQU*.1C' C^r'lTC-..

YOU FOUND ME

FALLIN' FOR YOU

COLB^f CAIILAT '■' i f 1 1

PLEASE DON T LEAVE ME

HAVEN T MET YOU YET

NO SURPRISE

l^'.riVfll ' ^'^"^ ^ ^ 1

KISS A GIRL

CHANCES

CLOSER TO LOVE

BEAUTIFUL WORLD (WE'RE ALL HERE)

USE SOMEBODY

KINGS 0* LtOh I' : ■■■ iT.liii

SECOND CHANCE

Sn*Wf DO'A*l - " . ' 'I'li' 1

BATTLEFIELD

iOtmiN Si'AHKS ■ ■ . I'L AG>

THIS IS IT

MlCHAEl JACKSON FEAT n€MMim ■Vit fC,

^ 29

THEN

BRAD PAIUEY JF;i;,Ti NiSriVILL: H'.IGi

ALREADY GONE

KEIWCUHWOM I'l^C^^rVG

WHEN IT COMES TO LOVE

FORiiGHUi .'.'.AnTii: ii>ijhai

SMILE

uNcti KFucuR l^'|p aoaAiiAotici

SHE IS LOVE

PARACHUTE UEBC."=' ir'MCi

SAY HEY (1 LOVE YOU)

1 DON'T WANT TO HEAR ANYMORE

EAreiEl :FM::,

ii ills

TITLE

ARIIST . I'" . ;-..Fi.

2«

KIUSE SOMEBODY
Bffiflinir.<, nf iiDN .

YOU BELONG WITH ME

■HtoH ifc'.Ti Ml .iiLi i.'iivEfiSAL stPwiii;:.

FALLIN' FOR YOU
COLKCAJIUT 1 ■-■.II'.'.AL BtPySLiC*

NO SURPRISE

OAUOHTHT ■ ■ 'iVi'i

) GOTTA FEELING

TMBLACS tTEDPEAS.i'Offi.CDPE.

SAY HEY (1 LOVE YOU)

MoiWL Huim 1 MMCM . - uii>,uinmH *UUUCI

ALREADY GONE

SMILE

UNCLE ARACKER 1

PLEASE DON'T LEAVE ME

NEVER SAY NEVER

rm F'lAi

21 GUNS

CaUHOAT 1 L

SOMEDAY

WBllOMAS ■■■ ..M H',*"(!ICi

WE WERENT BORN TO FOLLOW
lOMJOVI '

HEY, SOUL SISTER

TRAIN . .1

CHANCES

FWt ton FtOHTINC '.(lilA|

PARTY IN THE U.S.A.

NEVER GONNA BE ALONE

h'CHiLBALK

MAYBE

WHO SAYS

ll J-'iVtU FIREFUE8 1
[SiniiH Dvn cin lUMWEnSAi rcpubuci 1

PAPARAZZI

COME ON

BE THERE ~

Kiwif ;i»" .

NEW DIVIDE

LVCtM'Afi" ■■ 1 'it iHOP.WABNin BftOSl

BATTLEFIELD

JOnilUitMIKS.lH..VE.JLG|

VVHEELS

FOOFint-TEBS . =.l.KU.l

!IF YDU R£ VYQKOERING IF 1 WUT YOU TOI 1 IMUft nx

«FJER . .Ill' . II;

1 WILL NOT BOW

init ! 1 ...... ■! , .ivoOOl

WHEELS

rOO nCHTrnS .nGSWELLnC^RMlii

o BREAK

Th.if! riis&H*c£ jui

SAVIOR

ftiStWWhST KCIinERSMI^j

JARS

... UPRISING

' w it M.I. liftm ,

BREAK

iir rou R£ Vi^OlsenrrG F 1 WHTTQUIOI 1 WMinu n

1 WILL NOT BOW

■

THE FIXER
n*R. .ill ',■

Plj^i^iiy KINGS AND QUEENS

VOU'RE GOING DOWN

atx puffiiB ■ " . -Kii.iii

CHECK MY BRAIN

SAVIOR

RrstiiiAinsr ■':,i'Jm

MEDICATE

AFJ I'll. 'JU'lSCOPEI

OVERCOME

cirri:

THE FIXER

P [ARE JAM '.' 'Ir.-- -.!'!'. 'Il

NEW DIVIDE

liL'^Pini, ■ 1 rfWaHKERBBDS)

PANIC SWITCH

Sll«RiUN PICKUPS . '.jL'iMUD:

PANIC SWITCH

s..'i;i.i II. : - f.'.i-f. '.'.iiisiiir.i

IGNORANCE

PARAWOBE ■ ■iiii: H^P)

USE SOn^EBODY

x.'jti .[111.

MEET ME ON THE EOUINOX

DEAril CAi IM CIIIIE . ■ ■ I'lTICl

KINGS AND QUEENS

USE SOMEBODY

IF YOU ONLY KNEW

BACK AGAINST THE WALL

CAGE iHtUOnUHI J^-' , Jit^

MEDICATE

1901

PHDEMX IKIVAUTE.'OlUSMirE*

2, SOUND OF MADNESS

NOTION

tiNGsorie(wincA.iiMGi

NOTION

K.'.GS LION ■li.llj r...ii

NEW DIVIDE

LINUH NRK 'MACHIK'i bl*:F-. WAKHEH BRCS )

BURN IT TO THE GROUND

hi'.f'.nJCK 1

YOU'RE GOING DOWN

UCKPUPflES ,..-.ii'.i:tf>lIO.i

MEET ME ON THE EOUINOX

tiilH LftB rUKCilTll ■ -I. - HI AUirjICI

IF YOU ONLY KNEW

iHiiitooivM .-.^Mf.-n:,

IGNORANCE

PrUUMOIIf I irLtn ly fUll£r( ATLANl« RflPi

AGAIN

fLTlEAf ''.CKtl [flli'tiCCet'i

1901

(■MINK : .11 1, .l.L'Jlf 1

SUBSTITUTION

tUTERIUN P>miPi I'i.i'll.i'iHIRDi

WHISKEY HANGOVER

tonswArt ■ ii;-Lei.c.

EAST JESUS NOWHERE

6HtEND*».'" ■

as-

CRAWL BACK IN

SLOW POISON

THE BRAVIRT .i'AA-11^ IDJVji

^ 30 10

33 9

EAST JESUS NOWHERE

Jg a£|| TITLL

4? 2

JUST BREATHE
fE»ai ;Kt* ■.. 'i- ■ . .■ r. ■ .

36 to

INVINCIBLE

AUELITAS WAT iVHQN.CAPtlOLI

40 2

SNUFF

iiiPHNm .||i■n■.nnl^^^El'.■BRP1
|L3il£ll£l| SPACESHIP 1

37 6

MONSTER

WHY 1 AM

38 15

I LL GO CnUY IF 1 DONT GO CRAZY TONIGHT

45 6

BLOOD ON MY HANDS

1 BROKEN. BEAT A SCARHEO

so 3

SUBSTITUTION

47 9

FOREVER IN YOUR HANDS 1

"MKi nitfA.HS I ii: - i. i<i

■W 7

MAYBE

11.11(1 <it.-u_i:i;i\ . .-i.cw MM.-MfiRSK tBIwv.

41 n

FIREFLIES

■lA'i . ■ ■.rnjBLlCi

49 4

SLOW POISON

46 12

BY THE WAY

ThCURI QF A ElEAHMAh 'fr,i nOADRUHNER/RflP)

1 WHO 8AVS

JOMUIUmiCGLLUg.AI

CRASH

« .17

SHE'S A GENIUS

jn SEvEtiCAPnoL 1 >

■EM

STORM TO PASS 1

^i-^i'ij . .

HEY. SOUL SISTER

TRAIN

Puddle of Hudd previews Its tojfQi i^h
studio set. "Volume 4: Soflfsin the Ker ]|Bn^^Hr|^0V

22
23

23
20

20
6

"Sfiacestiip." The Irath Uiuiches on ^^Bl EV^B Vv*
RKfc Sow at Mo. U witti the Greatnl rMr Q^^^'^f]
fiiiiie! how. reglstefing Ml audience ol j^^^^QjuBB

H FUGITIVE
MAYBE

-I -,11 I ■.UltRUl. not

FALLIN' FOR YOU

Hril.iVtil CHASING PIRATES

I LL GO CRAZY IF 1 DOM T GO CRAZY TONII

BACKWARDS DOWN THE NUMBER LINE

SOMETHING BEAUTIFUL

I IF I'GL' WMKnmG IF I WMTT TOU TOI I H

MEET ME ON THE EQUINOX

MATH C4B FOR ' '■ ■ " .-MO

i AND LOVE AND YOU

THE AVETT BflOThERi ...'i.-SI*»

NEVER SAY NEVER

Data for weei< of NOVEMBER 7, 20O9 I CHARTS LEGEND on Page

TOflto av

amnan

Istn

ritclscn

NOV

7 ^

2009

HOT COUNTRY SONGS'

TITLE ■■if 1
''HOOUCER (SOMWRITEfl) iwrr. ■

B it

TITLE

"..-rfa i:-OIW*RfIEBl

Artist

iMpnnt 4 NUMBER PRtidtr'Tini, 1 AUK

8 EE

-s

gSlTOES

Zac Brown Band

ft HOK GROHWAtlMTCeNGPI PCtvK

THE TRUTH

WELCOME TO THE FUTURE

Brad Patsloy

THAT S HOW COUNTRY BOYS ROLL

Billy Cutrlnglon

S -M^ 1 ^,

1 3

ONLY YOU CAN LOVE ME THIS WAV

Keith Urban

O CAPITOl NliSMUTLU

WWfiq QJiilS 1 S

WHY DON T WE JUST DANCE

■ ■■ ■.;..ftrjHOHarM!ii

Josh Turner

J 1

GETTIN YOU HOME (THE BLACK DRESS SONG) ChrlS Young

milllDf! i[!iOfe*,5;or>>
to Iwomf Swifl'i
ninth lop 10. Since

TODAY

Gary Allan

COWBOY CASANOVA

Carrie Underwood

31 30

OUTSIDE MY WINDOW

Sarah Bi.yia-^

T 7

NEED YOU NOW

■ . , ■; •ayWMOCmuCHSCOliJi'l*!!

Lady Antebellum

O CAPITH Mi^W ! >

Iw first top 10 m
npfomh^f Jftflfi kfip

A LITTLE MORE COUNTRY THAN THAT

Easlon Co'hi"!
ffl

AMERICAN RIDE

1bby Keith

a SttOWOK) KA^-ri'jii '

tied tuf seioni!

BEER ON THE TABLE

Josh Thomp-.^i.!-.
Q

6 9

DO 1

■ ■ ■ ■MrWCWDl

Luke Bryan

9 riT^iin If

;)la» Vfiin \i!ia
Paisley among

DIDN T YOU KNOW HOW MUCH 1 LOVED YOU

Kellie Pickler

e :.. (IN.-,

I f.l ALIVE K«in

Chosney With Dave Matlhom

0 r '.'

arltstswilhllie
most toil lOs. Kmr.v
fhesnef Isadi wilh

SARA SMILE Jimmy Wayne Featuring Daryl Hall & John Gates

11 11

FIFTEEN

Taylor Swift

O |.,., i.-.r

KEEP ON LOVIN YOU

Steel Maqnoha
9 1

BONFIRE

Craig Morgan

10 sucli \mki
duiina llul wiiod

£d

38 39

LONG AFTER 1 M GONE B«g Ken r,

V 'J EiliC'l H Sl.^ill © LOVt iVt«irBOOT,'[lt01QWMUGC!-l

RUNAWAY

.1 ■ Li;[;>,C SMiTtl.fi.BlACKLfOGI)

LOvo And ThQtl

Si/

36 :i:

COUNTRY FOLKS {LIVIN' LOUD)

. '■- It ktf

The LjOsI Trailers

e II rj;.

CONSIDER ME GONE

Reba

A SIARSIKUCK.'VAUIfn

EVERYWHERE 1 GO

Phil Vassa'

9 ■rN'VII-.M

IS u

1 WANNA MAKE YOU CLOSE YOUR EYES

D4trkt BtnHey

e CAPTTOt. NUMVILtf

CRYIN FOR ME (WAYMAN'S SONG)

Toby K<"i!h

O f.Hint; [»;;■, ■■, i ■

l»

RED LIGHT

!'■■.[ DMWtkOSMi

Oavkl Nail

19 AND CRAZY

•;E«.K0S«UNSO»«SHEP»ROt

Bomshei

e . inf

SOUTHERN VOICE

Tim McGraw

si'

LOVE LIKE CRAZY

Lee Brico

-.1 - ■■ ■ „'J.S,OQIPi£ft(li

Wii'i^ :'i'.iii^i'.

imprr..,-'! . i!.'

9 . IH[<

ALL 1 ASK FOR ANYMORE

Trace AdVins

BACKWOODS

Ml v.lOflEJPAULIIIJSSIOrtfl)

Justin Moore

16 16

HONKY TONK STOMP Brookt

i ■. . 1 ri--:|irf [1 F-NSOHl

i Dunn FeaUitint) Bdly Gihljons

mcnilof. / ' ,i 1
[upi-l miil-.oni,
the title track Iiqq

STUCK

Ash Bowers

H STORY IN THE MAKING

LOVE LIVES ON

Mallary Hopo

9 uc* tA^f. .ls

1 JUST CALL YOU MINE

Marliii.i MtBiitlf

MraittHiesi aiDini
9th ttw Grp^tet

HILLBILLY BONE Btak* Shelton F9a1urjr>g Trace Adkms

WHITE LIAR

. !■ >,■ iM (AMflSRIH MEMBV)

Miranda Lambert

a cni ii-.'ii'

&ainc( niMl in ri^
sirtli cluil vreeli
H« will jwrform or

HOW FAR DO YOU WANNA GO?

■i, -Jf nr n UrniCBi

Glf!M,„;r,

WHY

■| Hi < - ■'■■J'ijW U*tK!5|

Rascal Flatts

HELL ON THE HEART

Ertc Chuicti

9 r<^ir . -f..^. A:

EIGHT SECOND RIDE

Jake Owen

the Nov. 11 (oiMiirf
HlbIc Assn. Avanls

GIMMIE THAT GIRL

Joe Nichols

9 -i;. -■-Ii

) 30

[iLLUiy TWANG

QjEIiS b':^r<unTBiiinMiuLUiDeKUU.Ktunv[LJ.nreM

George SmR

EV) 9 WCA NASHVILLE

on ABC-TV,

RADIO WAVES

.-■.!■ ■.■(HOEIIS M lUi

Elt Young Band

• fttPLiBLi:: .ir.;.'[ii..'.i :i ■■<

HURRY HOME

Jason Michael Carroll biu'

47 49

THE CALL

,lHiH :i !M nfKHOK H GORDON ;CAMPef III

Matt Kennon

9 SiMA.-AM.SIftll-.lt.A:"'-. . r-.

TOP COUNTRY ALBUMS

TOP BLUEGRASS ALBUMS

ARTIST Title

' - ■. :■. ■•-■•H DISIBlSUIINa liBtHTOIMj

§1

ARTIST TMIe S
" ^ ISSTfllHUIIMGLmi iMICEj S

23
24

22
23

BRAD PAISLEY Amenc^l SalWaY Ni9«

f '

TAYLOR SWIFT _ p„„„.

JUSTIN MOORE

ZAC BROWN BAND , , ^ ThetajndMoo

■

BILLY CUHRINGTON ^ ^ „ ^^^,^,„^

AmetorRid,

SUGARLAND ^ ^ LIVE On Th. I,„.ae

MIRANDA LAMBERT Re.olul.on

2«

JAMEY JOHNSON Thai Lon..om, Song •

LADY ANTEBELUJM Anl.bollum

■

ZAC BROWN BAND ^^^^^ _ Th.F»,«l«n

LUKE BRYAN n^„. Th.n«

. .1. I-.suli.lM, Thing

GLORIANA

113

'■"'•^ '■""^T! NaluraiFo-cs

■

m^*-^!;".. K.»lePI«le.

SOUNDTRACK__^^ H»in* Mono™ Th. M^e

COLT FORD RkleTlinxigh The County

1°
1'
1

e
s
11

•■"ON ALDEAN^ Wide Open

•

TIM MCGRAW G,.at,MH«s3

ROSANNE CASH , :,,

M.''.'".:ru, .ifi:.-r. Qi.^ lie 58: ■■■b uai

PATTY LOVELESS Houn.ain Sool II

•

34
45

ERIC CHURCH (^,„„„,

16 12

^^ffl ,„.«f»,nu>t "<»0"«*i««»i

VARIOUS ARTISTS y(»ft„ wiaiOW Ch»»

BROOKS S DUNN ^ ^^^^

TOBY KEITH ^ 35 BIsgest Hiu ■

"y!:°" Taylor S»,ll

D
■

DIERKSBENTLEY^^ ^^ f"' Thai FIre

1
1

15
14

°'"':"?""'rS,i!,.i L..,nT0L„.

TIM MCGRAW o.tmtl Mils: LimileO Eall.on

CHRIS YOOMQ Tl» Man 1 Wan. To Bo

oeoRoE JONES _ ncamoiKsaiitoMo.

SUGARLAND ^ Gold And G,«n

RANDY HOUSER ^o..

KEITH URBAN _ Oetylng Gra.ii,

•

I.f'"",'^'^""* LongWayHome

VARmuSARTISTS ^ N0«1MI«1«IC«CMVW)

LOVE AND THEFT ^ World WMe Open

RASCAL FLATTS g,„„„ „„, ,

WILLIE NELSON American Clas«c

RASCAL FLATTS Un.loppablo

■

BIG & RICH u...
■■ . ,- GrOBIealHiK

)

KENNY CHESNEY Gr.alesl Hrt. 11

KENNY CHESMEV^ „„, Luck, Old Son

20 17

ROBERT EARL KEEN The Rose Ho.Ol

Lo.,OnTh,ln.,d,

MARTINA MCBRIDE gf,,^^

? 36

J :

3 3

5 fc

8 52

10 61

9
©

r 57

ARTIST

' A I.JMBER DIStFllBUtinG lABtl

PATTY LOVELESS

STEVE MARTIN tfi; Cnw I*w SonQS Ry The Fwe Stnj Barp

SAM BUSH

the"isaacs

Circles A/aund Mu

tneisaacs Naual^lnAlratACaiveiiCoiectDn

STEEP' CANYON RANGERS

Deep In The Shade

RICKY SKAGGS

Sow Swigs M/ Dad Loved ^
ummaie Biuei^ass

- ■■■ ■ ■.■ ir^ifi

OLD CROW MEDICINE SHOW

Chenyhotmes IH Doni Beiwve

BETWEEN THE BULLETS

•TOES' HITS TOP

Up 1,1 million audience iinpros-
siuiis. Zai Brown Band claims its
second Hot Coiintrv- Sorifjs No. 1 as
"Toes' adv-ances 2-1. WitJi J6,4 mil-
lion audience impressions in its
18th diarl week, "Toes" follow-s the
\o. 2 peak (it "WliJli-vt-r It Is" oti the |iily 1 1 chart. Tlie band's
debut sinjjle. "Chicken Frit?d." spent the last of four straifjht
weeks at No. I on the Dec. b. 201)S, than. No act lias .'icoreii two
chart-toppers out of its first three singles on Hoi Countr>-
Songs since Dbcie Chicks in 1998. Concurrently. Tim McGraw
opens at No. 1 on 'lop Countn' Albums with "Southern Voice"
{see Over the Coutiter. page 65). — W'oi/f Jcsien

3 for week of NOVEMBER 7. 2009 For chart reprints call 64fi.654.4633

Go to www.billboard.biz for complete chart data

ADULT R&B

Billboard

TOP R&B/HIP-HOP
ALBUMS

ARTIST

tint .WPBINI WSIRIBUlUKiLUd

B1jav-z

nlHOC NMIQIH SfOBM- M

I I

WHITNEY HOUSTON

ON ■

MAXWELL I

iJOSS STONE

THE BLACK EYED PEAS
iwttwa

I CHRISETTE MrCHELE
LIL BOOSrE'
K JON

lenwttMi ■ ■
FABOLOUS

RAEKWON

am.1 IWIT « CUWIIIJOL.PI.IIR BTOMTW
LEDtSI

■ i^Vt FlWECASTOI267TiVC»

LTHE WHISPERS
rnWIJUL ■ .:■ ■■

FAT JOE

«tiiuioi«niiBWfrua*£.gTgwcw3ajioiETrij
CHARLIE WILSON

UMO-t CMWtit r uuglC/JW MMWAg

JEREMIH

jtMHiM" • . i-.Lf.'f.!' .nMnnoys- lOiMC

SOUNDTRACK

~ANTHONY HAMILTON
TwrowTOf nm. ■ ■ . .Ii » IP :riB: nolo
I LAURA IZIBOH
1 inTwmmiK

KERI HILSON

MARY MARY

NEW BOYZ

LIL WAYNE

311

PLAYA2 CIRCLE

aieHTjccnciwEorf - -i ■ -i- .r.Mj

TRICK DADDY

VARIOUS ARTISTS

RICK ROSS

MARQUES HOUSTON
M-HOWICW J: ■ ,-. >:t TUG

MICHAEL JACKSON
naMMBMin MLtMonai^'UMi

TWISTA

CUTMOffru '-• . ^;4-.

KEYSHIA COLE

A DIFFUCHT M VAUI^tlKfi D1219S IM

JOE

MMTURf ' 1 :-:o:o.'>iED'>H

nveimUL >>rnHU6ll£'tnNITIC5l72Er.Ui«

THE-OREAM

lOVf V.t NWrr MlIO KLLAte Ml DlJSTVWHe

N DAMBI

PIWIlBMJr 1 l ot) RtCl'SIM WnS'COMCMO

QINUWINE

t HMI IHOUBMS «Tft *SmjU ITwniR BAQS

Hw Wtitspen tuve Ihen higheU-clurting
album VMt 199S « "IhanWul." thi mI's
rinl impiratlorul rtieaw, bom at Ho. IS
w\ Top RU/Hip-Hop Aitwms. Ihe sel also
starts 3) Ho. i on Top Goqict Akuns
diarLpa9e75].

1
1

>iAINSTREAM
3&B/HiP-HOP

□

en 0 TITLE

Sp p8 ARTIST <-VP<4rl|l pnOWQTIIMlUltl
! u QWASTED

II ■IRIIIIIMUlllllllll ■WIIWI

RUN THIS TOWN

g FOREVER

UNDER

NUMBER ONE

ll.nU.Tft«I.tBIIHMH>ltVb JIG)

REGRET
UTom FUT. lunwciw

H| 10

. EMPIRE STATE OF MIND
-» UJCU KETI

BREAK UP
' lunio nn. wca nuc • wm umrrr

IH '

,j. SUCCESSFUL

- PAPERS

- 1 INVENTED SEX

TMI UHI FUI, DWKE ISOK BOOIIj'ARAIITICj

PRETTY WINGS

HUWm iCOLLMillAi

. 1 CAN TRANSFORM VA

am nnw fut ul «um i mn nnz i jrvEJiiti

5 DOESNT MEAN ANYTHING

13 LOL >)

,, 1 M GOOD

Q#SI Wt nHAMUMUmi ^' UPh'COLUHBIA}

5 MONEY TO BLOW

,g 5 STAR CHICK

«, GOD IN ME

2, THROW IT IN THE BAG

. BABY BY ME

54 CCIfT FIAT NE-TO .HArr* H RMATH. -^H f^SCf'^f E;

g BAD HABITS

g DROP IT LOW

.g SWEAT IT OUT

J EVERVTHINGT EVERYDAY EVERYWHERE
FflMKOUS FEAT Ufl MUQH i'i^^jt SIOMAttF .-V viiui

2 1 GET IT IN

3 THINKIN' ABOUT YOU

2 IT KILLS ME

■RJWI nOM s/iFVEFlSAt. UOTOWHt

3 r LOOK GOOD

,» OBSESSED

HWIMCUn .''.:MOjMGt

, BODY

^ MMuua HDUtrgM >'jsicwo«iks.iuoi

FRESH

^ IIKBiUGON::.rOKf.JIVL1*nEIIV(

. VIDEO PHONE

^ irroict :mj:^.c d<coi.l«bui

THE ONE

iiurri.uEF«i[WiEEiiMiuimiimi«nBisccpfi

3«

, GOT TA GET IT

^ 1 M GOING IN

GANGSTA luv
^ tMMrDOGcrui rMi«iiNlii)Oue«5Tva'<ioivr>.cwiX7

BECKY

PUa . - Ii iuOl HlANTlC)

■V HEADBOARD

ifl iuiKMcoM«tiiim*iuiiFao<»xM)fijn«'i

I TITLE

t MmiTiiMPwmr; promoicn lamd
[IrUN this TOWN

M MT.I. mUM 4 Ujm in iHPC ilAIIMIJ

WHATCHA SAY

l[ ICHtSiWARNtn BROS 1

S IS
I 10 5
I 6 T7

BREAK UP

ttxm f Ut UJCCI MAHf t SUM BMnm ; (IMC-I

I SWEET DREAMS 1
I inoBCE ■ ■ ■ •. -11 n rcmiMBiAt |
FOREVER

MIKE iHJR.!' Ml>lh.;ONf 4SrREAMLIKE'INIf«SC0«)

THROW IT IN THE BAG'
Fuoioui FUT vm^mm >a.^v SToraAWMmMOi
"EMPIRE STATE OF MIN5

"BE ON YOU

Fu) fUT. («-ni m Bfjy.*iLWici

paparazzi
Obsessed "

HMIUHUMT

Jia ,r

2 21 6

J ,9 3

H 11 21

F" 12 15

I,- 13 20

I M M A STAR (EVERYWHERE WE ARE)

URtttM . ■ I.'.- ■ 'Mb,

HOTEL ROOM SERVICE
MEET ME HALFWAY

TwiuancDKiU iiNi<nscop(i

BEST I EVER HAD
S"UCCES5FUL

9 DROP IT LOW

'DOESNt MEAN ANYTHING

ALICIA KEYS ' '

23 7

I^Jf! 25 a

I 24 7

TIE ME DOWN

K« MR FUt HT J iSMtimiASnUUVrAniOfl r<t
ONE TIME

BABY BY ME

M CEITT FUI H-lt iSHAOY'AFIERUATK'llfTf nSCOPE)
WASTED

I IS s

I 32 2

j 27 3

lag 2

GANGSTA LUV

PAPERS
VMB LAfACEJLGl

PARTY IN THE U.S.A.

(EVERYTHING, EVERYDAY. EVERYWHERE
nHOUl rui UN MLKM iKSEHT STDMiOlF >UClJUG|

■MrantnAn

NUMBER ONE
tL mif FHT im HIM

1 5HUT ir DOWN

BETWEEN TMi; BULLETS

KEYS AND GAGA MAKE STRIDES

Alicia Keys scores the longest active top 10 streak at Adult R&B
as "Doesn't Mean Anything" rises 12-7. earns the Greatest Gain-
er honor and becomes her sixth straight trip to the chart's up-
per region. Keys was tied with Maxwell for five straight top 10s
among active streaks. "Anytliing" is Keys' 12th top 10. tying her
with Whitney Houston for the second-most among females.
Both are one track behind Mary |. Blige.Toni Braxton and Mari-
^ ^tf^^K. Carey, who lead with 1 3 each,

.ffl ^H^^^fll^k Rhythmic chart. Lady Gaga liecomes the fourth fe-

^^^^B L. male to earn four lop 10s from a debut album as "Paparazzi"
rises 16-10. Her "The Fame" set has also placed "just Dance" (No. 3). "Poker Face" (No. 5) and
"LoveGame" (No. 7) in the upper tier. Prior to Gaga. Christina Aguilera. Beyonce and Fergie
launched their debut album.s with four top 10s. — Kaiphad Ceorge

TITLE

AXTilT ilMP1"-^T PROUOTIOK LABEL)

Bl BAD HABITS
WtT-ft HAIWTU " " y-'^ *'

PRETTY V;iNGS

_ CANT LIVE WITHOUT YOU
" CtUMItWIUM I .1 iLlil

1 LOOK TO YOU

KfHfniET WUnOH ■■ ■ ■■ -MSI

CLOSE TO YOU

B£M 1 aZl WINAMt ' 'LlkCOl

THE POINT OF IT ALL

AKTHOMT HUHLniH "

ITj'iVtU DOESNT MEAN ANVTHI

niMm MIM on iUflK.J DMOl

ON THE OCEAN

KiON ■ ■ H [YWi imi^RSAl REPUilKl

GOD IN ME

HwtT Hwrriut amtmr MM it.'* lUiXxoctiM

WHAT IVE BEEN WAITING FOR

UlAH ItCUnUfT 1 "

4, BLAME IT ON ME

CHmrrn MicHfLf ■ i OjMu

LAST CHANCE

HMUWIHf '. .' BROSI

MILLION DOLLAR BILL

WHTTREY HOUSTDH .ti' :'>■ ^^[ii

THIS IS IT

■KHAaJAOUaiFtUTHEJIICICIOM lUUfPCiCOUV

avoKaMam ii.<>>-i

23
W

PAPERS
USMEn :

COIN THRU CHANGES

i WANT TO KNOW WHAT LOVE IS
HAHUwawn ' ..LM.j -j.v.j.

YESTERDAY

TOW IMZItni FUT. TKT KMU lATlANI^t

DON T STAY

UtURAOlBOn ~- •T ' l

MY CHILD

AU-«-M .

THIS TIME

EM Wr ta VBM JL » «■■« UMt 1 ' w MCICK ■)

RELIGIOUS

R nuT II. i .

TRUST

iniMA cou OUT vwra mcmca namsxmHKWfn

CAN T HARDLY WAIT

mum R[niu«.wic(

TITLE

AIIIHTi;MSifii!lT PflMiOI>0NlA«u

KIrUN THIS TOWN
B^9«i^ RMAMu t uan mm ikoc ha-toa

Laiiimjy FOREVER

EMPIRE STATE OF MINO

MT-I • AUCM an (NOG lUJKUn

(

WASTED

THF10W IT IN THE BAO
FHOLDUtFEanC-OnUM a^ERT Stows JMH1»

SUCCESSFUL

BEST 1 EVER HAD

0W« ' ' : : 'OJIMEVUHIVIRSAlMOt'

1«

BE ON YOU

HO RIDA FUT ia.TO iPOt B0y.'AT[i.Kt1C1

BABY BY ME

HCEin FIAT KE-TO -i'.''> i<FT(RW,kT*tlHTERSCOI

HOTEL ROOM SERVICE

HTIUU ■'■ i -iLiiaHWG)

MONEY TO BLOW

GANGSTA LUV

amrooesnaiHMKHi coocvsnufwimieii

EVERYTHING. EVERYDAY EVERYWtS
Mwuxa tva an mum ■ ■> hmvj

ICE CREAM PAINT JOB
OOMOUM ;

I'M GOOD

ami FUT. numai mluam mt t^ coiuwiiA

5 STAR CHICK

TOBOm ri .i! JrHCUKSS.i«Wil

EVERY GIRL

nUHMOCT <'.I.NCWWVrASHIOCnMiBGN.UII

•Sk

I'M GOING IN

TIE ME DOWN

Kw aon FUI FUT i ' .viaheh si

1 LOOK GOOD

CMAUE IDT .

WETTER (CALLING YOU DADDV)
TW3IA FUriAlU tHfVOM ' '-' - ^SN'S CAP

FRESH

• TB£ a --tFR-i

BECKY

pua - . ■■faTitmtci

BETTER BELIEVE IT

ULMOKFw Mu»grrfgw;TBu.igiiiinMnciw

74 I Go to www.bjllboard.blz for complete chart data

Data for weak of NOVEMBER 7, 2009 1 CHARTS LEGEND on Peg

Cni

TOUD IT CCWPtUD BT

hen 1)icl^K;^
SoundScan

BillbMril p

HIP-HOP ■

HOT R&B/HIP-HOP SONGS

iC<l) .SOHGnKtllH)

I PRETTY WINGS

FOREVER
WASTED

Artist
PAOMOIIOH lAIEL

Mamelt

Drake Featuring Kanye West. U) Wayrw & Eminem
Gucci Mano Fealunng Plies Or OJ Da Juicomai

0 "

EWPIRE STATE OF MIND Jay-Z + Alicia Keys

I PAPERS Usher
I % mwtuciMim wjuwiiiiiw),8 G*wiinxaoitoiii.*MMM8i m i Mut Jic
BAD HABITS Maxwell \

■ ■ ■!! O COLIIMHI* I

GREATEST
GUNER AIRPUn

BREAK UP

NUMBER ONE

Jay-Z. Rihanna & Kanye Wesi a'H|
aoo ■."'..'1 H

R. KelFy Featuring Ken Hilson

I INVENTED SEX
CCD IN ME
UNDER

?i:*us.iii[V£fiS0N« qmmw)

Trey SonQz Featuring Drake |J|I

Q SOftf SW» ATLANTIC

I rq»IKLIIi IJOHtS KSTEPMttrtW.M ZOVWl

SUCCESSFUL
REGRET
|~ObESNT MEAN ANYTHING

I K B

Glnuwlne I

g WOTifj AEfLUM W*.tH[B BB05 f

Keyshia Cole Duel With Monica I

I MONEY TO BLOW

Blrdman Featuring Ui Wayne & Drake I

THROW IT IN THE BAG

MILLION DOLLAR BILL
LO-

Whitrwy Houston I

Michael Jackson Featuring The Jacksons

J JOMtS.SSMIIHi

50 Cent Featuring Ne-Vo

ON THE OCEAN

rhemdiHGuni

leal arts! aid
Warner Bmtn:
durt-tOQptf ma
dwenyMfson

HV-Hop.nieratHK'
NBiKenUY l&i'i
on Ham's "&t.i>

Iwidvmb.

lEI

Itie pail sMap^ Iitp
X) tracks wdtMd
wcaloedHKthn
IWtrqilaces

■lutteutiil" m-
\l) m the ui>p«
net. The tiMli n
Sonv' wtli top 10
and Drake's \m\t.

hi ihc firs! Ime hi
hiscarw. Bnlfnan
has (onseoitive top
Ssn^asaiMil
artist. H» prmousi'f
peaknl it Ho. Id
wWi "Wways
Stripped," Ifaiurinq
U Wayrw. tn Juw

IS G IHOwnOH l tHQflHlOW)

Clipae FMturing Pharrell V^ii:

:mi*US It *1!i.t*MS M lILL'r, -IB B KWOWVtSi

BLAME IT ON ME

Chrisette Micheicf

I
I

I GET IT IN

□

WHAT I VE BEEN WAITING FOR
DRDP IT LOW
SOBEAUTIFUL

I LOOK GOOD

I
I

IHB

I LOOK TO YOU

i ^ LITlLiJCIJ

Melante Fiona |

9 ER: Jhi'.i^SA^ l/OTg^Tt I

EVERYTHINO. EVEBYOAY, EVERYWHERE

I eo 82
I « 30
I e 39

I: "

H 43 U

H 47 46

ItaiHil

1^40 S3
I 48 SS

^f*^ EVERY GIRL
SAV AAH

fiHtan A tllE«RSClN.tSOUfSJ«W.k.llA»C0AHll

SWEAT IT OUT
BLAME if

Jamie Foxx Featuring T-Pain B|l

'<TOt5q>HLtwi)gUT8BawflRic.'M>o>jcan; j.rjw.flBn:-i.- -- ! .. ■■ ®a Wmu

Mary J. BNge Featunng Drake ^PHP

■ if.-.'.Ac,B*HftMi >M*IBtHn..,f-lMMtF-.i:np.

Kt1entlTj(I-^rl.v.
Itihaniu s higVsl
uloiMut. 11 also
starts at No 100 or
fUtmboni Hot
nOwtttinmil&on
maudieme.

TITLE

•■"•nnr.tt^ ■HOUGwm'fii)

Artist

IMPMI ; PRiMfOIinN LA8EI

■

SR KEOyOKOS.J

Kevon Edmunds
hETTLESUYj 0".>!

VIDEO PHONE Beyonce
ii*.'i:WESlHKB0*lfS,SCR»lMBOS6«B(1I.ABt>IHCH « M.IM A'l^n ' ■ >v"i:.

BETTER BELIEVE IT LK Boooie Featuring Young Jeezy & Webbte
■ ■.,.,„: . .IiiTCMWE^ADNEV .IFl JWJENKIPB.WWtUiMISl « THU- *';r. "J 'u !■

BODY

Marqiios Houslon

IMMA STAR (EVERYWHERE WE ARE) ■ ,i

1 WANT TO KNOW WHAT LOVE

IS Mariali Caicy

® 1 ...Mb

©J

, RUSSIAN ROULETTE

L ■H-.'.'.'i' 1.. ■ J ,j .UllM t IIAAUOet^

Rihanna

SRP.'Oir jAHia.-WG

1©

GOTTA GET IT

Juvenile

e JII' ■ ■ m\..:,'.l

YESTERDAY

Torn Braxlon Featuring Trey Song?

COIN THRU CHANGES

0 VSRVtfOREL '.

TRY IT OUT

. - -TiiVcS Ifl HlltSEm BLiflBlISi X DilTSOKl

Big Bank Black Featuring Kiii< i
O

BECKY

-Kli'.l .1 1. AASHlNGtONj ROTiUi

P HISGAKS- SlIP N StIL-

■1"

HEADBOARD Hurricane Chrla FMlurtng Mario ■ i

MY CHILD All-J <Jii.

ID llEtlN[DY.JJOHE&JPCmiOCKJKUa(a.TUMCCIUmiV.KIMRTlllp ®

1 GET CRAZY

.■1 uMAj a cAflrrR)

NicM Mlnaj Featuring Ul v.\iv «

vc-. ■ .

SPOTLIGHT

F nr. 1. flAKMOfgO J XlHf Si

Gucci Mane Featuring u.-i i r

O »«A* »S>LllM W»a'iF'

RELIGIOUS

: ■ ^^WK-SS « DttONi

R Kcily

-J8-

WHAT YOU DO

Chrlsatte Mtcheto Featuring Ne

o 01' '

LOVE COME DOWN

■

TIE ME DOWN

New Boyz Featuring Ray J

e-,Hi:tirYAsvi.jM'Ai'':a>. -■>-■■

BUY YOU A ROUND (UP AND DOWN) Verse Slmmonds

NOVEMBER 18TH

Drake

■ai/N&MMEV'tASH MOKEV.MM»'mS*l txr-i.'i',

■

SO GOOD

' ■ ■ . ■ ,■. nCl*R«F H M CW

DAY26

O BAHB"''

BIG BOI STUNTIN

Young Biiic«

•1

FLEX

■. ■ 1 ■ . ,;<;■: L'iliOi

DJ Mr. Rogers Featuring The Party Boyz

lift-

THUG

Slim Thug

OH NO

Chico OeBarqe

■4

O LET S DO IT

Waka Flocka Flame

■

SLOW DANCE

Ken HUson

PRETTY BROWN

Amene Featuring Trey Sontj/

TROUBLE Qlnuw4r>e Featuring Bu-^ B

■ ■. .ICh^C'l I IVMITE R ■.-•JCEME lUMI'XI'J B FnEEMA'l ® NDTFi tl,Vljl.i '.M--

Triple Cs Featuring Rick Ross & Biroman

■ 0 .' ■

LIL' FREAK (UGH UGH UGH)

lliuie 6 Malia Fo.ilurioq Webliio

THIS TIME K'Jon Featuring Lee England Jr. A Augustine Ai. ..

JJi |K JCMNSMl • UPALiC'LiMIVtRi:'

DON T STAY

LaurJi '.■ :i' ■!
G)

||i

RAMPING SHOP

Vybz Kartel 4 S:i

TIPSY IN DIS CLUB Prelly H.._. y

■= ;.U(IM.CU»rHIS,tDE*W*JS*riIH| (J P J H S UM ri:\ i; M " ' ■

MR, HIT DAT HOE

Tyeal Lee & Prince Rick Featuring WiOf-ti im.

e 3fr ■

131

CANT HARDLY WAIT ND ^.r,
r . BRUUX.S WEUKM0AOUi.LrSVlveRS«l ococore:

WALK WIT A Dtp

Loutsfana C .iMi

o nr. . ■.= !■ ■ ■

BULLETPROOF

Ratieem DeVaughn Featurirvg Ludacris

ffi II..- ,

BEDROCK
SEX THERAPY

Young Moiify
*ot)fjG twriE* usKM«av ijtiivifli:..i. '■

Robin It M-

■ '. Kir S*UCf l« TWCM E OE«N j

JOMES PDAWSONi B STAO rn«ii

CRAWL Cnris G'u/.u
. ' : 1. ikTWEHI <A IKSSINfiER *l AIWEW L B0n>1

HA.TE.U.

V :.\-.,-, .;-;AARt.tMA5H (MCARtYt NA5MC

Mariah Carey

» STIWARt) & i;.. •■II n II.M.

EPIPHANY (IM LEAVING)

Ctirisette Michele

" O'WIIOK.DOAVlS.HWAlItRSl

Snoop Dogg Featuring The-Dream jj^

THINKIN ABOUT YOU

lOVl A WARR J JACK SOW A DAVI[lSOH.i DAyiOSOW K RAMStV;

SWEET DREAMS

. 9 iai(WUS.JO«Mtrfa.w wiLiutis,H>CT invi i 9 msc mm n u>\ i.mhi

WE BE STEADY MOBBIN'

BETWEEN THE BULLETS

USHER GRABS 18th TOP 10

BH' I :iriiiiig ihc- GrcaK-sI GaiiKT/AirpLt) liniioi vvitli an incrcasL- of 4 million im-

HL^^Ip^- _ pressions in ils fourth week on Hoi R&B/I lip-Hop Songs. "Papers' rockets 12-
5 to give Usher his 18l)i top 10 on llie diart. The song's speedy ascent ties his
tastest-iising top 10 as a lead ariisi this decade. His overall chart resume in-
cludes three top 10 debtiis in the '90s, including "Nice & Slow." which was the
la.sl song lo bow al No. 1 in 1998.

"Papers ' also climbs 14-10 as the Gi^atest Gainer on Mainstream R&B/Hip-
Hop. It's his ]8lh top lOon that chart and his I4lh since 2(K)0. — Raphael George

a for week of NOVEMBER 7, 2009 i For chart reprints call 646.654.4633

Go to www.billboard.blz for complete chart data

CHRISTIAN SONGS 1

TOP CHRISTIAN 1
ALBUMS

i! 1

gi|

1 bS

ARTIST

TlTlt '.IFfllhl A HUMflEII ' OlSHUBiniNG l*BSL

VflciTY ON OUR KNEES

]

nl VARIOUS ARTISTS

KHiCIPf KK'OM'KMBIItEEMYCaiCili

REVELATION SONG

KUTLE5S i

4 1

L^Eu^ UNTIL THE WHOlEWOnU) HEMS '

2 9

SKILLET

3 2!

DUnn AuAiri

3 5

DAVID CROWDER BAND

7 IS

THE Vi^ORDS 1 WOULD SAY

■IDIW«UI'l'i.>i'ilti^ . . -il'B

S 3

CHRIS TOMLIN

5 23

LEAD ME TO THE CROSS

RELIENT K

e 29

MORE BEAUTIFUL YOU
jONNi umj >'."

■f ■ - -

a ffi

THIRD DAY

KVlUItW. . '.■

9 23

HOLD MY HEART

11 3

VARIOUS ARTISTS

iuNL! 1 ft. ■";;!■ ,■■ HI ''ilEERIli '2i'BZ UUL ..1

9 <t

THE MOTIONS

hUTTHIWvJiK- ' CUG

01 MARY MARY

to 21

LAT CVM UUWn
MIDTOMUniE

BUILDING 429

13 >

WHAT FAITH CAN DO

NUTUSSm. 1 L'Tii ( HAil

12 9

NEEDTOBREATHE

IWWIimERS ■ ■

tt 39

I WILL HIS>E

CWIS IOW.IN ■.,1.iiirLi'!i ^PAHBOWIMI CMG

19 54

FRANCESCA BATTISTELLI

12 14

II o iXJxjH Lire

FH»hCtSCJ «TT:S[EUI ■ 'i . t^lI.'Wtlflll-CUFia

10 m

CHRIS TOMLIN

rttllPlOk'i

!•«

te 11

ciun ciM/^ clun
oinu, ainu. ainu

CHMiroMJii <!' nM^qoW'Euicue

9 12

PHILLIPS. CRAIG & DEAN

fEAflliSE ■.

IS ie

Al lUC AnAlU
ALIVC AUAin

l«nil»HtB[S::'*II*Li*,(i

■B!lf

20 7

BARLOWGIRL

lOV! t W*B 'Hm-'U ---.-i-' .-. ■-! ■ -.H

|.«

17 15

HE IS

M*HK SCHUIIZ *lj«0-Cl«B

ifl 7

THOUSAND FOOT KRUTCH

»lRa)«TI)IHEM»S«JtHWI':'"IV^i'W ;-^i^--.M

Bli

19 19

nuw nc Lwto

DliVID CAawBff UHD ' T'.i": SMHHC'/r m CMG

17 29

MCQr^VMC

in , ■itr,"->'HEr.";:v ♦

21 19

YOU'RE NOT SHAKEN
miLJIACrf -r; r j-,

22 55

VArii^JiJa An 1 lo 1 9

«• WIS -'.I .•"•,r:*.-r-----Jtr, i,i-.,v,v -, ■ h-

•

ID;

22 12

FOLLOW YOU

lEEUM WITH lUJMDON W*TH FSsmiai. "i.'.

23 n

TENTH AVENUE NORTH

1®

23 11

GLORIOUS

u 9

SELAH

vuu 3[ii'^(H Ml Me '9nB'ViOH3 Cuns

2e 12

HE IS WITH YOU

?4 11

BRITT NICOLE

MUNOi&A .1 .- r ' '.:r

THI tOiT GET FOUMI StlHr.n'.V DiAEUI CMI"

2S 5

LET THE WATERS RISE

MUEtCHM L'UNS

30 S

MATTHEW WEST

SOMiTH-JWC TO SIT ■■'"1 1 H." CWl-

27 6

FORGIVEN

MNCnit RUL i.'.M^KO'.i iVI Ml^

16 52

MICHAEL W. SMITH

* WW fWUBlUIH NEiMN IDUVTCMCenWIG^''

29 IS

I D NEED A SAVIOR

UWK THE tHIHSTI hi v

r 23

MAT KEARNEY

□TTBUOItHMIiWMCCIlUMMfVWtMM C'<.

32 B

HEAVEN IS THE FACE

iTF^rvrwis tHsmiiK I'lRqow.iuiClie

21 5

HAWK NELSON

irri LiFi inuot rriniHftiiMiraO(.1iiiCMb

24 19

txj uWU ALunc
UHDM SHUSI ' 1 - >

LEELAND

Lifit s Oil M HOrt I'^'jiw.'iiKbmMsn^NQiirf

31 5

SAFE

miL WICKHIM FUT. URT MKURD IHO

25 5

PILLAR

tuwisiiows^ ■ '.(.'.i iiwunoiaNiMLffrv

□

29 13

BEAUTIFUL ENDING

1/ 3'

ISRAEL HOUGHTON

M fwif (It ONI : - ■ ■w/tJBti-tee^'m

33 5

SALVATION IS HERE

36 9

MARK SCHULTZ

IS)

3S 3

THERE IS A WAY
HEWW0M.MOH . ui

34 62

BRANDON HEATH

34 20

HERO

SMiiEi ■ ■ m

28 12

HILLSONG

FtfTn-iiyf -i:* .w

36 12

FROM THE INSIDE OUT

WOMEN OF FAITH V/ORSHIP TEAM

3> 4

HEALER

15 V

KARl JOBE

4! 5

FOR THE FIRST TIME AGAIN
JUONGMT CfHTRICITV

2b ■

GAITHER VOCAL BAND

ciLllIiD ■ MI,$ICQflOUP6044

43 3

ON AND ON

6 3

KtE

|«

40 10

GLORY TO GOD FOREVER

GWEN STACY

H'^lOOUE * ' 1- ■

43 3

THE MEANING OF UFE

tUWl KELUH iti. W-f k K«.

•19 7

SIDEWALK PROPHETS

49 2

HEARTBEAT

MlltOT OKft ,\.)Mll Cjm

■to S

DIAMOND RIO

BIS

41 10

GOD-SHAPED HOLE (2010)

PIUM ; I " -.

J5 48

JEREMY CAMP

sPlMif.':, AnxiH -Mi-'i f-iF JHi -iC &niKUOHG«

47 11

SING

JQSHWLSCM 'I'l^HaW lUI ClKi

■11 36

LINCOLN BREWSTER

nx*' K rii ii- ■ 1 -. ■• ; ).«mw)tQ(m

4a 2

AUVE

PCCaCT FUU OF MOCM UVHHH WIRQ UUUS

50 37

RED

lUltCEHtJ 1 HGTTlCI ...i^\f»ift^i£itTy +

45 17

nv 0 A n n A

TODD AGNEW

StLAIt I. '

ONE REASON

:n ??

HILLSONG

FORWARD MOTION

GROUP 1 CREW

mrmoT

MIlfT

THOUUNO FOOT KKUTCH

FORGET AND NOT SLOW DOWN

8EL8MT* v.il, , ,■■ ;iM ,1 ..-ilii

31 25

NEWSBOYS

IN IH! HM.-.K, 1]-' I JU

1 AM LOVED

ncrn THE KOtow gnn sf'Aai^.im iu< cmg

THE DEVIL WEARS PRADA

MTH (HITl WM Ml RWMI >HJI«

AGAIN

FlUEHF ■■W nrloif iNlfH^^riBf

THE LETTER BLACK

IHiUiHG ritC SllEHCt IfPl inriTf .1. ■.- L - : -

OUR TIME

47 to

TERCER CIELO

WE WANT THE WORLD TO HEAR
■n DIUMT WEM fERVENT'WQRD-CUttB

44 la

SOUNDTRACK

fli'EPI'OOf ■ ■ It. "'J tDU3Pfl(Jk'l«NT-lN:t".F "■

1 50

TlVE LIKE WE RE DYING

KRO MliM tfl. jrvL JLG

ANBERLIN

•av sumBBi iPf.iKEA. nnax or tnn-,trj l> i

(xU9 Crowns' "Until Hit mnlc WotM
Hean" Is the Grealisl Gaintf (up SIO.OOO
jmprtssions] on Christiin Soags. TIM soti9
is Hie group's Utii top N on this tlurt, sii
o( wliicli went to Mo. I, mludinq a IS-meli
run Di "East 10 West" In 2007

VmaMtamifeKiliirtWiiil
start nlMCtailSMiSE "(Md Inn*

Utes the Hot ant Detnt al No. 16. Tint
tops tier prioi best opening, wlikh
liappened when "So fiood to Mt" iMwid a(
No. S ill Mmiaiy iOn. Itt iMVltlt dHt
Is >l(wlk at MWoailMiUiili.

ll ills

Kftnst iMPoiiir FflnwoTioN LJ^Ei

m REVELATION SONG 1

BCflpHlllrPS CftAITi i DIM IM! |

■w

2 10

CITY ON OUR KNEES

• OO

3 1-1

5 9

THE WORDS 1 WOULD SAY

SIQEWHH PHOfMEII Mti'j^Nl ■.'.uHu ' H-

UNTIL THE WHOLE WORLD HEARS

CUTMG nDwn " 1 u . : ll . -.11 -t ■ ..,

4 n

LCAu Mc 1 \j 1 nc vnwo

CHIVSAHO CONMS .:;H

i -"J

BORN AGAIN

■iKir FMf ,*i:(t MOlitY ,i?.ti*l'PLO

MORE BEAUTIFUL YOU

■>

HOLD MY HEART

lU.-^-WWi l.,iFII(|i uiHiomnfl

LAY EM DOWN

MtDTOanUIM - '■rT-T -'I LflB

HE IS

KURK SCMULTI 'A^PD-CuRB

to i9

THE MOTIONS
lUrTHtWWtST .', EV CMG

•■i tt

SING. SING. SING

DHtilS TOULIh ■ : i' ^PWOW'tMl CMG

11 13

irS YOUR UFE

FRAIK(3C«uniSTm,IHIIVEm'W0RD<CUHS

C»

1-0 f.

GLORIOUS

J©
1*

f' 5
14 ?0

WHAT FAITH CAN DO

[l^;ll!U;W KUTltSS :■.

SPEAKING LOUDER THAN BEFORE

JCMMT Um & HA:l

'6 17

YOU RE NOT SHAKEN

.r, p ALIVE AGAIN

.. u FOLLOW YOU

LUUND WITH (RilMiaH HWH (^SEhTiAL PLC

HOW HE LOVES

riL r i-= ii'.:,ni i::'.n i -lEt^sntflRDVr.lVI CV6

?2 &

HE IS WITH YOU

MftNDl»'~.i^|i lUICWQ

,^ WHAT DO 1 KNOW OF HOLY
UOISOil ROM) irjr

GLORY TO GOD FOREVER

Fit Mi

. . ^ HEAVEN IS THE FACE

J- , SAFE

" mil MCUMM FtM URT MIllMO m

CHRISTIAN CHR

TITLE

idltST ll.Td M fsi'iji ■ ■ .xfV.

I 11

KICITY ON OUR KNEES i

2 23

HOLD MY HEART

tEl.TH ^ifJ.JF WH'H ■

3 13

Beautiful ending

i.i,ni mi

HERO

. THE MEANING OF LIFE

~ HHWN MflSM Hti; tMIH t Mil

HEARTBEAT

ITS YOUR LIFE

UNTIL THE WHOLE WORLD HEARS

FORGIVEN

SMCTUSIlAv ■■■ -ihC A [WCMG

8 2^

LAY EM DOWN

10 M

FORWARD MOTION

9 19

FROM THE INSIDE OUT

MORE BEAUTIFUL YOU

jOHirr Diu iho

ON AND ON

CHUfM 11. J

FORGET AND NOT SLOW DOWN

13 19

MY SV/EET ESCAPE

19 15

HOW HE LOVES

t*i □ CHOWPEWHANO :-i*S1EW,'SP*ftWWl.iyi CUG

21 3

OUR TIME

CSDii? 1 miK ■ A-ORB-CUHB

22 6

HEAVEN

.■AHS C- ai.- ':1S iiStNllAL'PlG

25 2

LET THE WATERS RISE
MiKiuHMn ima

23 9

THE WAV WE ROLL

ANTIDOTE

■ REITH nntFr

BEST OF ME
THEiEnu BUCK n>:)iH s uu

26 8

WAIT ON YOU

ATTUOI STiasaY

TOP GOSPEL
ALBUMS^

2 5

3 S4

5 51

a 39

6 31

7 t

9 21

4 9

L'Si

10 3

n i2t

v.. :

lb S

11 31

16 29

IS 3

22 a

21 OS

24 S2

26 6

<« OISIII«UTINStAl(l I

BESE&CECEMNAHS

it .L i ■ ■ VMiCQ

FRED HAMMOND |
THE WHISPERS

HEZEKIAH WALKER & LFC

JOllllODLI

VARIOUS ARTISTS

mom Msm im ■ ■ -ruis^mi

J MOSS

;UlTJA.'M(:i i ■ ■ "llftJUi

BRIAN COURTNEY WILSON

MSI -IIVE '. HLO

THE CAJO FAMILY
AARON SLEDGE

VARIOUS ARTISTS

ixsptsttn HthwtwFwo«)»HaiCKgre.a8MgB(

MARVIN SAPP

.'ARIOUS ARTISTS

SMOKIE NORFUL

I 11 11 II MM

■

TITLE

«niT rMPi^irii f^ini'judtuAftfi.

Kl CLOSE TO YOU
mBS But 1 cici wnuiM e&c MACACO

THEY THAT WAIT

fRftl HAUMOM) FIAT JDFIN P U( ■ '■■■i.'i.i rj I'rt STV ^

1 WOULDN'T KNOW YOU

ju(]^r.«i;rui{aunwKnD>jM»i uirtii^-y--K

■

,lill^

GOD IN ME

MMir MMi FUT. (BM -nr HMO w auioicaur

Kffmtffff -l-fSSPffflnrt tnrrm mm

JUSTIFIED

SMOKIE HmUl INFU^lFS lUI QDiiPEL

PRAISE HIM IN ADVANCE

NAHVIN SAPf i'<mFI. IK.

mUiUlftl RESTORED

li^fnilH J MU I>AJAIA aOSPO CEKIMCf JLt

GOD FAVORED ME

icouM WM0) t iFC Fiu Mumt iwr t U IBOM ^fOIT

SOULEO OUT

MIUUJMWIUtl^t lie ;m/>.lll>

ALL 1 NEED

RRSAM couRTiifT tMJM ifm^ nisiNcyusic wa

RAIN ON US

EARMST PUGH FPU » ACn-SMOKE WORlDWIDt

EVERYBODY DANCE

JAMEinOBEHSOIt <

SACK II EDEN

DOMIU LAWRfHGE » CO Q^IET WATER VERir> JLC

□

rit

BROKEN VESSEL

JfFF MAJC-1S FEA1 USHElLORtfHH MUSIC OW

FAITHFUL TO BELIEVE

HYH-ilClL! , ■-■"iC VtRlI- AG

■fi

HOW 1 GOT OVER

■j\L\i wuKi-i icA! -AtA Bomu. jfi. DtSHin itn

i»

1 LOOK TO YOU

MHItNIt HDUSTOM > -.l:.U ItUG

ALREADY HERE

am.H imnnty wiiioh i-pihit fiisiN&MUSiC Hrt

AWESOME GOD

TMi HHG'Ail SlSI!l^i ■ : HIM

HELP ME BELIEVE

■ iiii icj.wm;n f . ■ fcOSf^ CEHIRIC/JIC

EVERY PRAYER

iSFUfi HmicFfTOMftAunMHifrrHMnHTEGnnv.caj

THIS JOY

t&u -jit ! nsin uiinc iwii iui act wiMtMli

NOBODY BUT JESUS

SHIHET CAEURItAI J HOSS ' [r^.JQHI

LET THE WORD DO THE WORK

DOMLD lAWMNCt A CO ftAI BRO HAM UUli r

76 I Go to www.billbodrd.biz for complete chart data

Data for WMk of NOVEMBER 7. 2009 I CHARTS LEGEND on Pag*

g^HOT DANCE CLUB SONGS

TOP TRADITIONAL
JAZZ ALBUMS

JAZZ/
SSICAL/ @

sB
is

TITLE

ARTIST IMPHIIir PftOMOnON lACrL

yn MILLION DOLLAR BILL |

WKIIhEV HOUSION ARtSTAflU6 1

HANG ON

PAPARAZZI

lAOt CACA ■' V.MI WINLM Crtf RflVlREE WITHSCOPt

FIGHT FOR YOU

MORGAN PAGE NbTIWERK

DID YOU SEE ME COMING?

PET SHOP BOYS ASlRALVVEflKS CAPtTOL

RIGHT HERE

CARMEN REECE ' L ... MF

F'CK YOU

IILY ALLIN En^tOl

SEXY PEOPLE

S O S. (LET THE MUSIC PLAY)

JORDIN SPARKS JIVL JLG

ujoiJ 1 WANT TO KNOW WHAT LOVE IS

WANIAH CARET i^Arrj V-iL\K

RELEASE ME

AGNES ■. '.Li 1: . ftMi mrAI StAH'HFU

PERFECT

DEPECHEUODE il.: v.RLi IJ r.lF.Ii^

SEXY BITCH

FAME 2009

DAVID GUCm FEATWMG AXON GUU ASIRALMTRKSCAPIIOI

lUTU-ll liJLr.liTON . IKESHORE

DO WHAT U LIKE

BU BOT BILL li. T V/l't. RK

SHE WOLF

SHAKIIA ' '.liJIilC LATIN.'EPIC'SONV MUSIC

LOVE SONGS

BAD HABITS

MAJlWtLl 1 'i \*bJA

THIS TIME BABY

EDDIE X PRES^'tT^ hiKj MARIS ifr'l'

OUTTA HERE

ESMEE OEKTEU IEFiNUA'l''JNTERSCO'^

EVERYBODY SHAKE IT

RALFKi ROSAflID FEATUHIMG SHAWN DHSTOPHER BUJEFLAIE

MISS YOU

RON PERKDV ''-.t-;^^i -

LOSING MY MIND

1 DIDNT KNOW MY OWN STRENGTH

WHITHEV HOUSTON ARISTA. FlUCi

SAD SONG

WISH U LOVE

CKAO JACK A TIH LCTTIQl VS MWN HADES

WOULD VE BEEN THE ONE

PUSH N PULL

NOEEI^NI 4 MAfllNI VI SVIVIA TOSUN KNT^USH'SEA TO S4A

SUPERSTAR

DAVIO MAf Ff ATURING MOISf S HDOESTO

TONIGHT

1-1

KEEP IT COIN LOUDER

^AjQf? VJUS^ f EATIAMG NIM SKY 4 HOCT MJUE kUO QKENTiCONNIDIM

MANOS AL AIRE

HQJ^T FUNTADO MuStC LATINO

FINE PRINT

AIN'T NO STOPPIN' US NOW

TACOAAH A OARRYL l^tORNCAU D1

STRAIGHT THROUGH MY HEART

BACKSIHEEI (OrS . i II

MISTAKE 1

MOBY lini.i illiOl MUIt 1

WE ARE GOLDEN

MiAA , , ii-iAi mnnwu

PREEWAY OF LOVE

ffPPER MAstiflT CAPP

BRAND NEW DAY

GEORL.ll flH'L.LL .LNI

YOU USED TO KNOW

ANOnEACAHHILl : ' < ". '

TURN IT OUT

AtTAH ilArULl hi. JEAME TRACT hlAMAE^OUSE

ANGEL ON THE OANCEFLOOR

CAVE MATTHIAS HATURIHd NATALIA FLORES CAftHUlO

THE REAL THING

UAFJESSA WILIIAMS CLllJCQRDrCMG

WE ALL WANNA BE PRINCE

FEIK OA HOUSECAT ■- 1 ' i >.

WAKE UP

SlIIMV L ■ -I . ILL .■..■.Rtl-R BROS

GRINGA QUIERO BAILA

HnatiiA i>AHLi( hEli uhii.il DOSE IFUUUHTO) CAfimLO

BODY LANGUAGE

JESSE MCCARTNEY EEATDRING T -PAIN HOLIWtOaO

CELEBRATION

MADONNA '.VARfltR -

SMOKE

LOVE & HAPPINESS 2009

RIVER nriit. F-UTIiKind m\k "."^IG'IV ftHrTHH

TOP DANCE/
ELECTRONIC ALBUMS '

3S So

•1 5

5 16

e 88

3 3

ARTIST

TITLE M M 111 .1 NUMBER J OtSiniaUTWG IABEf

HOWL CITY
0CEA)IPfBlflVER!iAl.BBmuC013WWlG
LADY GAGA i

[LfiAir: -■ iL.-|/t.\F_'.:.fei|->IFt£MER3:EK0liJtt-T^ '

VARIOUS ARTISTS i
>BwiTwswwiaiicuiiMiaMiMisw.MaMwn*sc I
LMFAO

PARnAOOI^iTKft^UMOCTTTHgWBSaHliaaia 1
30H!3 I

WANTPHOlOEINtSMSIliai |

TIESTO I

AALEIITOSCOPE MUSICAL FREEDOM ZOBZ'ULIRA

IMOGEN HEAP

ELLIPSE '.' iL .|. '.If. FIL".

)

•0

DAVID GUETTA

ONE LOVE , r i ■ ■

■ FUCK BUTTONS

lAHOI SPORT ■■■<-' ii,-

]

BEYONCE Wt

■Fii.t mti gr:HtiiO'iiit.9:wcHixaiAaAiwavj(i'tfcsc*.' A',-..

AIR

KIVE I -

SOUNDTRACK

SlUMDOG MltUDWAIRt iHTERSCQPt 01?S02 IGfl
LA ROUX

LA!tki«- ' I iRot^TREiwrtasoK mniS'jC*
LUIS MIGUEL

IflOiif^SAUFWOCDiaiBWIBWMWBLATiiftglSIt
PHOENIX

iftW>IWMW»WMIBW»tT3LgE'flf^fttt«a0t

DEADMAU5

FOB lACB Of A IFTTtW HtMX M

f.OGY 6r.3»a ASTHALWERKS

DJ SKRIBBLE

TOTAl CLUB MTS 3 TmMDANCt.''n««MX906t4"nfWE

NEON INDIAN

PSYCHIC CHASMS LEFSt OOt

CASCADA

EVACUATE THE DAMCmOOH ROaBINS 75064
ELECTRIC SIX

BASSHUNTER

BASS GENERATION UlTRA 7171

ZERO 7

YtAM CHOST All AMiC t

FAMILY FORCE 5
FAHtr FORg « cmsniAS nam tw Bror.iooTH i
BLAKE LEWIS

HEARTB1EAK Q« Vmi ' iJl'Wt BOV

BREATHE CAROLINA

H£l1'] FASCIlAflTiC. ■ lSS

HOT DANCE
AIRPLAY

TITLE

ARTIST \•.^pwfi^ promotion label

1 'lI

m SEXY CHICK

BS9 twwnacrnffmMMOiiQuuwtWiiiciiaGi^

2 17

1 REMEMBER

DEADMAU5 t dASKAM MAlJbtRAI'. ANW PHtSSiULTRA

8 II

SWEET DREAMS

ftETDNCE ' . LIUBIA

6 7

PAPARAZZI

LADTOAGH .II-.'-' ■ .-. ViCHERfiVTflJtlNIflSCOPE

3 IS

EVACUATE THE DANCEFLOOR

CASCADA . '|i

4 18

THE SOUND OF MISSING YOU

AMEERAH ..n i-.i'. -

S 6

RELEASE ME

AGNES ■ '-ii V ■■III ■ . :.IAH NhU

7 7

1 WILL BE HERE

TIESTO A SNFAKV SDUNI) SYSTW [.'iTflfl

13 S

KISS ME BACK

KIM iOlt\ III

10 25

LET THE FEELINGS GO

ANNACniCE i'i-'.-.rii\ ;

23 2

HANG ON

PLUMB \.VHb

12 18

1 GOTTA FEELING

THE BLACK EVEO PUS t)ITcRSCOP£

a e

RIGHT HERE

CARMEN REECE ''tAL Ul

21 2

PARTY IN THE U.S.A.

MIIET CYRUS (I'll IVWOOn

It 9

1 BELIEVE

CTtERSUrW FlATinBC MX IHWnai R8> mK^TICIlY RWTW

17 9

DOWN

lAYtfANFTAniRMciii wivw "Ajui L(ihr> 1 Nura<ui nmnir

1 7

18 3

FIGHT FOR YOU

MORGAN PAGE 't- tUVER^

11 12

SHAME ON ME

ALQ SAYZ fUTUHINC lAWREMCE ALEJANDER rw;R»(E>T FWHjUj

EMPIRE STATE OF MIND

JAT-I t- ALlCIAKErS , '1 '.

SAD SONG

BlAKt LEWIS 1i \Wi bUV

14 12

CELEBRATION

MADONNA V.AR-.FR BROS

BRITNEY SPEARS JVF Jl i,

GHOSTS N STUFF

DEAOMAUS FEATUnimi DOB SWIRI MAU^TRAP ULtFIA

Rt-fiim

REPLAY

ITAZ IIM£ IS MUMY SELUCift MEIGHIS'RtPRISE

•tw

EVERY MORNING

BASSNUNTtRuJFiA

I for week of NOVEMBER 7, 20O9 I For chart reprints call 646.654.4633

7 I

20091

BllKA CON Ui COLA&OflAOOH D€ CHl>CHO VALDES

I El UlUMd TKAfld .■ '-■. i

FRANK SINATRA

LF^ n "-E WUaMFJftK ■

VINCE GUARALDI

nc DIFINrTMVMCEGU<MLa>.''.: .

TOP CONTEMPORARY
JAZZ ALBUMS

ARTIST Ir

mUiUflFHI A N;;MBER ■ DISTRIBiniWilABft 5

Rl CHRIS BOTTI
nQS[>mKmiNianwixiLiMK»'b^uj9c *

GEORGE BENSON
SOBUS AHCi STOHiES MOHSTEH M36A'CONCOBD » |
PETER WHITE

COOP PAY .- ii.m CONCORD

BONEY JAMES
SEND OME YOUR LOVt COWCQRB 3M1 5 »
NAJEE

MIWP OVER lAATTtH HEAPS UP ila6

KENNY G

SUPEH UTS 1.1 1 x: OBTOM MtfWTHG aWUP«g» |
DAVE KOZ

URfATIST Hits I I ' 3411.1

VANESSA WILLIAMS

THE REAL THING iflCCIRD 30916

PAUL HARDCASTLE

THE CDLLECIKJ'I ' ' :-*Vl

BERNIE WILLrAMS ~~

U0V1N(, fCIHWAKD - ■ ■ i ' ■ i M

!MPR6mP2

!l IS WHAT FT IS ■" I ' ■i''^

SPENCER DAY

VAGABOND ' '.

ESPERANZA SPALDING

esf'Ekan;* II ■
CANDY DULFER

FUNKEOUP' M. '■' ■ .. '.ilVL'ORO

I SMOOTH JAZZ
\ SONGS

JLiili

TITLE

ARTIST ll/PRINT l>RQM0I10N UflCL

Kl BRIGHT

Bfi3 fETER WHITE I'EAK. CUG

TROPICAL RAIN

JESSY J 1 ' .... 1 '.'1.

TALK OF THE TOWN

DARREN RAHN )l.j<L-KD.^'^E

LIVING IN HIGH DEFINITION

GEORGE BENSON CONCClRCl CIAG

BURNIN

PAULTATIEW rj -.■ LMG

GO FOR IT

MIRHir WilllAMS iiFFORM ROrK BlllGf

WHO WILL COMFORT ME

MEIOUT (iAHUOT .1 fv.

Utii.

TIJUANA DANCE

HICK HHAUM '. - iu-HUt ARTISTRY

SONGBIRD

CRAIG ClIAQUICO ".MIACHIE

MOVE ON UP

HICNARO ELLIOT .-I'lSIHT

STEADY AS SHE GOES

WALTER BEASLET "EATiS UP

SWEET SUMMER NIGHTS

MWEE "f'.;n: u"

TOUCH

BONET JAMES 'Ji ORO CMG

Lit-.

JUST FRIENDS

VAMESSA WILIIAMS CQ'^CORO CUG

■

SLOW JAM

EUGC GROOVE '...r..\DA MZZ/CJimOt

TOP TRADITIONAL
CLASSICAL ALBUMS

ARTIST H

nm 'WPRiM A MiVRiR ni'.iHij|.iin[; lABEi

WTMttiSMW nuMnatos urns mmoK \

RENEE FLEMING

.JIHSMli

BELA FLECKMKIR HUSSAIN EDGAfl MEKEH

■1.1 .-.i.ir-i.lt -T'l'.£C3CE«T04tUSi:F0fiTWl ' , .-

THE PRIESTS

1 1 1 ' 1' ^ONT MUSIC

PLACIDO DOMINGO

LAI 1.3 LkliG '.'ADIM HEPINMISCHA MAISKY

JOSHUA BELL

JOYCE DIDONATO

ROSSINI CIAHHAN THE MUSE '."HLJUCLASy,; '>i:.r.jW.G

MURRAY PERAHIA

BJI> RLHrAS M A ^ , ' . J H U l "..rj.l,'.'. IH'l'J.H..'

IWEIV F«niiOT7 T»»E»S COSOm OOil I lUYEPS

JOSHUA BELL

«Jia THFLAdSUiOW :

S.STW DiMiaSlOl BOUM ItUlU SIO€SISl Of Maju

flESTA • . 1,-

GUSTAVO DUDAMEL

[Ajnwi r.si.,u';i.ii'; ii

LUCIANO PAVAROTTI

THE DUIT5 . 1 . 1

Tl€ CISTB10AII TOWS 3= STIFI mUGENKRaa

CR«iiI Riiamsrt liu

TOP CLASSICAL
CROSSOVER ALBUMS

ARTIST

TITtt m-mJ S NUMBER ■ DI5IHl9UimG LAML s

Kl JOSHUA BELL

fjSS A' m mufmaaiumjLsrvmwaBmiK

IL DIVO

IHt PROMISE ^YCQ COLUMBU 3996&SONY MUSIC ^.

DAVID GARRETT

OAVCGAflREn H TTJ. 0'?B:?, lHWRSIi CLJLSSK:S(W0UP

■

ANDREA BOCELLI

IIICAHTO ' ■ [liCtA •

MORMON TABERNACLE CHOIR

RUG CmSTMAS BELLS ' i M'-'l fl RHRSALU CM* SOZffia

CHARLIE BAGGETT

1 ORIY DREAM Of TOO i.HG -'.'US

SARAH BRIGHTMAN

STMPHPNT LIVE IN VIENNA AlAJIIIATr.Vi .'iGlIt ilLfi *

PAUL POTTS

PASSIONE :.iL'.'-'iil'. 1 1 '.Ill 1

MORMON TABERNACLE CHOIR

Ct»tTHXTa*l»E<WR£S»L '. '

NEAL E. BOYD

Mr AMtHICAN DREAM t i.i.:^ii1V<

ESCALA

ESCAU [.'LO.COLlJMtllA j:*?J f=DH' M .' ;

SHARON ISBIN

JMlCrBlieWiBU'3R'ms«Afif., i,

MORMON TABERNACLE CHOIR

JOSH GROBAN

AWAKE LIVE -.i. .'• '.H'. i i . ' •

A JOYFUL NOISE

WiEimiSwcoi

TOP

WORLD ALBUMS"

ARTIST

TITLE IMfRINT & tJUUBER n|F|TRlElUllRQ lABEl

RIrodrigo y gabriela

loreena mckennitt

A WtHTEIVlAltEAl. i:'i''.'.t' ' '.a/iW

CELTIC THUNDER

TAKE ME HUML . ' .;A

VARIOUS ARTISTS

PUTBK FOR OWMX SUES AnOUMO n€ NDHUI l€AR !1 no #

CELTIC WOMAN

TW MAIEST JOLHHEr ESEOTUl OIUECm WAMTTNI MT244U

DANIEL O'DONNELL

PEACE INTHE VAIEET nF'T . UFtllA 61

CELTIC THUNDER

ACT TWO 1 :i ■ ■ "1. ;f R onBO&DECCA

I-

5
9

THE VERY BEST

WARM lltAHT OF AFRICA GREET! OWL 007

BEBEL GILBERTO

ALL m ORE . :ilVG

Ms..

JESSE COOK

THE RUMBA EOURUAIION LOACH HOUSE 3K2lfi

RODRIGO Y GABRIELA

LIVE IH JAPAN .'.'1 "' 'fl ♦

KOLOHE KAI

IRIS IS THE LIFE Tin Al llllA ini 1

TINAHIWEN

NOww ifjnwrh'^ ' : AiAatmHMIMAluaA

AMY HANAIALU

FRIENOS A lAMILT ^'.J4

■ID

00100

AnHOMCO ICWA CCBAMOHS AVEX 2??* /THRU JOCKEV

Go to www.blllboard.biz tor complete chart data i 77

TOP LATIN ALBUMS

ARTIST

TmE ^iuPRi\r WSIRIBUIIMD l*e£L)
DAVID BISBAL

TE IRA MEJOR SIN Ml
JOAN SEBASTIAN '.' i !<'Lhll'>i

AVENTURA

THE LAST - M:, M ; -v -, .'(igOOSOHV MuSIC LATIN

LOOKING FOR PARADISE

ALEiANORO SAW FEATURIMQ AUCU KEVI iWAAMft LATINA}

WISIN i YANDEL

LA flmOLUCION . ■ ■■ • h;IF 0i?o«7;UMlE *

■

LOBA

SHMUM ifiJ! MuStC LAIitji

LOS TIGRES DEL NORTE M

UGAANJA " > + gjUl

SU VENENO

AVEIfTURA '-i-r' 'T* ATrNi

LARRY HERNANDEZ
1INARC0C0IWID0S ' - . ^TINXIT.IME

■

LO INTENTAMOS
ESPINOZA PAI " 1

EL COMPA CHUY

MNTE PELIGROSA l I 54719

■

MANOS AL AIRE

HCLII FURTADO 'li I ':T*f|,'UNlV[HSAl UUSIC LAI1N0}

VARIOUS ARTISTS

RMAO E3TTDS a OlStO Oa IWO HM LI6A 734WmU

■

Ml CAMA HUELE ATI

mo *a BAMaHMr futumm dm • IBMI isitKi! >

' a

TITO EL BAMBINO"
aPATRON '.' . , IIMIE

■

TE VES FATAL

tL TROHO DC Mexico ^ ' . M iv t -.A 1i1 . s^v^"^'

VARIOUS ARTISTS

Um»^ CWLAIUSCAUMaCOi-MTdlSltJMlKiLAAi

■

SUFRE

lOS OAHETES OE Ul tSnU

JUAN GABRIEL

M CANCUMS MB UWn vWIAEClAm

■

Ifl.^iVtU >1AY OJITOS

ninlTTlI^I WTOCAIU iGlM SONr MUSIC LATIN)

EL TRONO DE MEXICO
ALMAS GEMEUS ' . ' ic ^ 1 UULE

■

RECUERDAME

Ut OUIHTA ESTACIOM ^JV UUSIC I MiNi

ESPINOZA PAZ

TO M CMdO. PBV LO KIBmMdi AaOfiA 7XZ5t ULU

YA ES MUY TARDE

LA ARHOLLADOIU BANDA Oi UMOl (DISA/EOIWSA)

NELLY FUHTADO

H FIAM .1 -:[>'<)\ lrt^'^F(SAL HJSK LATINO 01 33iaUNi

■

GRACIAS A Tl

WISIM i YAMOCl lA'y UACHEIE)

YURIDIA

HADA ES OE COUM R8SA SCNY MUSIC LATIN S)43T

FELIZ

KANT GAAQA ISOKY UUSIC LAflN^

DON CHETO

a KTME DC USTIDEl > . ^'1)10

■

^ 16

EL AMOR

nro fL SAHHNO* iSIt MTE i

LUaa LUIS MIGUEL

AOIOS

JISSE 4 i(rf 1 A'Ai-rjE i'<Tr,iV

VICENTE FERNANDEZ
MECESTTDDCTT , . r n .

DERECHO DE ANTIGUEOAD
LA OfllCINAl SAMOA £L LIMON ' i :M iV>SAj

EL TRONO OE MEXICO

DCSOC LA PATRIA: EH VlVD 1 . •

Ml COMPLEMENTO

GRUPO MONTEZ DE DURANGO

ELBOHHACHO i ' . i- 'i UULL

I' so

NO ME DEJES DE AMAR
LA APUESTA

MARISELA B
JBEXnOSINBIORTAiES '.' ^n1J

EL BORRACHO
ORUPO iinifTT7 OE DURAMO i'

LUIS FONSI

COMO VOLVER A SER FELIZ

TERCER CIELO

ttm cann hbn ■ , ' <.ai>liiv i^M^i

Nl ROSAS Nl JUGUETES

VARIOUS ARTISTS

LOS SUPER IMO-S r . I.M

■

ERES TODO TODO

CONJUNTO ATARDECER
COMTIQO PARA SIEHPflE - i i' UMLE

■

I*"

CELOS

LAURA PAUSINI

nUMAVERAAMTICVMM tVi-'(.IJb« .AllNA 516627

■

TU DEFECTO

MAKANO H

nAMO 1 .'."-.^A MAC>ftI£ 46IH)31 UMLE

LA CALABAZA

LA AAnfiLLADOAA BANDA EL UMOH IlHSA)

TIERRA CAU

■

ME GUSTA TODO DE Tl 1

lAMDA EL RECOOO '^jOVISAi |

CONJUNTO PRIMAVERA

a KKR imu L« HMTcau n UN IBM iuoe« Ml tfeuu

■

1 GOTTA FEELING

THE BLACK EYIO PEAS ■ 'iTt^^SCnPEl

HECTOR ACOSTA

■

> 90

DEJAME ENTRAR

LOS PRIMOS OE DURANGO

SOLO PARA FAMS 11 HITS ASLtMSA 730»^WLt

Nl CON OTRO CORAZON
PEDRO FEHNAifD€2 i ' ^. ■'i I

DADDY YANKEE gj

ENCONTRE

PEDRO FERNANDEZ i^.

AHAWTI A LA ANTIGUA ' 'n . ' J:]A^. LJMIE

lff>

HOTEL ROOM SERVICE

PfTBUll ■■ GROUMDS^'Jh''RMGl

AVANZAMDO EN LA VIOA M : < ' -V 7 ? t fSSjUMLE ^|

SENTIMIENTO

PANCHO BARRAZA B

AL DIABLO CON TU AMISTAO

JOAN SEBASTIAN S

fEQADItO AL COWUDN M . t^Ut DAlBOA

SENTIMIENTOS DE CARTON

LOS MORROS DEL NORTE H
ALU) KOS JUMTAMOS Ji^A ; :Ki;69.'UULt BE

E»7

LLUEVE POR OENTHO

VARIOUS ARTISTS
OunANQUENSE 'It IBM [>ISA 7213ai 'UMt.l:

■

CAMINOS DIFERENTES
RDBCRTD TAPIA ' Ni " -ivioA)

RICARDO ARJONA

STOnSO lAIlNA 516669

ME GUSTA ME GUSTA

MANA

AHDE aCIElO iV.lKNER :ATir(A .IS'-^B *

CELEBRATION
MADOHKA : 1 ;i )

LA ARROIXAOORA BANDA EL UMON

coiccDN nmoL uu a aamuis hv. . .-^^ .i . tM t

!«,

Y AHORA QUE?

LOS MELEROS DEL HORTX (FONOVISA)

KANY GARCIA

BOinO DE EKTWIDA , - : U 1 iTIN 47340

LA GRANJA

LOS TISRES Da MOffll iFONOVISA)

LOS INQUIETOS DEL NORTE

■

TE AMO

ZinmK NONTBH ISONV MUStC LATIN)

•*

LA QUINTA ESTACION
tlMFRENOI <.i^yi i.*tiri .14947

■

CIAO BELLA

DOHOMAR'M'.'. ■■)'(<

VIGO C

BABILLA 1 it-' i^-.^-i Hib'irEMi IElEVl£A

SE ME VA LA VOZ

AAEJANOnO FENMANOfl i^NIVEHSAL UUSIC LATIHO)

•

VARIOUS ARTISTS

iAIWA«1-S?0M ' ;>t7Q?'UULE

■

LOS PRIMOS

LOS HDRRDS ML NORTI {OISA ASL)

NOEL SCHAJRIS
UMOHOESUNO " l .tC LAnKSe390

■

MARIPOSA MIA
VIVANATIVA .1. 1 M"- :t. 1,1

"-■47

ROCIO DURCAL

DunO [ii .'. ' : ■ivit SONV MUSIC LAriN

■

TENGO UNA AMANTE
VICEMn FERMJKIC2 i' :U' LArtN]

GRUPO MANIA

U PEGOLAMAMA.'.'i, 1 ^lKI2.'^0i4T MIJSIC LA1IN

■

IS)

FIRE BURNING

SEAI« KIN&SIOII ' HEI6HIS.'EI>tC)

LUIS ENRIQUE H

CKLOS ':'f' .TflP 89)0 * ^|

ALMA EN PENA

LOS INQUIETOS OiL mmt lEAGLE MUSIC)

PATRULLA 81 ^
coiEccioN PwvAOA: LAS a aousivu D nil

^REGIONAL

F MEXICAN ALBUMS'

■

ii iiii

1 1 r

ARTIST

TnLt illAPRINI UlSIRieUIING LABEL)
gjBLOS TluncS DEL NORTc

ARTIST

TtTLC aumU] DISinmUTING LUELl
KB DAVIO BISBAL

2 27

1 ADOV UCDUAUnCT

IS MnCO COnWH MEN:<EUra>4CMSA 570037 lAILE

JUAN GABRIEL

Ml CMQOMI Ml MOB OKOS n» iTTWDW LAW

cL UUMPA L.HUT
GEimPEU6RIUA MJN' MUSIC LATIN S4719

NELLY FURTAOO

HPIAN'.M '.^K tJVtRSMMUSClAtMQffiaSiaUU

3 3

vAKIUUb AHIIaib

NunEXTTuaaocotaiMaoirLSA 7:'4i«:iMr

YURIDIA

NADA El OE COLOR ROW ^OFiT MUSIC LATIN 57437

VARIUUb AHTIoTb

tun #1' cn lA HBWCA DimKO 1 1 i'. '/1-t- '■■int.^Mi

LUIS MIGUEL

n turn A U HOCW: CUa MMOB VMHMA LVi« ^111

5 50

EL TRONO DE MEXICO

ALMAS BEHELAS " ■ i : .: : l\UA

MARISELA

to EXnOS IHMDRTALEt lU 6G H

4 23

YO W Mm FOO Li) BnStnMOl ASLICA 7X[»t.UAE

LUIS FONSI

PUABMS Oa IIBKI) IMMASAL HJSC LAWD lUlU iS

9 3

a NTME OE USTEOES ! ~Tir;' MA:<^

TERCER CIELO

9 16

VIPFNTF FFRMAMnF7
HECESnO MTl ■ r; ■■ if | hH\ ^178?

LAURA PAUSINI

PWBUVBU MTTRVUM AARNER LAIINA SIU27

7 19

tL 1 nUrl(J LJc MCAll/U

OESDE LA PATRIA EN mo lOf.BUMLE *

RICARDO ARJONA
STOntO AARMCR lATINA StUGfl

6 5

QflUPO MONTEZ DE OURANGO

aBOIIflACtW 1-

ARDE EL CiaO '.ViMCtR i M"JA 48178*'*

10 7

VARIOUS ARTISTS

IDS SUPER UNO^ '1 nil llMLE

KANY GARCIA

flOLETO DE EBTRAIIA '.i ii^lC UIIN 47340

11 10

CONJUNTO ATARDECER
CONTieO PAAA SCMPK OI^A 72 1 3D7i UMLE

LA QUINTA ESTACION

SMFRENOS "M ' m1 U 44947

12 16

TIERRA CALI

NOEL SCHAJRIS

UHONOESUHD ' 'jv r.'uL.iL LAI1N S839(]

13 15

CONJUNTO PRIMAVERA
isiLraiBiuuMEnniciuitEnTDt' '>M^Btii«iHi

ROCIO DURCAL

OUETO ■ . ' ' :.r,aD8. SONV UUSIC LATOt

LOS PRIMOS DE DURANGO
SaOPARAFAW- IBHTTS ■■. . . I '. ■Ml,'67.UMLt

PAULINA RUBIO

GRABOrrra' ;;M- --. ■:<'■: i«WOi3(I7bVJMi *

PEDRO FERNANDEZ

AMANTE A UANDGUA'i iniif. LIMlE

VARIOUS ARTISTS

SUfERVS ■...1 .. . . ,AIIN0 0I7361.1JMII

15 13

AVAHZAMOO » LA VIDA m ' :. U\-.:- r: >;^2.UIA=A

MARISELA

n EXrrOS INMOflTAlES VOL Z M G«t»

PANCHO BARRAZA

M tciMmvAa at PMCM Mivim ML 1 MxMffl nMwiici*

»>-T

BLKA CON LA COLABOftaCKW 0£ CHUCHO WUXS
a ULTIMO TRAM l L U NA

18 9

JOAN SEBASTIAN

PCGAOtTO AL COUZW '.-ii::.AHT 420I);BALBOA

MERCEDES SOSA

CAITTOfU I'l ■.! 'i v,7dr. SOW UUS4C L*TIN

YTHM

Jtiiii

a 2 22

3 3 2

4 4 24
Q 6 29

ARTIST

THLE ilMPRlNI • DISTRIBUTING LABEL I

AVENTURA iji ]

INilAgTKlfAIATlATWJBtCOSOW Muse LATIN |
HECTOR ACOSTA

■nmUBIMn <.U.«ltlUCUA»AtASCJItlCWB>lMi

I njii

GRUPO MANIA

SE PESO LA MANIA JXIG TiQOi SONV MUMC LATIN
LUIS ENRIQUE"
CJCLOS Ml' -i; ■ I .

5 15
7 8

VARIOUS ARTISTS

3D TTWPKALES DE ATER. HOY T
VARIOUS ARTISTS
SUPER IS MEGA HITS '■ ■ m- I:

VINA 6ID

P ARTIST

l8 TTIli ilMI'HIM :M:.|rli|iLiriNG LABtLI

M WISIN S YANDEL
LA^REVOLUOON . MftCNETt PTgWT^UMl

TITO -EL BAMBINO-

a PATTWM SILNIE mttii. UULE

MAKANO

Tt AMO PANAMA MACHETE 4eD03T.UULE

DADDY YANKEE

VICO C

MMIA CARIBBEAN jTaW. EMI TELEVTSA
FLEX

CirOf EUTELEVISAe79)T

8 13

P ' ' '°

10 10 37

^ 13 30

12 11 49

13 12 37
16 46

18 15 63

18 14 6

^201

IS 17 16

VARIOUS ARTISTS |
iMNncioirHvnAHjaiMuiiaiKM^iiaMaNuiKiAW I

a DUCNO pa TURK f. A)))T »3) )fl,SO«¥ MUSIC LAT)N

VARIOUS ARTISTS

mUKTUIUiaiiUxttt.llIlDSTntUALAIi ^jj^j

GILBERTO SANTA ROSA

VARIOUS ARTISTS

RESTALATTMI il I r?D3.'S0MV E4USIC UTIN I

VARIOUS ARTISTS I
ttvaWMnoanauK-' ■ . miLfl(E)4aS()Mri«JstlAIIll

VARIOUS ARTISTS

MCHATA PI AMOH WL 4 M) iOMMOWf MUaCUBW

VARIOUS ARTISTS

MlMmifll MB IH llflllMl J 4 H JIOMMmAHt lAM

VARIOUS ARTISTS "

lACHATA # t S WN. 2 '.■.■■LHETE 0]1?05,UMLE

MARIO ORTIZ ALL STAR BAND

TTWUTDTSANIVERSAfllO ' I < V i I ' '
BUENA VISTA SOCIAL CLUB

VARIOUS ARTISTS

XTREME

GHAJTIR DOS M ■ i ' ■ M I

ADOLESCENT S OROUESTA

o »

Q TO

^ 9

12 12

® 13

14 IS
14

ie 18

17 17

is 16

^ 20

20 19

DON OMAR

lOON '.'.'M Ml :i-:'iB7'UI4LE

WISIN & YANDEL
a DUO DE LA HnranA TRE9f 1 1 TMSEMV MISC LAIW

VARIOUS ARTISTS

UCTW inUI mSZ machete 012319'UULE

MintW)f1l.'*S'«LIAl

CALLE T3
mSDtAIRAiWPBiaWD10BTE3eaDl.S(WrE4j8CUai

KINTO SOL

CARCU DE SUENOS .

•'TTE 0T27T7)UMIE

FRANCO EL GORILA
WELCOME TO TT« JIMGli .\> )4^CHETE 013S4MJMLE

EDDY LOVER

IIIIIIIIW > AVLKilMTK^IIMAS'l UISC iMW «

TEMPO

' FRO TEMPO FREE lELAPOaOIOOSONY MUSK LATIN

YOMO

MV DE8TINT BLACK PEARL 7360

MAGNATE & VALENTINO
OUIMICA PERFECTA VDMACI4ETE OTSITS/UMlE

RKM 8i KEN Y
THE nOTALTT.lA KALOA tTiAmHElE UI?D72mL

„ ARCANGEL

amMm LUs KOIV UACHLIE ITDO^O uLTLt

Bmn-M lyiUst Sas«> ol Hie raggaeUa
duo M PHto (iwtinil), sans Ms fnl lip
10 as "WHagHaiittuslMirf ' rises 0-9 on
Utin IMni Ulttt 0 .4 miion auillein
Impmsloffi, up 18%]. Scnsato b ttw fourtti
nn artist to iwh tiK Eliail's top n Ms
year lolonig )Ua«), El Joey am PeeWee.

Mmring Ok SKtess It Uie 20M "Ie
Ptesum" (K wdB « KOI n, Bmto 0
tecodo retuns aiMi "Me teb Todo De Tl."
dduliig at No. IS on Rei^ Ncziaii
Mptav (4.4 mflon isivfessioiis). It's Die xt's
best bow snt tada Vez Te Eiinno Mas"
opened at No. n In the Naidi n, fflOl, issue.

BETWEEN THE BULLETS

BISBAL: NOT LOOKING BACK

David Bisbai is liaving his best chart year as his new album, "Sin Mirj
Atras," debuts atop Top Latin Albums and Top Latin Pop Albums (.sellin
4.000-pIus copies). This is the Spanish singer's best ranking on eitiic
I hart — a feat he's also accomplished on the airplay charts with "Esdav
De Sus Besos." On Latin Pop Airplay, "Esclavo" rises 2-1 (9.3 million i
audience impressions, up 5%) to become his first No. 1 on the list " hil
the song spends a second week atop Hot Latin Songs. — Rauly Ramire

78 I Go to www.blllboard.biz for complete chart data

Data for week of NOVEMBER 7, 2009 I CHARTS LEGEND on Pag

) JAPAN

BillbMrd.

^UNITED KINGDOM

BILLBOARD JAPAN HOT 100

(HIHSHIN.SOUNOSCAN JAPtH'

PIAHIECH) OCTOBER IB loas

•1

BOKUWA KIMINI KOIWO SURU
KEN HIUl OtI'&tAR

RIVER

MOTTO...

KANA HISMND ^ONV MUSIC

HOUSE ON A HILL
MAMAS out! TEARSniDGE

MY LONELY TOWN

B-I UtnWILLIUS

STonv

YU SAKAl >•

SHUNKASHUTOU

HltCBHTME ii:, .if;

HIDE-AWAY

AAA AVfXJ.UOnC

GOLDENTIME RABA
SUKIHA SWITCH $QM MUSIC

IGNORANCE

nUUMOK FULEO SV HAUEH'-WARNER

1 FRANCE

ISNEP irOP. TITE-LIVE) OCTOBEH IT. ZOOS

J'AIMERAtS TELLEMENT

JtNfl LtE ■ ■■■■

LADY MELODY

lOM tHuiiE" c;'«*r*v Ai

SEXY CHICK

DAVID OUETTA FT AKW GUM 'VIHGItl

1 GOTTA FEELING

THE BLACK lUD PEAS 1 '.Tf li r.mPF

COMME DES ENFANTS
CCItJH 0£ PtMTE H"!-LL*'

EVACUATE THE DANCEFLOOR

LASSE-TOI ALLER BEBE
COllECTIF MET1SSE UNIVERSAL

MUSH HUSH

THE PUSSTCflT ftOLLS l'.IL^^^=UJ^[

CELEBRATION

MADQNN* ■.V.M -.il. iROS

BODIES

nOUIC WIUIMIS CHRrSALIS/VIRQIM

(THE OFFICIAL

UK CHARTS CO.) CCTDIER 2S. 1009

NEW

FIGHT FOR THIS LOVE

rHEHYi coil ' 'i i"i

BAD BOY5

AlEXANORA SlfRKE FT. FLO MM SVCO

OOPSY DAISY
CHIPMUHK Jl'.L .ILG

BODIES

F<'3BB1E WILLIAMS CHRVSAI IS.'VIRGIIJ

MILLION DOLLAR BILL

WIIITHCV HOUSTON XT-.IM:-

BREAK YOUR HEART

TA10 CRUI WIVER3AL REflfBLIC

1 GOTTA FEELING

THE ILACX EYED PEAS INTERSCOPE

EMPIRE STATE OF MIND

JAY-I > ALICIA KEYS ■■ ■. ■■I : m

HAVENT MET YOU YET

MICHAEL BUBLE Mj Kt^i.lbt

1 GOT SOUL

V0UH6 SOUL RiSaS ISLAND

O CANADA

BILLBOARD CANADIAN HOT 100

(Moaii n&'soiMosuii» wmmai.tm

SEXY CHICK

DAVID GUTTA FT- AKON GUrA VIRGIN.'EUI

FIREFLIES

OWl CITY UNIVERSAL RlPUBLICUNIVERSAl,

PARTY IN THE U.S.A.

HILEY CYRUS N : I VWOaO.VNIUEnSAL

■RITNCT SPEARS JtVE.SONV MUSK

1 GOTTA FEELING

THE lUCK EYED PUS 'iTf RrrOOfUHWCTSAL

MEET ME HALFWAY

TW ilACK EYIO PEAS '.Ti -!-,^:)PF..uHlrtWSAL

DOWN

WHATCHA SAY

JASOH DEHULO it-um H'IG'HIS'WARNER

EVACUATE THE DANCEFLOOR

CASCAOA R08BINS,'AWESOME

TIK TOK

KESHA KAS2 MONEY.'RCA/SONV MUSIC

> SPAIN

«NGl£S

IFIMI.HIELSENI

OCTOIEII ». 2IH1

BODIES

WBIIC WILUAHS CHRVSAUSiVIRGIN

L AMORE SI OOIA
NDEMI SChJV MUSIC

NEW

Tl VORREI SOLLEVARE

ELISA CON GfULIANO SAHGIORSI SUGAR

1 GOTTA FEELING

THE BLACK ETED PEAS INItHStOPE

LOBA/SHE WOLF
SKAKIRA SONY MUSIC LATIKlPlC

RESTO DELL IDEA
MARCO CARTA A'L/iNIIC

ESTRANEI A PARTIRE OA lERI
AifSSANDRA AMOROSO EPIC

CELEBRATION
MADONNK WARNER BROS

WANT

HADUJE IMBRUGLU t.'.V AaAAWIITF UIES'CLA'XI

AD OGNI COSTO
VASCO ROSSI CAPITOL

OCTOBER Zl. ZOOf

DAMID GUEHA FT AKOH G

PASCAL OBISPO

VffLOlW TO nC WUC WnU OF OtnUL. EPK

RENAN LUCE

IE CUK OES HinOS BARCLAY

UUSE

THE RESlSTANCf AAEVHEUUM 3/VrARMEfl

RAMMSTEIN

uat nr FUff M.LE » motoivuniversal

JOHNHV HULVDAy

Tgoi n imac k muK mti hercurv

(PRGMUSICAE MEDIAE OCTOIER 11. ZOD«

QUE NADIE

MANUEL CAIWASCO MW COM MALU VALE

ESCLAVO DE SUS BESOS
DAVID BIEBUVALE

1 GOTTA FEELING

THE BLACK EYED PEAS 'NTfRSCOPt

LOOKING FOR PARADISE
ALEJANDRO SAH2 FT. ALICIA KEYS WARNER

LOBA

SHAURA EPIC SONY MUSIC LAHN

•

RECUERDAME

LA OUINTK ESTAnON SONY MUSIC

HALO

BEYONCt MUSIC ;VliHLO.COLUUBIA

1 KNOW YOU WANT ME (CAUE OCHO}

PITBULL ULiRA

MANOS AL AIRE

MILIT FURIAOO -. I. ■ ^1-; ■I:si-R&AL LAltKO

WHEN LOVE TAKES OVER

OAVIO OUeiTA FT KELLY ROLAND GUM/VIRGIN

+ SWITZERLAND

LAST
WEEK

(MEDIA CONTROLl OCTOBER 27. Z«0«

BODIES

HOeSIE WILLIAMS L'HRYI^ALIS.'UIRGITI

1 OOTTA FEELINa

THE BLACI nEO PEAS ifJTERSCOPE

SEXY CHICK

DAVID GUEITB FT. AKON I.UV VIRGIN

|«

PAPARAZZI

LMTiGftG* ■' . riivTTStWlHSIR

c HEAVY CROSS
" THE GOSSIP COLUMBIA

RAMMSTEIN

LIEBE 1ST FUR ALLE OA MOIOR/UNIVERSAL

■i/

BLIQG

em UNIVERSAL

YELLO

TOWM YELLO USIVEHSAL

NEW

MICHAEL BUBLE

CRAZY LOWE HVREPHISEWARNEH

i's

XAVIER NAIDOO

ALUS KAHN 8ESSEH WEHKN NAIDOO

GERMANY

(MEDIA CONTROL) OCTOIER 11. IW

BODIES

ROBBIE WILLIAMS LHH'^iilh. \m;'U

PAPARAZZI

LMrTGAU .•-TUm.l > ■. ?A '..'■::} --■; ■,■!■ J 1 f '

SEXY CHICK

DAVID GUETTA FT AKON GLIUvmGI\

HEY DU

SIDO.ir;

IF A SONG COULD GET ME YOU
MARiI lARSEIi -

ALLES KANN BESSER WERDEN
XAVIER NAIDOO >.Airi'::>

HEAVY CROSS
THE QOSSIP i..iJ,..MNit.

KRIEGER DES LICHTS

SIlBERMIlhD ' ■ . i: ■ ■■

RELEASE ME

AGNESv .'i L.'i-'.ui . iLUE.'AATW

1 GOTTA FEELING

TK BLACK ETCD PEAS INIERSCOK

^TT^
*

AUSTRALIA

lARIA] OGTOIEU 28. l«l

THIS IS WHO 1 AM
VANESSA AMOROSI UNIVERSAL

MEET ME HALFWAY

DIE BUCK ETEO PEAS iNIERSCOPE

SEXY CHICK

DAVID GUETTA FT RIOH GUM-VIRGIN

LIKE IT LIKE THAT
GUT SEBASTIAN ri' '.m i

EVACUATE THE DANCEFLOOR
CASCADA !m. Aiirj,;t hpalation-aaiw

' e

BHITHIYSPEAM JIVE,'JLG

1 GOTTA FEEUNG

UK BLACK lYEO PEAS M-ftT.ll^!

1 KNOW YOU WANT ME (CALL£ OCHO)

PlIBUll 11. 'k;

PARTY IN THE U S A
MILEY CYRUS HOLLVWOOD

BODIES

ROBBIE WILLIAMS CHRYSALIS/VIRGIN

Q MEXICO

IBIMSAI OCTOBER 2X. UO*

MADONNA

CELaRATMM WARNER BROS

PANDA

POETICS CAPTTOLTEMI

VARIOUS ARTISTS
ATREVEn A SONAR UNTVERSAL

MIJARES
VIVIRASI WARNER

LUIS MIGUEL

HO CULPCS A LA NOCW ORQ

YURIDIA

NMM ES COLOR Of ROSA SONY MUSC LAIHEPC

MEW

PARAMORE

BRAND NEW EYES MIf ;[■> BY RAMEN

■EU

VARIOUS ARTISTS

ATREVETE A SDNAfl VOL 2 i.iMVERiAL

PEDRO FERNANDEZ
AHARTE A LA ANTIOUA J'JVL^f^A.

\ .10

THE BLACK EYED PEAS
THE EJI.D INTERSCOPE

(TLE1 CCTOBER ZB. ZBD4

PAKKO PAASTA PARATIISIIN

JARKKQ HARTIKAINEH LEVY •VTlii

UMBRELLA

THE BA5ESALLS Jl/i: ViARNER

BODIES

ROBBIE WILLIAMS THRVSAI I^.VIHGIII

SEXY CHICK

DAVID GUEHA FT AKON CUV VIRGIN

CELEBRATION
MADONNA WARNER BROS

PATE HUSTAJARVI
OUAAN IHMISKSI POKO

, RAMMSTEIN

1 UEBEBTFURAUf MMOIOR L'NIVERSAL

ANNA ABREU

JUST A PRETTY FACET SONY MUSIC

IRINA

MITEM VAUBIIKSI TUUJUM EHI

THE BASEBALLS

STHRBJMC'WARNEn

EUROPEAN
HOT 100 SINGLES

INIELSEH BILLBOARD) OCTOBER Z(. ZDQ9
BODIES

nOSHE WILLIAIBS CHRYSALIS.YIRGIN

SEXY CHICK

DAVID GVETTA FT AKON GUUVIRGIN

1 GOTTA FEELING

THE ILA« CYEO PEAS I'ERSCOPE

FIGHT FOR THIS LOVE
CHEBTL COLE POLYOOR

PAPARAZZI

LMTT GAGA STFE/Mf£1IDMUft06IWTIQinBCCm

J AIMERAIS TELLEMENT
JEHA LEE MERCURY

BAD BOYS

ALEXANDRA BURKE FT FLO RIM SVCO

CELEBRATION
MADONNA WARNER BROS

LADY MELODY
TOM FRAGER/GWATAV A2

SHE WOLF

SHAmU SONY MUSIC LATIN/EP1C

EVACUATE THE DANCEFLOOR
CASCADA ZQ0lANO,i2EBRAlATION'AATW

OOPSY DAISY
CHIPMUNK .'.'1

HEY DU

SIDO i.i'i ..r^L

RELEASE ME

AGNES C0PENHAGEK''3 SEAT ftLUE/AATW

MILLION DOLLAR BILL
WMTNIT HOUSTON ARISTA

IF A SONG COULD GET ME YOU
■UfUTLARSCH VIRGIN

COMME DES ENFANTS
COEUR DC PIMTI BARCLAY

HEAVY CROSS
THE GOSSIP COL UMflfA

WHEN LOVE TAKES OVER

DAVID GUCTTA FT. KEUT ROLAND GUM,'VIRGIN

HOTEL ROOM SERVICE
PITVUUMR 30S,<P010 GROUHD& J

EURO DIGITAL
SONGS SPOTLIGHT

(NIELSEN SOUNOSCAN

INTERNATIONAL) NOVEMBER 7. lOM

QUE NADIE

MMUa CMMSOO OUOCON MALU VALiUfMRSV

LOBA

SHAKKU ;-:i.'i>' vh.isk; .illf( WC

ESCLAVO OE SUS BESOS
DAVID BISBAl .■,i,Ta",ai

LOOKING FOR PARADISE
ALEJANDRO SAHZ FEAT. AUCU KEYS WARNER

1 GOTTA FEEUNG

THE BLACK EYED fEAS INTERSCOPE

1 KNOW YOU WAHT ME (CALIE OCHO)

PITSUH . ! : '.

WHEN LOVE TAKES OVER

DAVID GUETTA FEAT. KILLV ROWLAND GLMVNGIN

RECUERDAME

lA UMQ ESDOM A niK) DM NMC MnMDT SCm

HALO

BETONCE MUSIC WORLD XOl UMfllA

MANOS AL AIRe

EURO

Girh Aloud member and "X
Fxloi" ludge Chcfyl Cole nets hei
first solo No. I on ttiellXSaflts
tally, one year alter her group's
last (lurt-toppei, "Itie Promise."

□

HUNGARY

THIS
WEEK

(MAHASI) OCTOBER 2%. nOt

BANATUTCA

HOLDVIOLA WARNER

AJJAJJAJ
OOIMBY VJI.1 FjM

MINIMAX

NtMA 11 MIS

MAXIKUKAC

AIMA .'.1 HIN

NEW

Tl SENTO
SCOOHR EOEL

\-t

TANKCSAPOA
MINDEN JOT ALEXANDRA

ZORAN

3* OAL iJN;,:r.,L.\L

HUNGARICA

NINCS MAS FOLD NINCS MAS E« HAMMER

BUDAPEST BAR
VOLUME I • TANC EUl

AKOS

40« FEHER SOLYOM/MAGNEOTOH

DIGITAL SONGS I

a»

(NIELSEN SOUNOSCAN

INTERNATIONAL) NOVEMBER 7. ZBOf

FIGHT FOR THIS LOVE
CWRYL COU POLYDOR

BAD BOYS

ALEXANDRA BURKE FT. FU> RNA SVCO

BODIES

ROanE WILLIAMS CHRYSAUS.<VmGIN

1 GOTTA FEELING

THE BLACK EYED PEAS INTERSCOPE

SEXY BITCH

DAVID GUEHA FT AKOM (iim VIRGIN

MILLION DOLLAR BlU
WHITNEY HOUSTON ARi^TA

OOPSY DAISY
CHIPMUNK JIVE

MEET ME HALFWAY

THE BUCK EYED PEAS INTERSCOPE

HAVENT MET YOU YET
MICHAEL BUBLE I«3,|REPRISE

SHE WOLF

8HAKIRA SONV MUSIC '■^imP-X

EMPtRE STATE OF MIND
JAY Z . ALICIA KEYS ROC NATION

BREAK YOUR HEART
lAlO CHU; UN.-vERSAL REPUBLIC

HOTEL ROOM SERVICE
PITBULL MR : J . u GROUNDS/J

HEW

I GOT SOUL

YOUNQ SOUL REBELS ISLAND

PAPARAZZI

UDT GMA Pmt\M.KHl>ltOi}tff^m.<imsm.

EUROPEAN
ALBUMS

IHIEtSEH/BILLBOAAOl OCT0«R 21. IMI

RAMMSTEIN

LIEBE 1ST fUR AUE OA MUrOfl, UMVERSAL

_„ MICHAEL BUBLE

CRAZY LOVE Mi REPniSE

. MADONNA

CELEBRATIOrj iVA<lEJEr' HROS

WHITNEY HOUSTON
llDOH TO YOU ARI5IA

•

MUSE

THE REStETKHCE AAE HELIUM 3'WARNER

SOUNDTRACK

rf« rmjM SAIU HEW NODI SJM.CHOP SMPiUlAinC

NEW

ALEXANDRA BURKE

OVERCOME ■■■LO

5HAKIRA

SHE WOLF i 'i.;:

XAVIER NAIDOO

ULIES KANN BESSER WEBDEH '.r'UlOO

MARK KNOPFLER

GET LUCKY , i r

. THE BLACK EVEO PEAS

^ JMEEND 1

7 HELENE FISCHER

SO WIE EtM BIN I^r-II JL

□AVID GUETTA

OKt LOVb .■(V ViHGIt

EDITORS

m THIS IIQHI AMD ON THIS EVBHNG HJraCWaARE

MIKA

THE NY WHO KNEW TOO MUCH CAbA&ANCAtSLANQ

EUROPEAN
AIRPLAY

OCTOBER n. SMI

1 GOTTA FEELING

THE BLACK EYED PUS INTERSCOPE

SEXY CHICK

□AVID GUETTA FT. AKON GUM/VIRGIN

BODIES

ROBBIE WILLIAMS CHRYSAL1&V1RGIN

HOTEL ROOM SERVICE
PTTBUUMH 30^ P010 GROUNDi'J

WHEN LOVE TAKES OVER

DAVID OUETn FI. IftUT NOUMO OW/VnaN

PAPARAZZI

RELEASE ME

AGNES CaPENHAGEN;3 BEAT BLUE/AATW

FUNHOUSE

PINK LAf ACE. JIG

WE ARE GOLDEN

MIKA CASABLANCA'tSLAMD

SWEET DREAMS

BEYONCE MUSIC .-. ; 'i COLUMBIA

EMPIRE STATE OF MIND
JAY-Z + AUCU KETl ROC NATION

SHE WOLF

SHAKIRA SONY MUSiC LATIN/EP)C

EVACUTE THE DANCEFLOOR

CASCADA .■■liOLAMV.'fBHALAHOrf.'AAIW

F"K YOU

UUYALUH fAh-OPfnuE

AYO TECHNOLOGY

MIUW HOMER UN 'MJNICH

1 for week of NOVEMBER 7, 2009 I For cliart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 79

Inov

laniBMttj«»*UC,B.,

Ik - BMHnm Mk. . eW^MB UuK

HmMliwMaicSowftnV^^

PlMiin euWdi IfasiETBwynOt Tht Dog

n aUW MB hksc COB. ASCAP)!^ Itee Use.
JI£CAmiiii«»l U^uipaaMiv ASC^

Ol HM Mi«c IVbWmg Amettcii
'■-■mgSSfiiSrti

D3IKIVDL«R*SERraB ' :n .vr.'H-nxfcMiC
CONSkOEH ME GOXE '

coutnnr FOLKS Vwiir loud) <L).r. ku^fm-jus
%\vr< tw ItliWflUC.BMtl, ft.CS 37

couimrr um- omivr G(i. BWSa Snos Mtsc

3Vi lu> b»ta Mac ASCJmMDnn Max.
AXitf Corvps. ASCAnButfnot, ASCtft GS »

MKT ND IBT mnC MOO MUZASKY bm
tamaMK^ASOiQHKDBS

nMS»na^CAP>aS
NUIWKraiM

lISoyAIVAajBtoe

Ujjic. mwnw iHiwtn PjMMig Oxp. aMT

IIU IK fnm WMI rM(*B 2 tM ASCAP.'KctaM

V1.,.[^Ii, i,„;:Vi^,:h Irt ASCHPiHlOOfB
AllMFNPfM I inlllTSO
AlHEAOVGOHf -r '.KM^aTrt. ASCAPflfctMl
lie. ASCJP.VVr*r2LMt

AMERICAN HIDE

OEREEHO OE ANnBUBUO >:Jt>Mnd-Usu Uia

imr Yoli niW HOW MUCH I uvED vou <Lnt

ms^ UjiK MGB Sows. ASCVMgic FaiTiirQ
MiAc.AXA^plJhMtsirMbtc Cnm M5i^^
Music rUiltfin} eUfStrgt 01 Unhml. In: .
flWSvir ftr^ Ti» r-urr 'te<m tuy n/tm cs

OOESNT l«At( AKYTXING . i .w Pialiiltre,

M.-... . ■ . i-bH-;5

DOI ■ . ■ ■ I :-.'L'.'..--jiO:ipc«krGaB.

OOrtSnir intern MbKUnMNMim 9

oowM ii^K*^ uoK &eu> ui fic)w^
Mutt. BMiaaraM rxan luc. KueKM nn

„ MpAhBsRW

imurASCWAftinliiei
1^^a^lSe&^9t,^ .

Coaihwxid,ASDiQ.»LCSC
■U Wm iSom'AA Im LLC ASCWMs^

ASCtfietnM pXsc ASCV«« A|ri Mkk. he .

»SCAf)H.HtO0ei,W6
KCXY itr^ U Cr.M IMiMmib 6WMmti-1m«nn

riJ,;.J,u;rj:.;, -IVt/ jXiifW BsiDn ttit,

W [■■■;.\S. BUt HAWM.R8H67

•KflOCK -.Hj.-i 11^97
tm OH THE TAfili < ^71 BtaSUBC,

rfUMMmlK.,
iCctp.BWH^

.. . ^. "t.>.i>jJ{«nfM
tii,..«-.<,-i.i..,: „: BMiKinKI

HG Btt snMTM iF4cli Und tUin« ASCAPt R8H

Itfing Conm. N:. A^J^Cnl M(c« And Amo
(iM, Uq, AStAn MM. H10D 49

IK. eRMAOSoKS Misc, A^fngrfT^
K, ASCtfMa TintL N8 IWohrv
jlgg^^,,^^^-^ . .

miNdlraW)Sanas.SEy

IUbMgCi>p.9M|.

l&JtDtcli'S Ul niMMiCL ASCAPfU

u-.-.-. [■ '1 ■ - ^.VOrSB Sttettst
BOOT LANGUAGE ' Songs BMlfferatd;!;
vv.. .lUlt,l.,„.lWlMia£.ASl:Afim*lul^A6l;

MC& ^«3. ASPU',' JintiHin Ufilc ASCAP/SeMT.
IWBll*atASCtf>MfnfUiUs<ar*-

U«Ci 2 Sons. eUKluWU. HtOO W

■DaMlSli>oir Mium k

"''-H Tht Seam Puuiftqj. SOCANWan
"-^SOCAMM teMHUd UiK^ Ire .

' ASCAP^AQtlUsctK

— - moo 23

BWICHIOO
ASCAkMCoUndl

ASCtfMoMBHlKCn

RSH?

«inBC0RBH96

'TW.ASC«WVW,lnc
KOOTASCAPWaOnltec

It ASCAPSuttlT«?MiJiK>K JSitf.VmYlllWr

BUY YDU A nbUHtl lUP AHO OOWKI h 9m

TKECAll.-i ' <<.<1 EUkfimftnLBMlNM
CAMMOS DffRENTES 'K Ucxm MsKde^ ail
CANT HAflDlY WAJl ■■^/■li

SES<GTtotan
""" ?B

-.JCAPAW-

• < A5CAF1.K^,l«r»
CAN! IM WITHOUT raU (t AM W Mac nWD-
"Q, A^,l;rM(^ hhac - US San,

ill(N(la»nAWifuM, ASCAPAr

lU UHC^eM^ hlSIV SotiS LU- IWDwn

k tacmooawi Vtaxta «i-

„_SA)LT2S

MI0 Cub Mtflc SWBN M Uus[
1 MM Son^ ASCAP/BtfvMK

0 CtvOnn OsnriQltt 8HI nBH %

M iKh M Siais bwim. SMSvn 01
eeyam U EniwHnce Puumng. EM). tVtlBU HIOD

Its l» Hoc BNteJ 8&dM0d Ubl K. ,
. tk Batfiv Mjsk. autu tall Mac tK. .

W'fl-O^Wttr*™ ASACPlTlflBMSl
IT SECOW raw ii F'^'-^ Mm - Cnvs.

flOrn GCT IT : Rku \\BC. EUMM BbbMOod MuK.

iir BMn K FBIM
imCUSAIIilKin^dHac] ft ASCATWiUi
brin; fMiiI '4

mm [iiimtt 2 uw. ASCAp/KotHi u«c lUftmng
Mma hc.ASCV.ftnsUnkn AtHMlOddUjsiL
eMUrkgi Mwc, Bf«SayA1VScnK UC

iolApwal >K..

HAwinMnniUYn it- i tivinSBianft

--(-■-■. ■ ..-Aac

KAY euros C;
Atu( Mac MOoim^ Uuit BMVMttna

PititMv Corp. BUTrt NIM UWvu BM^
IK ICMT iSra'ATV fete fUiisnrig Co-

wfiy_aA?i»yArvcoa(i«k^^

HEY, SWJL SiSTEfl '

HILUILLYBOW

HWKYIOMKStDMP '^itVAIV toe ftKWtn Car
' , ','.:,r.WIunMtOnlABlC

HOfEI. KOOM SERVICE iHttut'sLdOKfPtttSvct.

UC BWVkrw&nirtwMUmCin.

M<aiVfnnMu9clM ASCAP.Orrails MUsclM
HOWFARDOYtlUWAIMAGO'' "

nt.eM).HI/NBM.Hia)<7

UCUAHUlA^nWisaiaC

U 8MU1M |7N Edkuna Uj9ic*9. Ml IT »

U lA LA lY^ly itoA A^An H100 79

tAT CHMCE (W Use C(iqi, ASCAP/Sons II The
*ei a B Fd. itc. SESACMonm Soifi SSu!;iM
FmiUsK Hc.SBlCOwtotAikneMscPtiikn-

Ur niW UM W) wit (Mnisi FUi^

ASCA^WllicCap..«p<^,WBM.ReH88
A unU MDK COUmiMlM THAT iIWnqiI
Uni: - MGBSm ASCM^FMritsiSffoi.
ASCAPTTSha lAVA Shig And A Am Musk.
ASCAF^Ora lAsc Anwla SWtom^-

L -AtmClKKUhkBiSnnSA.
^]MiiK.nii^m«TVIA&d^
. .:..ui,ai),«;SWii.lH
LOMTEinMIOSiAraUaial LLC.GMIlTfi
la :-t ;A(ri 1 Bw lAA BMMma^nc^
urmCoo. symotncidra
9Mf3i3%aHe FWAna Ik .
rnrUsk mTVtnMfqi^HnnvUh'CWoi

f^ul^:. Wl'H.r: VI::.K&eup. *SCAftW

311-','.. ■ ■■■ -■L'AOi.mooaiW

LUOKMC r<lH PARAOtSE ' ASCV/WmOHp-

. _ . - _ltll*OC M,

StSACUA J^l Mac. K. ASCAP/Siimn Son
ASCVM Coco, ASCAI»t.HL CSS

f*at IOC . ASCAnMcub BI*BI BMllMDd

Ftnr Mac, Bt. SESAp, H. HlOrir

nnUHZa OMn Gonmii pM Udv Ga»

BMlScmAWSeru UC, ewttamOl GuetUdVi

»^rt.H1006

masMMUktat. tscvm w nux \k

AS&VVTMni S DM ncMMo. GMQn^
ra BUUKiEjTumUuMiaiUo^

rmrr m the us a k -.• f^ciijwiq

■r ^\ mi

THEPOmOFrTAU. I.' ik .

■■.1 foMn Of Wfic BUfMrVc

PHETTY BMMM |U £AftUatN««CAP:>1M«Bl
U^y. ^laraalovASCAPAI^Smnoktec

JIAaniCOTHK ASU^gAAiiilMisc K.,

TAuvounsMnorFj

TEAMi^'^iraMiAr
TEMKJWIMiir

FMUM4H1
:Cbinfn(M

HIM BO

, UutiMJSJP)

tf A'Scn*.' AI'/ UC, ASGARZic tMoy lAci
*£CAWkjVWiW.HICI09B
TBCO IMA AMAHTE i^-^m t>i.T

W.'."-/. ■>,i:.fri !t

TEVtSFAIAL " ' ■ . '.jitii

IMATS HOW COONTHY BOYS ROLL , ■ .i >

TNMW MUfVW CRKatM B SUI A Ahm.
SC&lCei Fo» lilrac. he. SESAGBA Cvtt
tAa<SBA£S&NM6i '

RAOn WAVES

HAMPIW'SHOP '. ,

MD LIGHT :xrav*n IVom IMl ASCAPiKoU
M^tJi lUiuiiiij Anexj. K, ASCAfXneImn
Uiiwiw ScriK aiASorm 01 KM
DJijWnKica irBMtwS^MBrUCAP) CS 15.

1HM IS IT Mac MuElc aUWn»4M^
n^Corp BM^toneUcKK. BMti VffiM.f

IMS TME vMi Rf Mis c. 3M ! RBH 89

Twm nine BAG ieuapiiugc n.

A5&V,.-j ftiKO UuBC ASCA^orm 01 fto 16
ASCAp.«jrJi », ASCtf/ZDC Miac FV"~

u>wco«oowN ■ t-mn

lOK ORUMK < , . Lrr^jfi PAgc ASCAPB* Apil
ASCA/>,.SIK Ore torn Imoi ASCAf-,^1 Songs.

ASCAP^EM a^MooTusc, rc , awf^iui

EMI Hlj^fflMHIODS
LOVE LKE CRAZT ;Ute CUD MuBC BWSwri )M
•iV/.rw.Bracrt»B FMiMwo Corn

aHywuC54i

N 'jrwAtVOonteaUsKFUliSi-
r.i^GMMgticASCAPfOorttSvm

HRH4

DKONm irtxHi HM Mac BM) IT 32
EFfHWr ini l£MMn (UMfl MtBC - ZSonK
!<M,t^i h^e GiuMnjAlM). AXAPnvdi Hv-
rnxTf s HXM nnOMU ASC<A9>SS CD ~ LLC
ASCATtUAfnlMiiUe^t^ASW^^ -

WH lODO TOOD iVBomi Aajm Utsc FUllsMa

ASCAPtU2(

IVAOMIE WE MWCEFl'oOfl . . ■ >

EWTfTHIM; EVERYDJtT EVEPYWHERE ■ M A:ot

)TUKKPUHinr|].A$D>Pi

iawnlil«H«jSvgiOllW«3« he,
ikVCUijeBMnlUE)! —

«i?bC^

UPlMMttk
WlUbNnft

c,SOC«*Sor»'AIV

CnaiSOCW»,HLlTr
HHWQIA MA IvXnU Id Muna BUW UtAtc
Corp. tSCfi'.'SMBim UcK fUMva GMM-
atebbPi£l(!MiiASCIf^a47

wtammFmmimtkM mtmn

UWCR BMlWMatfc.Mi:)imRM
BWHHfthoniJUrMlW^

ASCA^Tfu HrkUGlC ASCaFoJ Scnjl.
lSCAP,Ctoiy3lSUsiC.J^.«MI^ASCAf>).

OMHLHicb;

HE flUm K OUtn UiMi Ll 39
ME aum TDOO OE Tt m LrAifi l.> X

MCAMAHuaEAn!'<;[L-;-.<:'L-'.
MiCOtAPlElBKTO

. ,_WTKrHscl

ASCAfjrt/iiiSimoo

lUHMrjHMeMnjdiaeMiaic. „
Hk ASWAtaU MmiE RAolL I
n Ita KonrASCWl. WhT^ 12H^

RM im TDkn (M Anl Itak, he. ASCAf^CMr

BatsntWimJeCAff^

nc. BM(M BhdHod Mesk; he. MMd I D

MM LLC. eMiaam& wwttte Atata, eun

' )*TVHwav.ASCA(lHL»ilOOS[

^ aa (tonond to Sri* niM*
IkMIUWmBWItaMcli ~-
lwCMDm■SnMsi±V,BI

irowUisiche SeSAC^Mtlh

OMsU

IWiT {She wide I. ASCW.'lMs} IW^
Sam ASCAf^QiraNHB FWUton he. BU
TTuSUe. ASCAPV MiWM ffiH 18
THE nvm iSt^g ITm SOdp, ASCVAM^
Diruu UiK. ASCtf %IBX|) fUMg Co

v.-',' HicibH.my

nitsH titilmASCAmHiir

aivswindiiteic

RINHOUSE jv.H., inc.BtAmhRjB
'^W&itii t^AHi* inii Mice ASCAP^WmMTo
K3.>a>.fMll«nM«K.lnc ASCAP) K.FilQO

.. . JcPiWshna

ClilVir : i-'.'.n.f !-ijLt»:"i'.< -1- <K mu
HI.V.' ■■ ■ I ■

snrw' voii HOME [the siacn drf!;s song)

GIMMIE THAI GAL ;EM Bamoa] UiK. kc.

BWStniSDrichKMusK,

ii : .] .-. WQtAio»dOtTh8l*iKWCtf)

"Lmi : J

BMUcnvUxAUAlcEl

HBhB,'

eoDMME " " r.. isafmn(«

M.-. ■.; J£CAP,1irHjVm.

GOIK THIUI CH,WG_F.S ■ ' .-. A£CAf .Urt* BW

GOOD GMLS » BMD iS» BcaemnK. A9CAf>M
ftailMie.- K ASCW^AhrRibUhia
alCt WvTH Wonrii Cap BMKtfmm

ASCAPJ tC1«4l HI0O39
8000 imniN6 [OmtltKr Cmv Uuk
ASCAPAW.valUBcCorpG«toi ASCIPJ Ftrts
PiMr^ ASCV,€ml^MiK,ASCV.WMfi

ASCAP&tki lAlicr Uffc AS&mMia Uisc

AXAP> H/im Mtoosa

>SMATVAculinBcUaie.
K.EMf«*BURUisK.
L«)&lin,ll.CS»HKb«
^ " Oo^^ Of Mm/ QMni

ASCAf>«nlou]Bu()G.S

meOMM (FUMsfmGovaC

EMIrt Wm U£, eWtairn Uonn Pifshfig It

JNiv hbK he . BUM atlAmDdi'
EuMjramslUBC '

vtBudwoo]

' '''<^

WMA STAR (EVERYWHERE WE ARE) linrry F«Kn
Fat^liivCK-^K? ASCAJ',>«Cl.tlTcshMSlH<0
□ewm mSra 01 UMoil, Iw. BAMO
soA nAtahML muMmi iykaic CoqMMHn.

ASCVXIM PltOsMlA^IP/tUll fiotn.
ASCACP|,Tu*n[NTto S2 fW 60

ITKUSKlGod-tOrrlrr^MMxi ASCARSnrVITV

IWAimOKitOWWKATlOVElS 'ir/fSfrip

IBPON UWr VOU Mwi 01 Sn Use

JlSCAP.tkw Son CI A Unv So>« «OipMm Cd^

.■>A*cifjncf'Fy)-

Hl ROSAS M JlXlunB >>ja vuua Uak.

■. LLC StSAOCwksraM)-

NOMEDEJESOEAMMunnEncnvnT^K BAHi

NOVaiBER inH >M L«M) RBH V
"WEiHwhF\e«irti.h;.»*U»«al

SCAPrtlsnoh ■■

OH cSihnK Ita l\Mslm» SBAC^
wad. ta. SESA«MMBc.BMMBtj [I
A«Ta,£M).ltMM.r»S6

OHWUcGsAlOWFiSCSU^HiKPlCJc. ■■■a
tSCMm 0am IMc ASCAFAhMml U^i

0 uri Dim {So KBf MMm ASCM^ im B3
THE OM Va-i S Btge Usk. UDVAItmAUA

AS:iM.<i'.v--j( Wqc C-TOJraoi ASOfiBM BBO-
w>r'f 'r' : -'-'1 .trWnrtalJcBi
^MLtflllWlUJX

FUWM ASCAPAfBl Cwl HuK hMitaa
A^A^ lAnK Cm.^AS>RHano Die
hcaSaP) UMBWhBHM

autiScmi 01 muM« nSrnwiB

Ujsc. WJnt MseMAWaBdMK^^ Coitk
— "ttStn^'.V,-^

OM L£S& LONCL) GIRL

ASCAPAA IM flUlIm AfiCAPM ApnTUtK
ASCAP)(i.WUH!lXia2
ETWEliiw— - —

A5CAP.^Y

WIAT I'VE BEEN WAITING FOR UKM^

WHW'rOU'Oo'iviii, W. ASCAPSn
Co.Llt; nSJHIianu-UfmMMPiaWfig
ASUPjQuk tipnm » l«« PUllEtViB

oaM FUMitiv. Ascin itwuw n

WHEELS Al rwtalAa£.BWtOi«nKPM

■^'|- -07,01111--^-

V^mMMlHaitl
.:'»mUslcMft«l

nc.B»«Uinol
"Si??!!!!*

KNOCKYOUOOWN [TMrwaiiliASESACWBM

-rlrniigCam.BMuAin^
...v/nnlnittQaMPib-
'.V-i PitKOm he
ij/l.tCASORTVi
. MfMBt '

OMur VR'.i CAh [iy.'r me this W

ii Sto Male. BWin Mtan Uoc.
^t^cMHeuKa ItaSht Mflic.

L (Mm bnvln RMbNio Cop .

EMMMirgOniapeeOIAiMyaMn BMUe
lllMlLC.ed€MK>n>dMMc,lK mm'.

ttni lUrMriri Mac - Cam. BWA|)t tCLCt!
MisicBM1Mnw«n«IM fWrng Cirn. EH| il

u inno inmun LJiti Piatarn A£

HIBBirwiH*'"--^''"^ »,

wwSIUN uoCj^dRAHnBaMMmDai
StSACffW MuK taa SESAOB 53^

Mm UM isowATvfa nSaira an«n

wnt C«>a bm£Tim«i Mac.

WIho'sats ASlV,5tffp,'»
WHY - V.-LCVanaV

DHKEJSofwWVlMn

-JtMoitn*-

'rc<r(lrtMBSW.ASCAP).

Y» EB HUr TRIBE (HCP FUtmna. ASCAPl LI t
r AHOM QUET Anmoi MttDdK. Ire. SSK

rj lie Omv SE^IC) it 41
YEnEMMViJ liMiPiCMMn.Aa:w/MBM

Cop. ASCA^Mst 101 PUHnuGnup. BIM

Mrac BMTk>hMcMac.BWVanwteat

I^J: ktira Corp . SUi'ArlS ^lilshrn

80 I Go to www.billboard.biz for complete chart data

KcStorntndaiM

- .:™mSu5hU£rSES»n>CHilM34
SWEET DKMH IB^ PiMeMno ASACP^f U Aortl

Data for week of NOVEMBER 7. 2009 ! CHARTS LEGEND on Pag

=vi=(r"'i m\/i=

Send submissions to: exec a blllboard.com

■CORD COMPANIES: Universal Motown Republic Group

omotes Cameo Carlson to executive VP. She was senior
> of digital business development.

Battery Records appoints Jeff Sledge VP of A&R. He was
nior director at Jive Label Group.

El Entertainment promotes Dan Gurtitz to senior VP of
Jeo. He was VP.

Hitman Records names Anthony K.S. Sebro VP of licens-
3. He was head consultant at the entertainment and sports
rvlces firm VIA Music Group.

Golden Music Nashville names Lisa Strickland regional
-ector for Northeast promotion and marketing, effective
)v. 2. She was assistant program director/music director
KZLA-FM Los Angeles.

BLISHING: EMI Music Publishing promotes Big Jon Piatt
president of North American creative. He was president of
est Coast creative and urban.

BMI promotes Perry Howard to director of writer/pub-
her relations. He was associate director.

tURING: Creative Artists Agency in London taps Paul
mklin as a music agent. He was an agent at the Helter Skel-
Agency in London.

GITAL: TuneCore.com names Lise BarbantI chief mar*
ting officer. She served in the same role at Frontier
»mmunications.

LATED FIELDS: The video and music network Music
oice names Sean Snio director of marketing. He was sen-
director for VHl consumer marketing at MTV Networks.

—Edited by Mitchell Peters

SOOTWORKa

WBOX HELPING ITS OWN

icn Galium Robbins was born in 2006 with spinal muscu-
atrophy. doctors didn't expect him to live past the age of 2.
t CilliiiTi. the son of [awbox guitarist/vocalist ). Robbins.
u'd tlieodds and wiil celebrate bis 4th birthday in January.
Since jawbox disbanded in the late '90s. Robbins has played
other groups attd opened a recording studio. Bui the in-
ne from those projects was little tnalt h for llie mounting
tors' bills.

]. and his wife were in a tight financial Ijind." says )awbox
isist Kim Coletta, who founded DeSoto Records. To help
r bandmate, Coiclta posted a PayPal link on her label's Web
? (desotorecords.com) requesting small donations to the
bbins family. She noticed a spike in donations after send-

II e-mail to about 3.0(M) of the band's fans and friends,
rinlett.i s.iys. "Fveti when people didn't have a lot of money,
■yhrainslornied creative ways to do some fund-raising. . . tt
ikes me understand even more tlial J, is a really beloved fig-
' in the independent music scene." She adds that theefTorts
ve also iielped spotliglit a lesser-known disease. According
-olctta. enough money has been raised for the Robbins fam-
to afford a whcelcliair ramp for their Baltimore home.
Meanwhile, jawbox will perform for the first time in 12 years
Son "Late Night With |immy Fallon" to help promote the
ssueoftheband s 1904 alhiiiT]. "For Your Own Special Swtvt-
srt." which will be released Nov. 24 through a partnership
ween DeSoto Records and Dischord Records.

—MiuhcH PcUrs

^ Kyli* MInogu* was

riding high during her Rrst U S
tour, which included a stop at the
Hollywood Bowl where sho took a moment
between costume changes to chat with lour

promoter 801 SUva of Bill Silva Presefits
(left) and Primary Talent International agent
Dave Chumblsy. ixoio: courtesy of lauren jones

The 2009 BMl-sponsored
CMJ Music Marathon Festival
showcase was held Oct. 21 at New York's
Crash Mansion and showcased the acts Crush Club.
Die 0\e. Rob Roy. Space Capone. Modern Skirts.
Enemy Lovers and Mike Del Rio In the back, from
left- BMI senior director of writer/publisher relations Samantha

Cox ar\d Rob Roy band members Tim Henry and Elmo
Lovano in the front, from left: BMI associate director Brandon
Haas. Roy. BMI director of writer/publisher relations Cat«y RoMson
and Rob Roy DJ Eric Hamilton. f**c. to couitesv or gavin thomas

Imagem Music entered
an administration agree-
ment with the members
of Genesis earlier this
year and will represent
the catalogs of the band
and Its memtiefs Tony
Banks, PhH Colllm and
Mike Rutherford. ir>c)ud-
ing Rutherford's C>and
Mike + the Mechanics,
in a separate deal with
Phlhp Collins Ltd.,
Imagem Music has
traught a 50% share of
the copyrights in Collins'
catalog. From left, at the
Mandarin Oriental Hotel
in London: Imagem
Music Group CFO D«nls
Wigman, Imagem U.K
CEO John MInch.
Collins. Imagem Mustc
Group CEO Andr* D*
Raaff and Collins'
manager Tony Smith.

(■M070 CCX;B1P5» Ot= -IMHl^

Slash .irid Joe Perry
po-au tit ttif MiiJyi-''b I
20th-ann(vers.iry J
party at Bare in ^
Las Vegas. i>Hiy

COURIESy Of
WWE IMAGE COM

BMI country artists were honored at the 2009 Nashville Songwriters Assn. International
Awards, held Oct 18 in Nashville. TVflor Swift was named artist/songwriter of the year;
songwriter Wynn Varblv was r^med songwriter of the yean "Waitin' On a Woman." which
Varble co-wrote, was voted song of the year, and Toby Kvith was recognized as the song-
wnter/artist of the decade, The ceremony also featured the Nashville Songwriters Hall of
Fame induction of l^mmy Wynette and songwnter Ky« Fleming. From left; BMI VP of
wnter/publisher relations Jody Williams, Swift. Keith, Fleming. Varble and BMI senior VP of
writer/publisher relations Phil Graham pno'o colbilsv o* bevchly moslr

Ont

thei
her Fu
PInkrec

plaque of he-
"Funhouse.
more than 4 5

worldwide, according to the
and Pink is currently on the
leg of her tour. The CD/DVD
"Funhouse Tour Live In Australia ' w.
released Oct 27 From left: Jive La:
Group executive VP Peter
executive VP/GM Tom
RCA/Jive Label Group chai
Barry Weiss ar^d Roger Da
Management manager Ro9«r OavlM.

l>MOtO COOWILSV OF jr^ LABEL GROUP

NOVEMBER 7, 2009 1 www.blllboard.blz

Cl!

EDITED BY KRIST

COUNTRY DUO RETURNS

After spinning off a couple of No. 1 country singles
from the 2008 "Back When I Knew It All," Montgomery
Gentry is finishing work on the duo's seventh studio
album. The set is due in early 2010. with a first single ex-
pected to be released shortly.

"We've got all the songs cut and four or five of them
mixed." Troy Gentry says of the currently untitled 10-
song set, which will have a bonus song for digital buy-
ers, He says the album's sound is "a little bit of every-
thing from the past." He adds that one song, with the
working title of "Shotgun Wedding," "sounds like a
newer version of 'Hillbilly Shoes,' " the first of the duo's
17 top 20 country hits.

The album is produced by Blake Chancey and
recorded in Nashville, and Gentry says he and Eddie
Montgomery "wrote a little bit more on this project
than they did in the past," including a the patrtotic-
themed "Freedom Never Goes out of Style" with
Gary Hannan and Phil "Philbrlly" O'Donnell. Neil
Thrasher, tra Dean, Rivers Rutherford and Tommy
Karlas also wrote for the album, and there aren't any
guest spots planned.

Gentry says the duo and Columbia Nashville are in
the midst of determining a first single from the album,
which should be out in time to be considered for next
spring's Academy of Country Music Awards

Don S.impion ■ Cliiis

OUlX'TRY MUSIC AWARDJ

k ASC AP held its 47th annual Country Music Awards Oct. 19 at tl
y Ryman Auditorium in Nashville before an audience of more th.
1.500 songwriters, country stars and music industry leaders. As
ley Gorley was named songwriter of the year; Alan Jackson w
named songwriter/artist of the year; "You're Gonna Miss Thi;
written by Ashley Gorley and published by Songs of Combii
tion Music and Bug Music/Windswept, received the country soi
of the year award; and EMI Music Publishing took home the pu
lisher of the year prize. JD Souther was presented with the Gold<
Note Award, an honor given to songwriters, composers at
artists who have achieved extraordinary career milestones, wh
Gerry House and the House Foundation received the Partne
in Music Award for their contributions toward the promotion ar
support of songwriters, musicians and artists. ASCAP also re
ognized a distinguished group of songwriters with the Silver C
cle honor in recognition of 25-plus years of membership. Tl
evening included performances by ASCAP president/chairm.
Paul Williams, as well as Gorley, Jackson, Souther, Lee Ann Wof
ack, Rodney Crowelt. Don Sampson, Clay Mills and Tommy Ki

las. PHOTOS: COURTESY OF KAY WILLIAMS (except where noted)

Aw.nrl-wnniriy songwriters
Craig Wiseman (loH) and
Clint Lagerberg Iwi k stage.

LMAfMiWa
witti KtlUt Pfc
/ the red CAfpet Wi

p<?rforfnod "Faithless
, Love" poft of the

tnboto to JD Souther

■'il of cJirectots mvirir ■ r Wayiand
Holyfield • ght> presents Ashley Gorley .. ii-
j.vjrj fci country sonywnlet u( fi.j yeiH
well lis a special-edition Les Paul GiDson guil

TESV OF ED RODE

MONTGOMERY GENTI

m !^

82 I BILLBOARD I NOVEMBER 7, 2009

AS TOO MUCH GLEE

.EE DOMINATES ITUNES CHARTS WITH OVER 2 MILLION DOWNLOAD

"From 'Cabaret' to Kanye, songs of Glee are a hit" - New York Times
'I don't know how Glee keeps topping itself - it just does!" - LA Times
Cover of Entertainment Weekly 10/23

volume

GLEE: THE MUSIC, Volume 1 in stores NOVEMBER 3rd

Original cast recordings of 17 traclts from the hit FOX TV show
jiuding the GOLD single "Don't Stop Bellevin", "Somebody to Love" and "Take a Bow"

WATCH GLEE ON FOX WED 9/8C

Glee: The Music, Volume 2 In Stores 1 2/8
Glee Volume 1 : Road to Sectionals available on DVD 1 2/29

gleethemusic.com / myspace.com/musicfromglee / fox.com/glee / columbiareconds.com

Sfltles Artwork. Photos «no fax imoemarts and Logos o 2009 Twwueth Cttnury Fox '

I- and- US. Pol &Tm. Off. Man»Hegiatrada/ 02009 SonrMuMcEnWI^^

FIRST WE TAKE

MAOTTAN.!.

- V LEONAFl^t:OHEN

■3^

..THEN WE TAKE CHICAGO & BOSTON

^'-g^ iH[ m

CUeaCOn THEATRE

»IU IMK CUT tlNiniillt MsriiEO

SOLD OUT!
February 19

RADIO
CITY

SOLD OUT!
May 16 & 17

GhroeN

SOLD OUT!
October 23

THE

CHICAGO
THEATRE

SOLD OUT!
February 29

crtii

•PCMTCD WANG
i CENTER THEATRE

SOLD OUT!
May 30

^MSG

ENTERTAINMENT

Cri

Cni

The Best the Web has to
offer on your favorite artist

The coolest music videos, the hottest photos, the latest songs.
Get it all in one place — music.yahoo.com

Cni

fv^^ MUSIC

H Mu&K VIOm ■ Radio - Downloads • Arlisft • Extlusiws • My Muuc *
Scdich Yahoo! MMk ll jg }So^ai'mumc "

Taylor Swift o'Ctit-Ctifii

1-6 of 42 videos

Biography

Taylor Swift has be«n siogM^
all r>er l<Te, nxitivaled t>y her
grarK]rTX>lt>er. v^o was a
proressional opera snger
She began performir>g locaBy
around her (own ar>d county
at the age of ten. and al age
1 1 sang trie riauonal anthem
before a PhUadeipnia

More ■

TOP MUSIC VIDEO SALES

JOUHNET i

HOT VIDEOCUPS

.;',VTWMIUIVTMW

TOP DVD SALES

TRAMSFORMEHS REVEMI OF THE FMJ

Cni

ISIN

CONGRATULATIONS ON A

OH 2009

EL EQUlPO DE

Billboflird

EDITORIALS I COMMENTARY LETTERS

Lessons From Down Under

South Africa Should Use The 2010 World Cup To Promote Its Musicians

BY PHIL TRIPP *! i^VvJ Jii f V .>^' iC IHll^^^Sf^

In 1983. the crew of the Australia 11 em- ^^^V-fr" ' ' ^Sit'-^

braced Men at Work's hit "Down Under" ^BhH^Lj^I

as the theme song for its successful run ff^^^ll^^J^tw

at the America's Cup championship. f ipl^jf •I'yf^ '^j^^ Jba^B-^^M '

Nearly two decades later, another sport- X'^vSp^^T^^i^E^^^lP ^

ing event — the 2(X)0 Summer Olympics ^^WP^^jL^ Ji\5^^^BAl ^l *

in Sydney — brought Australian artists \

and music to the world's attention. .jBrnl^^-^ - .^^^^^^v^ j/T ^^^"^
The recording industry and the Aus- - ^ ^^^^^^m^BC^SfiTj^^ '

tralian Trade Commission embraced both JM^J f ^^^^^^il^^B^ i ^

events as export-promotion opportunities { ^ ^^r'^f^^^P^^'* / ■^r^XB

fortherenewableresourceofintellectual X ^ J^Ktf^^ ^B/kT^^ A'Z!^ ^
property (i.e., music and artists), reach- V^^di*^^5p l^^t^ J^^A^^^'

ing out to overseas markets through mass- fP^^\'^^HP ^SsT J^jyl^y-^Jq^P^

media coverage and post-event marketing.

Now a major sporting event is poised tional roots. Australia's most recogniza- World Cup to raise the international pro-

to provide many of the same benefits to ble and memorable hits before the '80s file of its artists and musicians. The tour-

another country's artists. When South were "Tie Me Kangaroo Down Sport" and nament will provide ample chances to do

Africa hosts the FIFA World Cup in "Waltzing Matilda." much as hula danc- so, including opening ceremonies broad-

2()l(),itscontemporarymusicscenewiil ing. falsetto singing and ukuleles largely cast to billions and local concerts that

have the chance to bask in the global defined Hawaiian music for foreign au- could entertain millions of tourists,

spotlight. The tournament will provide diences before the emergence of such acts Before global media outlets turn their

a brief but potentially valuable window as jack Johnson. Pimpbol. Fiji or even attention elsewhere, South Africa's record-

of opportunity. Israel Kamakawiwo'ole. Sometimes it's ing industry should enlist the support of

South Africa has a vibrant contempo- harder to break through the cultural the government to make hay while the sun

rary music culture thai sings in English tourism market when you shout rather shines on this country and set in motion

and indeed rocks. While johnny Clegg and than chant, rock rather than strum and a perpetual harvest of its rich music. ••••

luluka may be the most familiar to over- appeal to youthful ears rather than nos-

seas music fans, other acts like the hard- talgic memories. Phxl Tripp is mana^ng director of

edged Seelherand new stars BLK JKShave South Africa has an opportunity to pre- IMMEDIA. publisher of the

also made inroads into new markets, vail over such challenges by using the AustralAsian Music industry Directory.

Plenty more diamonds are waiting to be

unearthed and exported. But it's not going

to happen by chance. It must be propelled l« I" i" l^k

by a synergy of government and industry I Mi Im l^r IJg^^^f 1^

using this event to gain critical mass. D/^Anr^DI^ n/^l I

We've seen it before in Australia, with |p|2 Bl LLBOARD. Bl Z POLL
trade missions and government subsi- Ha(velnternettoolsarKJdigitaldistributionCcomponentsoftheLongTajOck>se^
dies for attendance at trade fairs like the irKome gap betwreen 'the hits" and tessestablist>edcutistsdurir»g the p«ist five yeare^
MI DEM and South by Southwest, tour-
ing support and other programs to bring j| Qx Yes, the Internet offers any artist a chance to
Australian music onto the world stage. 4^ /O break through and find an audience.
And you can witness similar public-

partnerships the presence ^1^1 ^1^1 ^1^1 ^1^1 ^1^1

the Dutch and the Scandinavians ^1^1 ^1^1 ^1^1 ^1^1 ^1^1
MIDEM; the Brits, Irish and Scots at

SXSW; French. Spanish and Brazilian ^h^SH^S^bH^S^S^^^

contingents at SXSW and Popkomm; and ^llH^l^l^l^l^l^lMbiiUa y| /NO/ No, today the Internet

the Canadians seemingly everywhere. ^l^l^llHUHIHHIIHiil ^T^^ /O has more clutter for

Speaking on this topic at the sixth an- HI^H^H^H^H^H^H^H^H^H artists to rise above and creates a

nual Moshito Music Conference in }o- ^■^■^■^■^■^■^S^S^S^S greater disparity between the hits

hannesburg in September, I was blown ^B^B^B^B^B^B^B^B^B^B and everyone else,

away by the diversity and quality of the ^B^I^I^B^I^I^I^B^I^B

I>erformances at the live showcases. But "70/ f^dybe, the Long Tail has

1 also learned of the obstacles that South ^■^■^■^■^■^■^■^■^■^5 ' ' given little or no sales

African artists face in trying to reach a HiBRBaBliBHHB^B^B^B^B boost to emerging artists,
larger, international audience, including

post-apartheid political and socieUlchal- WRITE US. Share your feedback with Billboard readers

ienges and the perception of their home around the world. Send correspondence to letters a binboard.com. '^"^V
as a "third world" country. Include name, title, address and phone number for verification. / *

South Africa's contemporary music SUBSCRIBE. Go to billboard. biz/subscrlbe or call
scene, like those of Australia. New 800-658-8372 (U.S. toll free) or 847-559-7531 (International).

Zealand and even Hawaii in the past, can Lwn»n (.nouicf b. eoncnm *na m*, b» ah Mi>mtu-on» puixishvd wmii twcom. it _

(Ola DTOponv o* Billboard, mtilch %hM own m. copyrlgl* in ivtiot* or pan. (or pub>K«T«n

sometimes be overshadowed by its tradi-
6 I BILLBOARD 1 NOVEMBER 14. 2009

eorroRiAL

DtECUriVE EDITOR: ROBCRT LCVWI 646 6S-4-4707

DEPUTY EDITOR: Louis Hmi 1^54 4706

S04IOR EDTTOR: Am DOMtHM ^S-S25-2292

SPECIAL FEATURES EDITOR: Them Duffy 646-654-4716

INTERNATIONAL BUREAU CHIEF: Hvfe SuttMrlwid 011-44-207-420-6155

MUSIC EDITOR. Cortncy Harding i^'ii^ f^b-i-Sb92

BlLLBOARD-BIZ EDITOR: Chrlt M- WalUt b'tb bS->

EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR LATIN MUSIC AND ENTERTAINMENT: Lvlla Cotw (Miami) 30S-36
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOURING AND LIVE ENTERTAINMENT: Itiv WBcMtN (Nashville) 6K
E)(eCUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR DIGITAL/MOBILE: Antony Bruno U^erverl SD3-771-)342
SCNIOR CORRESPONDENTS: Ed Chrlitman \ . i > : , ^. ; .|

■•II Mllchall ■ :.(H -'. ■■ I Tom Ferguion ; ■ ) ■ jf > 011-44-207-4a

■EMiOR EDITORIAL ANALYST: Glann PMplat n

CORRESPONDENTS: AyaU BwvVahuda l ^. ^ . <: Mitchvll PvMra 7.2^-^,7^71
INTERNATIONAL: Lan Brandia < Ausirdia; WoMoMtg Ipatw Hmi:
GLOBAL NEWS EDITOR: Andr* PaliM 011-44-207-420-6058
COPY CHIEF: Chris Wood*
COPY EDITOR: Chrlsta Tltui

ASSOCIATE EDITOR. SPECIAL FEATURES: Evla Hagy 646 6S-1
CONTRIBUTORS: Jim B*Mman, Larry Blumanfald
D«t>orah Evam Prlca, Paul S*iton, Stay* Ttakma
SPECIAL PROJECTS MANAGER: Krittlna Timil

BILLBOARO.COM
BILLaOARD.COM EDITOR: JESSICA LETKEtUNN 646'6S4-SS36
8n.LBOARD.COM NEWS EDITOR: David J. Prtnca &46-6S4-SS82
BI.LBOARajCOM ASSOCIATE EDITORS: MarM Cortoipden G4G-e54-4790 f

DESIGN I PHOTOGRAPHY
CREATIVE DIRECTOR: CHRISTINE BOWER-WRIGHT
PHOTO EDITOR: Amaila Halvanon SENIOR DESIGNER: Grag

CHARTS a RESEARCH
DIRECTOR OF CHARTS: SILVIO PIETROLUOMOO
ASSOCIATE DIRECTOR OF CHARTS: Raphaal OmtO*

SENIOR CHART MANAGERS: Kaltti CauHtaW '_i iit.L\iiil 200. Cast. Conf^D'lat«om. DH

All'ui* . !'■■(■ ' -IT- ,■ .iMtog. Soundtracks: L A >,

Wada J««Mn h .- I e>

CHART MANAGERS Bob Allan i Raphaal OOOTV* (Btues, RABAHip*

Regtja..'. t.'i ,:!■ ■ ,, ;■ Gordon Hurray ■ ], ...lh 1 [.-...fiorac. Ja//, New A^t. Ringior

h4ern^3r k in.j woud). SJtvto Platroluort9o I'm B^'ltxiaid Mol 100. Digital Songs). PM Poi
oftlteWorkl iwiitim) Gary Truit :■ Aitarnaiiv*. Chart Baa(. Haatiaakars Sor>gs. M>
Tod 40 Rock. Tr-ol* A) Alax VltoulU ■ issical. Kid Awdo, Video)
IMTERIM CHART MANAGER: Rauly Ramlraz [laMi>
CHART PRODUCTION MANAGER: Mkhaal Cusaon
ASSOCIATE CHART PRODUCTION MANAGER: Aln VttouHa
BILLBOARD RESEARCH MANAGER: Gordon Mumy G46 6B4-4633
DIGITAL

VICE PRESIDENT. DIGITAL: JOSHUA ENOROPP
DIRECTOR. MARKET DEVELOPMENT: Eric Wwd
MANAGER. MARKET DEVELOPMENT: Juatln Harris

ADVERTISING SALES
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER: JEREMY LMVINE 64&-654-4627
NATIONAL SALES DIRECTOR/DIGITAL « CONSUMER: Daf«ll SmMmt &46-6S4-46I6
EAST COAST SALES DIRECTORS. PRINT: ChrMopTMr Robblns 646-6S4-4759, Ont^ MM*
DIRECTOR. BUSINESS DEVELOPMENT & EAST COAST SALES: 646-6S4-47X)
EAST COAST SALES DIRECTORS. DIGITAL: Antonto Amato M6 &S4-468a tDnn IWdi (
DIRECTOR. SPECIAL FEATURES & WEST COAST SALES: Akl KanakO 3?3 S2S 229^
MIDWEST SALES DIRECTOR. DIGITAL: Alana Schllflia j^i^r' 583-S514
WEST COAST SALES DIRECTOR. DIGITAL: CaMy Owniwhy i3251 S?5'2237
NASHVILLE: Laa Ann Pftotoglo nt^ 5 76 7931 u.^>->t>. CytrtMa MaMow 61S-S52-0265 (Tm
ADVERTISING DIRECTOR DETROIT: KaMiy VWbo 2-18 bS/ 9168
ADVERTISING DIRECTOR EUROPE/U.IC' Frodarlc PMUod Oil 44 207-420-6075
INSIDE ACCOUNT REP: Jatf SarrMta ^46-654-4697
MANAGING DIRECTORAATIN: Oan* Smith 973-746-2520
LATIN AMERICA/MIAMI: MM«la OHval US a&4'757a. Fax: 305-864-S227
ASIA-PACIFIC/AUSTRALIA: Linda Hatlch 612 9440 7777, Fax. 6t2-9440-7788
JAPAN: AlU KanakO b.^? rVf, .^.>^>1

MANAGER OF SALES ANALYTICS: Mima OoiMX 646-654-469S
ADVERTISING COORDINATOR: Atasandra HattZ 646-654-5581
MARKETING

SENIOR MARKETING DIRECTOR- LILA OBRSON 646-654-4629
EVENT MARKETING MANAGER: Nkoia CartMTW 646-6S4-46S4
SENIOR MARKETING MANAGER: Jamas Cross 646 654 5489
MARKETING MANAGER: Karri Bargman ti-ir> f.r>4-4617
SALES/MARKETING ART DIRECTOR: Mallssa SubMch
SALES/MARKETING DESIGN MANAGER: Khn Graslf»e

AUDIENCE MARKETING

AUDIENCE MARKETING DIRECTOR: HEM. EISENBERG
ASSOOATE AUDIENCE MARKETING DIRECTOR: Unda Lam
SUBSCRIPTIONS: flOO CW-fil?? (ii S Toll Fr**) R47 '"^'-.f* 7<^V (Intorrwmonal) tx nbbA*

LICENSING. EVENTS • REPRINTS
VK:E PRESIDENT, BUSINESS DEVELOPMENT A LKENSING: ANDREW MIN ,r «i((nv mIrKg
EXECUTIVE DIRECTOR. CONFERENCES A SPECIAL EVENTS: MICHELE JACANGCLO
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabala Marquaz -■>. bS4-464.
SPONSORSHIP SALES MANAGERS: Manhsw Carona irlb bUb Kbn GrimtlM 646
SPECIAL EVENTS DIRECTOR: M«rgarat O'Shaa
SPECIAL EVENTS MANAGER: Lisa DtAnlonlo
EVENT CLIENT SERVICES MANAGER: Courtnay Marks
DIRECTOR. UCCNSING & CUSTOM MEDIA: Diana Driscoll GAd 6S4 4677
MANAGB^ INTERNATKMAL LICENSMG ft SALES: AnvalhM ■MwiMl dr>oe«inei>ieshev/v««
MAGAZINE REPRINTS: Angla VanOordar I R<:>0-.-^0 S-IBO FkI 176 of BBi^thaYGSgr

PRODUCTION
PRODUCTION DIRECTOR: TERRENCE C. SANDERS
ASSOCIATE PRODUCTION DIRECTOR: Anthony T. StoHlnfft
ASSOOATE PRODUCTION MANAGER: Rodear Laonard

OPERATIONS

GROUP FINANCIAL DIRECTOR: BARBARA ORIENINOER 646-654-4675
HUMAN RESOURCES DIRECTOR: BILL FIHTON
LEGAL COUNSEL; MARK MILLER
DISTRIBUTION DIRECTOR: Lou BradHatd

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: Dana Pan* 646-65-
VICE PRESIDENT, MANUFACTURING AND DISTRIBUTION: JannHW Qtm^o
VICE PRESIDENT, AUDIENCE MARKETING: Joanna Whaatlay

mWVORK: 770 Broadway.
New Yofk. NY K)003
Phorv 646-654-4500
Edit Fax 646.654-4681
Adv Fa* 646-654-4799

LXMIDON: Endesvou
189 Shaftasbury Ava.
LoryJon WC2H 8TJ;
Phor»» on-44-207-4;
Fax; 01I-44-207-42O-

BILLBOARD OFFICES
LMAHOILEt: 505S Wilsdire
Blvd. Los. Ar>a«<ei. CA 90056
Phone 323-52S-230O
FaK 323-52S-2J94/2395

MIAftt lOICrandonBtwd.
Suita 466. Kay 8«ayr>e. FL
35149 Phone 505-361-S279
Fa. 305-361-5299

PRESOENT: Gfag fmnwr, SENK3R VKX PRESIDOfT. HUt4AN RE3
Mkhaal Alcaa; SENUR VICE PRESIDENT. BRAND MEDIA:
MRmo; SENIOR VICE PRESIDENT, MEDIA A ENTERTAINMENT;
NieiMn Business Media Byma; SENIOR VICE PRESIDENT. FINANCE: Sloana Goosln: SI
VK:E PRESIDENT. RETAIL: David Loacftnar; SENIOR VICE PRE.
CONTENT: Scott McKanzIa; SENIOR VICE PRESIDENT. BUILDING ft DESKN: Joa RvKMt
VICE PRESIDENT, CENTRAL SERVICES: Mary Kay Swtak; CHIEF OPERATING OFFICER.
ENTERTAINMENT; Howard Appalbaum; VICE PRESIDENT, MANUFACTURING ft DISTRIBI
Jannltar Oraso; VICE PRESIDENT, UCENSING: Andrvw HIn; VICE PRESIDENT, CLIENT MA
Sua TramUay; VICE PRESIDENT. AUDIENCE MARKETING: Joanna Whaatiay

nielsen

>>BEATLES
EMASTERS
EADINGTO
SB

Dpie Corps and EMI
jsic are issuing the
satles remasters on
innited-edition,
>ple-shaped USB
ive in time for
iristmas. The
lease marks the
St time the Beatles'
italog has officially
ien sold as digital
es separate from
e CDs. Vinyl
irsions of the
issues are
;pected soon. The
SB drive will be
leased Dec. 7 in the
nited Kingdom and
sc. 8 in North
merica.

>>NO
OUBT SUES
CTIVISION

5 Doubt sued the
iteogame
iblisher Activislon
izzard over the use
its likeness in the
mpany's new
and Hero" title,
le lawsuit, filed in
s Angeles
perior Court,
cuses Activislon of
ludulent
iucement and
each of contract,
a statement the
mpany said:
ctivision believes
s within Its legal
hts with respect
the use and
rtrayal of the band
mbers in the
me and that this
vsuit is without
!rit."

EMI TO
LLLIVE
ECORDINGS
r SHOWS

I Music announced

ns to launch
bey Road Live, a
w live music

ording and instant
eduction service,
adquartered at

bey Road Studios

.ondon, the
vice will enable
icertgoers to
rchase live
ordings just
lutes after a show
y've attended,
s recordings will
available in a
iety of formats,
luding CD, DVD
i USB, or through
ital delivery.

THE WRITE STUFF
Amoeba co-founder
pens teen novel

DATA ROCK

Making digital music
analytics pay off

ROOM ON THE DIAL

Low-power radio bill
passes key hurdle

NEW EDITION

A chat with -All You
Need to Know' author

With the passage of the Performance
Rights Act by the U.S. House and Sen-
ate judiciary committees, the recording
industry has come closer than ever to
having the issue of radio performance
royalties reach the floor of Congress.

Before llic bill reaches that stage, how-
ever, representatives from industry trade
group the musicFirst Coalition and the
National Assn. of Broadcasters are sdied-
uled to hold two weeks of talks from Nov.
17 to Dec. 1 at the request of judiciary
committee members, including House
judiciary Committee chairman |ohn
Conyers )r., D-Mich.. and Senate Judi-
ciary Committee chairman Patrick Leahy.
D-Vt. The talks will be led by members
and staff of the two judiciary committees.

"We are confident that an acceptable
and mutually beneficial resolution to
this longstanding disagreement can be
found," the committee members said
in a letter to musicFirst and NAB.

That level of optimism is almost
surely misplaced, given that labels and
artists have tried in vain for nearly seven
decades to get U.S. radio stations to pay
master copyright owners and perform-
ers for the music they broadcast.

Still, a failure by the two sides to reach
some level of mutual accommodation
or even the postponement of a full
House or Senate vole on the legislation
isn't likely to mark the end of the record-
ing industry's efforts to eventually se-
cure radio performance royalties.

"We are pleased to have gotten this
far, but we are not looking Tor any moral
victories," RIAA chairman/CEO Mitch
Bainwol says. "We will keep our foot on
the gas until it is the law of the land."

While the NAB says it is willing to
talk with Congress about the bill, it isn't
clear if it would negotiate with music-
First to shape the terms of a fee struc-
ture or any other aspect of the bill-
New NAB president/CEO Gordon
Smith, a former two-term U.S. senator
from Oregon, is seen in Washington,
D.C.. circles as a moderate with a

BY PAUL HEINE and ED CHRISTMAN

TALK RADIO

Labels, Stations To Face Off
On Performance Royalties

siiiuuth, poIi»lit:d approach thai con-
trasts sharply in tone from the bombast
of his predecessor David Rehr, who
abruptly left his post in May after less
than three-and-a-half years at the helm.

Rehr's now infamous proclamation
during a july 2008 radio industry con-
ference— " I 'd rather slit my throat than
negotiate" — created public-relations
headaches for the NAB and rubbed
some lawmakers the wrong way.

"The fact that we are willing to sit
down reflects that there has been a

change in leadership and a change in

Style with Gordon's approach versus his
predecessor," NAB executive VP Den-
nis Wharton says.

But there doesn't appear to be a
change in position. At the NAB's annual
radio convention in September in
Philadelphia, broadcasters made it clear
to Smith that defeating the Performance
Rights Act should be his top priority.
Still, refusing a request by powerful
members of Congress to discuss the
topic could get Smith off to an awkward

start as he tries to convince lawmakers
that imposing new fees would jeopard-
ize radio's ability to serve the public.

Moreover, the NAB says 252 House
lawmakers and 27 U.S. senators have
signed a nonbinding resolution stating
that "Congress should not impose any
new performance fee, tax, royalty or
other charge relating to the public per-
formance of sound recordiiigs on a local
radio station."

Prominent recording artists have
gone to Washington to speak out in
favor of performance royalties, includ-
ing Tony Bennett. Sheryl Crow. Sheila
E. and Billy Corgan. While a majority
of House members have signed the
NAB-supported resolution, the Rl AA's
Bainwol says its nonbinding status ren-
ders it "essentially meaningless." He
points out that the resolution is out of
date, since the proposed legislation has
been altered to address the radio indus-
try's concerns that it would cripple
smaller stations and their ability to serve
local communities.

For example, the act requires annual
fees of $100 for stations with less than
$50,000 in annual revenue. $500 for sta-
tions with revenue between $50,000
and $100,000. $2,500 for stations with
revenue of $ 1 00,00-$500.000 and $ 5 .000
for stations with revenue of $500,000
to $1.25 million.

That covers 80% of U.S. stations, leav-
ing only the remaining stations with an-
nual revenue in excess of $1.25 million

to nt^otiale a rate, according to Sound Ex-
change executive director |ohn Simson.

The head of one of radio's largest
groups, speaking to Wall Street analysts
during its Nov. 2 earnings call, said that
performance royalties are a "whack-a-
mole" issue. "It's going to be brought
up every year,'* Cumulus Media CEO
Lew Dickey said, "so we are going to be
talking about this for a long time." • - ■ •

MOBILE: For 24/7 news and analysis
J on your cell phone or mobile device,
* go to mobile.blllbOBrd.blz.

NOVEMBER 14, 2009 I www.blDboard.biJt ^ niTaterial

.biz

For 24/7 rvews and
analysis on your
mobile device, 90 to;
mobll9.bmbMrcl.Wz.

UPi=RQNX=

new iiuHMi

>>>LILITH FAIR
ANNOUNCES
CHARITY
PARTNERS

Next year's Lilith Fair
concert festival will
contribute $1 from every
ticket sold and a portion of
sponsorship proceeds to
charitable partners. Two
key charitable partners
have been announced—
the i4c Campaign to drive
social awareness and the
nonprofit environmental
group Reverb. Lilith is
expected to kick off dates
next year featuring singer
Sarah McLachlan in such
cities as Toronto, New York
and Los Angeles.

>>>LATIN STARS
GIVE 'LIFE' TO
CITY OF HOPE
PROJECT

Universal Music Group will
promote and distribute an
original song, "La Gota de
la Vida" (The Drop of
Life), to benefit the Los
Angeles cancer research
center City of Hope and
its Hispanic outreach
campaign for bone
marrow donations. The
song was recorded in Las
Vegas during the week of
the Latin Grammy Awards.
Artists who have
contributed to the
recording include David
Bisbal, Luis Fonsi, Tito "El
Bambino," Enrique
Iglesias, Franco De Vita
and Fanny Lu.

>>>NARM
FORMS DIGITAL
TASK FORCE

NARM has launched a
Digital Think Tank, a
special task force of
NARf^ members
dedicated to resolving
issues surrounding the
business of digital music.
The group will focus on
digital supply chain and
operations, metrics and
data visualization, and
product development.
Members serving on the
Digital Think Tank include
7digital, Amazon, E1, EMI,
the Independent Online
Distribution Alliance, Iris,
ITunes and Microsoft.

Compiled by Chris M.
Walsh. Reporting by
Ayala Ben-Yehuda, Ed
Christman, Leila Cobo,
Andre Paine, Mitchell
Peters, Robert Thompson
and Reuters.

BY AYALA BEN-YEHUDA and MITCHELL

— — «II\*M|III c

Billbowd

FIUII

r -liilEICi

giggles: At left, author/journalist DAN KIMPEL moderates a
Oi:>i.uL,siQn with composer ERRAN BARON COHEN (center) and his
brother SACHA BARON COHEN (right) about their collaborations on 'De
All G. Show,' 'Borat' and 'Bruno.' Above, music supervisor ALEXANDRA
PATSAVAS discusses how bands and songs were selected to appear
on the soundtrack to 'The Twilight Saga: New Moon.'

TUNING IN TO TUNES

Film And TV Music Confab Highlights Power Of Synchs

The overarching theme of the
Hollywood Reporter/ Billboard
Film and TV Music Conference
was that it isn't just music su-
pervisors who recognize the
value of music in TV and film —
it's now common knowledge
amongcreative talent, produc-
ers and network executives.

During the conference, held
Oct. 29-30 at the Beverly Hilton
in Los Angeles, executives from
Fox and Columbia joined
"Glee" music supervisor P.|.
Bloom, cast member Lea
Michele and the show's music
producer Adam Anders to dis-
cuss what's driven sales of mil-
lions of "Glee" song downloads
and enthusiasm for two forth-
coming soundtrack volumes.

Rather than keeping the
"Glee" pilot a secret. Fox
presented it to as many music
publishers and record labels as
it could to get them onboard for

clearances from the get-go,
according to 20th Century Fox
Television head of music
Geoff Bywater.

Now that "Glee" is a hit.
Bloom said the show is fielding
synch pitches from artists who
don't normally allow their
music to be used on TV.

Bywater said a key evangel-
ist for the show has been
Columbia/Epic label group
chairman Rob Stringer. "He
looked at the trailer — not the
pilot, but the trailer — and said.
'Let's get the attorneys on the
phone,' " Bywater recalled.
"How many shows going into
their eighth episode have sold
2.5 million downloads? He had
the commitment, the energy,
the expertise. It was pure gen-
uine enthusiasm."

Mary I . Blige. who addressed
the conference about her orig-
inal song for the forthcoming

film "Precious: Based on the
Novel 'Push' by Sapphire," also
credits a strong evangelist for
convincing her to play a role:
director Lee Daniels, who. she
said, "made me pull every sin-
gle thing from my guts. "

" He said, ' I know you have it
in you,' " Blige recalled. "I fi-
nally got to the point where the
very next day I just went in and
threw up on the record."

Blige added that she was in-
terested in pursuing other film
projects and said she would
"put my all" into a long-dis-
cussed Nina Simone biopic.

On a much lighter note,
music supervisor Alexandra
Patsavas told the audience
about pulling together the
soundtrack to "The Twilight
Saga: New Moon." She said that
the fact that the artists featured
on the soundtrack could easily
share a bill together was a key

part of the album's success.

"There's definitely a cohe-
sion within the music of the
movie," she said.

Chop Shop owner Patsavas
also served as a producer of
the "New Moon" soundtrack,
which features exclusive
tracks from Thom Yorke. Bon
Iver & St. Vincent, Lykke Li
and Sea Wolf, among others.
In addition, she produced the
soundtrack to the previous
"Twilight" movie, which has
sold 2.2 million copies in the
United States, according to
Nielsen SoundScan.

Finally, actor Sacha Baron
Cohen and his brother, com-
poser Erran Baron Cohen, filled
the room with laughs as they
discussed their collaborations
on "Da Ali G Show," "Borat"
and "Briino."

The keynote began with sto-
ries about the Cohen brothers'
humorous childhood antics,
which included Friday-night
skits for their 90-year-old
neighbor, where Erran would

provide Yiddish tunes on 1
piano with Sacha singing ale
in a chicken voice. The disc
sion then moved to their fi
and TV collaborations in
cent years.

Sacha described his alter «
Ali G as "probably the fi
comedy character in Engia
that saw himself as a nui
cian — but obviously he had
talent as a musician. So t
challenge for Erran was
come up with the music of.
G." At the lime of the Ht
program, drum'n'bass v.
popular, so Erran used c
ments of the genre and nii>
it with "fart" noises and otl
odd sounds.

"It was funny but also re£
Sacha said. "You listened tc
and said, 'All right, this gu^
one of these dreadful wanks^
wannabe DJs." He also nol
that Erran is "great at niaki
something real buttoinical I
same time, which is what
were trying to do with t
shows and characters."

HOME FROS

360 DEGREES OF BILLBOARD

R. KELLY KICKS OFF BILLBOARD/OUR
WORLD LIVE ONLINE CONCERT SERIES
Billboard and Our World Live (OWL) launched their
new live online concert series at Blltt>oardLlve.com
Oct. 29 with a performance by R. Kelly at the Nokia
Theatre In Dallas. Other artists slated to perform on
the weekly series Include Alicia Keys, Usher and
David Archuleta.

Every Thursday, BlllboardUve will stream a live con-
cert in high-definition video from a different city. Fans
will be able to view every show from any one of five
camera angles. Each full-screen view will tie accom-
panied t>y four smaller images at the bottom of the
screen, alk>wing users to click on any view they wish
to watch. Each show will also highlight a specific Bill-
board chart of the week. Users can tweet and send
nve messages to their Facebook friends directly from
the on-screen video player

BiliboardLlve will also feature such exclusive ele-
ments as behind-the-scenes footage and interviews
with the featured performer. While BiliboardLlve will
stream concerts by top acts in tr>e music business, it
will also show developing artists performing with

8 I BILLBOARD I NOVEMBER 14, 2009

headlining acts or in their own sets.

Billt>oardLive is a strategic alliance be-
tween Billboard and OWL, an Internet
broadcast, production and syndication
company. Music industry veteran Ron Weisner, OWL
CEO Michael Williams and TV producer Tzvi Small
will executive-produce the series.

"Top-notch artists doing live concerts In this ex-
traordinary innovative way is a fantastic opportunity
for music fans," Billboard publisher Howard Appel-
baum says. "It feeds Into what our larger strategy is:
bringing great unique content and letting p>eople t>e-
hind the velvet rope of the music industry."

Live from
Dallas:

* «_# R. KELLY

MADONNA TAKES TOP HONORS AT
BILLBOARD TOURING AWARDS
Madonna's Sticky & Sweet tour was the big w
ner at the sixth annual Billboard Touring Awar
taking home honors for top tour and top dr;
which acknowledge the highest-grossing and hie
est-attended tours of the year, respectively, f*
donna's manager Guy O'Seary received the t
manager award.

The Billboard Touring Awards are based on wor
wide data reported to Billboard Boxscore for the f
riod Oct. 1. 2008, through Sept. 30, 2009. Ker
Chesne/s Sun City Carnival tour snared the art!:
sixth straight top package award, while U2 receiv
the top boxscore award for the t>and's July show:
Croke Park in Dublin. Other honorees included II Di
which won the breakthrough award, and Dane Co
who took the top comedy tour award.

Additionally, Keith Urban won the Concert M
keting & Promotion Award for his Escape Toget
tour sponsored by KIngsford and KC Masterpie
and Jonas Brothers received the Eventful Fa
Choice Award, both determined by online voti
Vans Warped tour founder Kevin Lyman receiv
the Humanitarian Award, and Ozzy Osbourne v
named Legend of Live. For a complete list of winni
go to billboard.biz.

Cci

GLOBAL
NEWS
LINE

www.billboard.biz/global

»>MITS HONOR
FOR ROSS

U.K. TV/radio personality
Jonathan Ross received
the annual Music Industry
Trusts' Award Nov. 2 at
London's Grosvenor
House Hotel for his
services to music
broadcasting. The MITs
and the event raise
money for Nordoff-
Robbins Music Therapy
and the BRIT Trust.
Previous honorees
include George Martin,
Harvey Goldsmith and
the late Ahmet Ertegun.
Stereophonies lead
singer Kelly Jones and
Bryan Ferry performed at
the ceremony, which was
attended by 1,000 music
industry/media
professionals and artists.

> CONVERSE, ^
PEPSI PAIR AT
MIDEM ^

Pepsi and Converse will
share the stage at the
MIDEM music conference
in Cannes (Jan. 24-27).
Converse chief marketing
officer Geoff Cottrill and
Frank Cooper III, senior
VP/chief consumer
engagement officer of
PepsiCo Americas
Beverages, will discuss
their respective music
strategies Jan. 25 at
MIDEM's "Images and
Brands" conference.
Cornerstone Agency co-
CEO Rob Stone will
moderate the debate,
which will explore music
branding opportunities.

»>LIVE NATION
EXITS THEATER BIZ

Live Nation has sold its
U.K. theatrical venues and
operations to
Ambassador Theatre
Group. The portfolio
includes London West
End theaters the Lyceum
and the Apollo Victoria.
Live Nation also sold its
interest in the Dominion
Theatre in London to
Nederlander Group. The
gross price for the
portfolio (including the
Dominion) is
approximately $160
million, according to a
Live Nation statement.
Live Nation

president/CEO Michael
Rapino says the proceeds
will "allow us to continue
our goal to de-lever our
balance sheet by selling
off assets that are not core
to our live music strategy."

Reporting by Andre Paine
and Richard Smirke.

Mercury stalling: Mercury
Prize winner SPEECH
DEBELLE and singer/
songwriter IMOGEN HEAP
(right) are among the U.K.
artists who have been
affected by stricter
processing of U.S. visa
applications.

BY JULIANA KORANTENG

LONDON — Tour managers
and producers are warning
that stricter enforcement of
U.S. immigration regulations
is complicating efforts by over-
seas artists to schedule live
gigs in the States.

The U.S. Citizens and Immigration
Services outlined in October a more re-
strictive interpretation of its application
procedures for musicians seeking "O"
and " P" visas — temporary work visas is-
sued to solo acts and groups, respectively.

Many solo performers had become
accustomed to obtaining "O" visas for
up to three years, while groups had
customarily obtained "P" visas for up
to a year. But in recent months. USCIS
has begun embracing a stricter ap-
proach to entertainment visas. lim-
iting the term of a visa to tl
specific length of a tour and
stipulating that apphcants
must provide extensive
documentation detailing
their itinerary.

In an e-mail advisory
earlier this month to man
agers, booking agents and otiu
clients, the New York-based visa and
immigration services agency Traffic
Control Group recommended that
"artist management immediately begin
to proactively organize and prepare as
much supporting paperwork regarding
confirmed itineraries as possible in-
cluding contracts, deal memos or any
other documentation ... in order to
avoid delays in the adjudication of all
new visa petitions."

While it doesn't mark a change in ex-
isting regulations, USCIS' new ap-
proach could make it more difUcult for
artists, particularly emerging acts, to
build grass-roots support by hampering

VEXING VISAS

Stricter U.S. Immigration Enforcement Sparks Worries
About Touring Impact

their ability to schedule follow-up visits
soon after a successful debut tour.

"It s going to get harder for new acts
to build a fan base in the United States."
says Ian Watt, whose London-based firm
Machine Management co-manages
Mika and represents U.K. alt-rock act
Lightspeed Champion.

Fruit Pie Music Productions in
London, which represents singer/song-
writer Imogen Heap, almost had to post-
pone Heap's fail U.S. tour because details
ofUSClS' more restrictive approach
— which had been quietly intro-
duced during the summer —
only emerged at the last
minute, according to Ku-
mar Kamalagharan, direc-
tor of touring at Fruit Pie,
which has also worked
with Razorlight, Feeder and
k McManus.
After negotiating with U.S. immi-
gration authorities. Heap eventually ob-
tained the three-year visa she had
applied for months in advance and is
set to begin her U.S. tour Nov. 8 in Santa
Barbara. Calif.

But Kamalagharan remains gloomy
about the impact that USCIS' stricter
enforcement of visa rules will have on
other performers.

"I don't think we'll be able to afford
to send acts to the next [South by
Southwest (SXSW) conference] be-
cause of these stupid rules," he says,
adding. "If aspiring artists, the
lifeblood of the industry, can't afford

to go to the U.S.. how will they cope?"

Tighter enforcement has also had
"tremendous impact" on Latin Ameri-
can touring acts, says immigration at-
torney Michael M. Felix of Santa Fe
Springs, Calif., whose clients include re-
gional Mexican artists. Although the law
for adjudicating these cases is the same,
Felbc claims that USCIS representatives
in California have "chosen to selectively

enforce the law vory, vpry tightly on all

these performers."

USCIS representatives didn'tre-
turn calls seeking comment
The new approach rega rd ing
"O" and "P" visas also .\\'-
fects how artists apply for
them. For either visa. .1
U.S.-based "sponsor." sm 1
as a manager, label or pro
moter/booking agent, ha
been needed to file a pt t i ( ion to
USCIS through an attorney. But ac-
cording to the Traffic Control Group ad-
visory, USCIS has begun "severely
limiting" who may submit a visa peti-
tion on behalf of performing artists, tak-
ing a narrower view of who it views as a
qualified "agent."

Failure to submit the proper docu-
mentation or to use a proper agent to file
a visa application could result in addi-
tional processing costs that would have
to be paid on top of standard visa charges,
which vary from $2,000 lo $6,000. de-
pending on the size of the entourage.

Several U.K. artists scheduled to play
at the CM J Marathon in October in New

York pulled out at the la
minute, citing problems wi
the new visa guidance. Th
included 2009 Mercury Pri
winner Speech Debelle a
singer/songwriterV.V. Brow
both clients of the Windi
Agency in Chicago.

Company president Tom Windi
says CM| and other U.S. sho
would've been an ideal way of in iroti 1
ing Debelle while her Mercury win \\
still fresh and would've helped bti
momentum for .shows around SXS
next March.

"SXSW would have been great
Speech Debelle," Windish says. adJi

that he now faccB the prospect of : '..
ing from scratch, as ■'tlu rxt iii.-rm ni ,1
attention from the Mercury Pi
luldhavewomofi in font
five months' time."
CM I Network VI'
artists and events \)
McDonald also expn
frustration. " [ W li
artists who make pi.
well in advance still get
nit d at the last minute,"
says, "it means there isn't time to
place them, and the vi-nuc/pronii
suffers from the lost revenue."

Performing arts organizations in
United States, including the l.t-a^in
American Orchestras in Washiii^ti
D.C.. are working to roll back USC
stricter enforcement of visa rules.

The league's VP of advocacy Hcai
Noonan says, "Canceled tours ha\(
economic impact on U.S. venues,
U .S. artists performing alongside i n
national artists and on disappuin
ticket-paying audiences."

Additional reporting hy LeUa Cobo.

10 I BILLBOARD | NOVEMBER 14. 2009

BY RICHARD SMIRKE

REACH FOR THE 'SKY'

ISkyB Enters Growing U.K. Music Subscription Market

ONDON— The Pay-TV giant
SkyB'» launch of its music
.ibstription service Sky
ongs is expected to increase
le pressure on a host of rival
.K. companies that are due
> roll out competing products
1 the coming months.
BSkyB. which is partly
,vned by Rupert Murdoch's
ews Corp.. dominates U.K.
id Ireland pay-TV broad-
isting with 9.4 rnilhon cus-
■mers. making its entry into
lusic subscriptions a move
atchfd closely by labels.
"I very much look forward
■ seeing what an [Internet
■rvice provider {1SP|1 of this
iliber is going to be able to
■ing to the music business,"
ys Eric Daugan. senior VP
' digital business at Warner
usic Europe. "The more
•opie there are to sell music,
e more likely we will grow
e pie."

Repertoire comes from all

four majors, plus Beggars
Group. PI AS. the Orchard, the
Independent Online Distrib-
ution Alliance and VidZone
Digital Media. Sky Songs GM
lustin Moodie says the launch
followed lengthy negotiations
to develop a business model
that satisfied the labels.

"We want to make an afford-
able digital music option for
everybody." he says, declining
to provide revenue splits.

First announced in \uiy
2008. the Oct. 19 beta launch
of Sky Songs comes as other
ISPs, including BTand Virgin
Media, are preparing to offer
competing music subscription
services. In addition, the free,
ad-supported streaming serv-
ice Spotify already markets an
ad-free subscription service
priced at/9.99 ($16.50) per
month, while the music
streaming scnice Wc7 expects
to soft launch a subscription
service in December.

BT and Virgin Media
haven't disclosed when they
expect to launch their respec-
tive music services. BT de-
clined to comment, while a
Virgin Media spokesperson
would only confirm it was
"making good progress." But
We7 CEO Steve Purdhani
says he expects a series of new

• ' •a

Tlie niort'
people then
are to sell
music, the
more likely
\\'e will grow ^
the pie."

-ERIC DAUGAN
WARNER MUSIC
EUROPE

subscription services to enter
the U.K. market in the next
90 days.

"[Sky Songs] will have a pos-
itive impact." Purdham says,
adding that while its launch
alongside existing services
like Spotify. We7 and Last.fm
may initially cause some con-
sumer confusion, it will allow

British consumers to "make
valid choices."

BSkyB's ability to "market
aggressively and across mul-
tiple channels" will be a key
factor in Sky Songs" perform-
ance, says Adrian Pope, direc-
tor of digital and business
developmental the distributor/
label group PIAS.

The satellite broadcaster
excels at "defining a price
point or a pricing mecha-
nism" that appeals to con-
sumers. Pope says. "They're
lalso] very good at getting in-
cremental revenues out of
their consumers."

Sky Songs gives customers
access to more than 4 million
tracks for download and ad-
free streaming. For jf6.49
(S10.75) per month, cus-
tomers get unlimited stream-
ing and the option to download
either a jf6.49 album or 10
digital rights management-
free tracks. An additional

p. 99 ($13.20) plan offers
unlimited streaming and a
p.99 album or 15 tracks. Sky
Songs' Moodie says the serv-
ice also expects to introduce
two additional price options,
bringing the service closer to
the four-tier platform first an-
nounced 15 months ago.

Customers can also pur-
chase music on an a la carte
basis, starting at 65 pence
(SK03) per track and /6.49
per album. BSkyB's 2.2 mil-
lion U.K. /Ireland Sky Broad-
band customers are eligible
for a free one-month sub-
scription lo Sky Songs. BSkyB
is also eyeing the possibility
of introducing Sky Songs to
mobile, console and set-tup
box platforms.

"There's lots of people
out there who love music
but aren't necessarily com-
fortable with computers."
Moodie says. "We want to
say hello to them."

At 60, Ross-Ellis is more innovative than ever. Our line of green audio and video packaging
products is the most extensive available, and includes vinyl jackets. CD and DVD
board products made with 100% recycled board, as well as 100% recycled plastic trays

Environmentally sound production practices, soy- based inks and triple certification
(FSC. SFI. and PEFC) guarantee that when you choose Ross-Ellis, you help safeguard
our planet. And this year, we've moved into a new plant with even greater
capacity to serve our clients.

All that-plus a rock-solid commitment to quality, reliability, and service.

60 YE3AR.S OV ^Ji}ESI»lNa THE BEAT!

www.ross-ellis.com

1 coll us:

STABILITY • EXPERIENCE • INNOVATION

NOVEMBER 14, 2009 |

v.billboard.biz I 11

iiPFRnm

SAVE THE DATE

BillbMral

music&

SYMPOSIUM'

IN ASSOCIATION WITH LOEB&

H LOEBllp

March A, 2010
The St. Regis
New York City

Join Billboard and the best minds from the
music, legal and financial communities to
explore the challenges and key opportunities
shaping the future of the music industry.

DONT MISS;

• Keynote Interviews with Today's Most
Important Industry Executives

• Informative Panel Sessions

• Networking Receptions . . . and More!

$799 Early Bird Rate - Deadline: Dec 4, 2009
SPONSORSHIP OPPORTUNITIES

Kim Griffiths 646.654.4617
Kim.GriffithSiaBillboard.com

REGISTRATION

Lisa Kastner 646.654.4643
LKastneraBiilboard.com

STAY TUNED FOR 2O10 ANNOUNCEMENTS. . .

www.BillboarclEvents.conn

When I Write
The Book

Amoeba Music Co-Founder

Pens Record Store Novel For Teens

while label executives occasionally write books
about the record business, it's far rarer to see
someone from music retailing knock out a tome
about record stores.

But that's what Amoeba Music co-founder
Yvonne Prinz has done. She hasn't written a
business book but rather a teen-targeted
novel titled "The Vinyl Princess," due Dec.
22 from HarperCollins.

"The Vinyl Princess' is about
a 16-year-old girl named Allie
who works at a struggling music
store called Bob and Bob Rec-
ords and has a passion for col-
lecting vinyl.

The book "is like 'High Fi-
delity' for teens — that's the story
I started out to write," Prinz says,
referring to the 1995 Nick
Hornby novel about a London
record store owner. "Nobody has the inside
track of working on a record store like I do. I
felt very qualified to write this book."

She may have a point. First, she boasts an en-
viable masic-rclailing pedigree, having co-founded
Amoeba in 1990 with her husband. David Prinz;
Marc Weinstein: and Mike Boyder. Today.
Amoeba is one of indie music retailing's most
beloved chains, with California locations in Berke-
ley, San Francisco and Los Angeles.

Prinz is also the author of Rain-
coast Books' Clare tween novel se-
ries, which includes "Still There,
Clare," "Not Fair, Clare" and "Dou-
ble Dare Clare." She signed a two-
book deal with HarperCollins for
"The Vinyl Princess" and another
book. "All You Get Is Me," about a
girl who moves with her dad to an
organic farm.

12 I BILLBOARD I NOVEMBER 14. 2009

Although the publisher wanted the latt(
book first, "I thought the vinyl book shou
hit now and they let me have it this wa>
Prinz says. "The timing was good because
lot of cool bands are putting their stuff oi
on vinyl now."

To write "The Vinyl Princess," Prinz says si
drew upon her five years of experience w or
ing as a cashier at the original Amoeba sto
on Telegraph Avenue in Berk
ley. Like "High Fidelity." Prinz
book tries to capture the feci i
an indie record store, includir
colorful neighborhood pcrso:
alities based on the custome
who came to shop at Amoefa
"Berkeley hasan iiu rrdihlestre
scene, homeless scene and d i
scene," Prinz says, noting t
they all found their way ii
AnKH'l)a and informed her book.

Now that she's written a novel about;
teenage vinyl collector, what does she thi
about the resurgence of the format.^ "IV<ii
are going back into stores," albeit not in hii
numbers, she says, noting that AtiioclKi
"not counting on vinyl to save the store. ^
have always sold vinyl and their sales havi
increased for us."
To help promote the book, Prinz has :
sumed the identity ofthc Allit' ch;
acter at TheVinylPrincess.cut
where she blogs as her book's pi
tagonist. Most of the blog posts n
reviews of vintage albums like "1'
Velvet Undergroundand Nico" w
the Byrds' "Mr. Tambourine M
One post from earlier this '
was titled "And Now a Word AIk
Censorship," featuring Prinz/A
railingd^amsl Wal-Mart for not
rying Green Day's "2 1st Ceniti
Breakdown." The Vinyl Prince
blogs; "That Walniart would si
gcst to a recording artist that ll
require them toedil theconteiii
ihcir art in order for it tobcacic
al)loin their soulle.ss mega-nioiK
stores, which profit ofTthf back:-
slave Ia!x>r in developing counln
is beyond absurd."

That wasn't quit,
lair criticism of \V
Mart, which docs
ask artists to clian
their lyrics but sim
maintains a policy
not carrying CDs tl
come with v\ a r ii i
stickers. W hen I [x>in
this out to Prinz, s
responded, "But I .
writing as a 16 year
girl who hates the i
porate world."

C> i

BOXSCORE

Concert Grosses.^

PhillySoul

he Spectrum, An Early Anchor
)f Arena Rock, Goes Out In Style

>w this is how you close a building.
The venerable Philadelphia Spectrum, one
the arenas that built arena rock, will be de-
olislicd early next year to give way to Philly
e. a retail and entertainment complex being
veloped by tlie Cordish Cos. and Conicasl-
K'ctator, the Philadelphia-based sports and
tertainment company that owns the Wachovia
leclruiti and lhead)accnl. more
ndern Wachovia Center.
Bui the Spectrum didn't go
wn without a parly — a year-
iig commemoration that in-
jded sendoff concerts by acts
Pearl Jam and Bruce
>ringsteen. fuuil games by
rhiladelpiiia hlyers and the
ers. and innumerable trips
iwn memory lane.

Among the highlights of the campaign were
creation of tlie RememberTlieSpectnmi.com
'b site, a commemorative book in partner-
p with the Philadelphia Daily News and tlie

' documentar>' "Buildinga Memor>'" tliataired
Comcast SportsNet.

Comcast-Spoctacor VP of PR Ike RIchman

d his team also partnered with local radio sla-
ns to create unique closing events like the
n\r Band Can Perform on a Concert Stage"
ilest. "Final Basketball Game" and the "Ljst
)or 1 lockeyGamc." In lalcOctolxr. tJicSpcc-
nn opened its doors to the public for a free
3st Stroll" torn" of tlie facility. Every day on the
iidar had a corresponding significant event
it matched up with the building's history, and
[ hman and his team made sure ihe local

lia new about them,
I Nation Philadelphia chairman Larry
igid produced the Spectrum's Final Farewell
ft St ! u s w Itli Nell Young. Tina Turner,
een Day. Hall & Oates, two sliows In the
ad. four by Pearl jam and six performances
Springsteen. The series also included Kings
Leon and Dan* Cook's "Tlu- L^isl Laii^h."
irry really led the charge that it would be re-
y cool to play tlie Spectrum again." Comcast-
ectacor president Peter Luukko says.
Cool, yes. but not as profitable. "We all make
jre tnoney at the center," Luukko says,
hich shows you really how special the Spec-
mi was to those artists, because they were
rtainly willitig to take a little less money to
iv there again."
The Spectrum had long ago passed the
ch to the Wachovia Center, iust as leg-
dary arenas like Chicago Stadium; the

"Fabulous" Forum in Inglewood, Calif.: and
the Boston Garden have passed from the
scene or become overshadowed by shinier
showplaces. The same dynamic led to the
demolition of Shea Stadium in New York
and the pending demise of Giants Stadium
in East Rutherford. N.J.. which closed out
their runs with concerts by Billy Joel and

Springsteen, respectively.
^1%^ ^ ^"^* of these historic

_ J rock venues affects the artists

KOoO that made their bones at these lo-
cations. "Obviously, the end of
the Spectrum, with its narrow
backstage corridors, shortage of
space and wonderful feel and
great audiences, is filled with
emotion." Springsteen's long-
time manager Jon Landau says.
"And tearing down Giants Stadium is so sym-
bolic for us that Bruce wrote his recent song.
"Wrecking Ball." about his feelings about the
end of his neighborhood football field, where
he has played 24 times."

Comcast-Spectacor and Global Spectrum
owned and operated the Spectrutn and the Wa-
cliovia Center together for 1 3 years and only de-
cided to shutter the Spectnun when the Philly
Live project arose. Without major sports ten-
ants and with most big tours opting for the cen-
ter, the Spectrum wasn't self-sustaining
anymore and would' ve required millions of dol-
lars in capital improvements in coming years.
Luukko says. "Frankly, if we didn't have this
[Philly Live] development, we would have
thought of a million excuses to keep the build-
ing open because of the emotion involved."

Pearl Jam's Halloween show was the last
event at the Spectrum. "We'll start gutting the
building from the inside out. then start selling
seats and various memorabilia for charity and
to offset demolition costs." Luukko says. The
bulldozers won t arrive until next spring.

For all Ihc fond tributes pyid to the Spt-f-

trum. the market will be fine with bidding it
farewell because the Wachovia Center is a
more comfortable, fan-friendly building and
because it's more profitable with its luxury-
suites, twice as many concession points-of-
sale and other amenities. "The general expe-
rience at the center is so much better." Luukko
says. " But the memories of the past can never
be replaced." •■■

.biz

For 24/7 touring news

^nd analysis, see

bi I lboard.biz/tourlng ■

NOVEMBER 14, 2009 I www.billboard.biz I 13

GROSS/

ARTIST(S) Attendance

Vpnuc. Dalp ir i '

Promoter

$9,960,036

U2.T«EiLAettiViBPiAI

Rose Bowl. Pasadena, Catlf.. 97,014
Oct. 25

Live Nation Global Touring

$5,985,101

U2, MUSE 1

RvHant Stadtum. Houston. Oct t4 58,328

Live Nation Global Touring

S3.972.428

BRUCE SPRINGSTEEN & THE E STREET BAND

Wachovia Spectrum. 60.416 '
PhMadelphia, Oct. 13-14. 19-20 m

Live Nation, in-house

$5,748,919

U2, THE BLACK EYED PEAS

B.C. Place Stadium, Vancouver. 63,802
Oct.2S feiMMl

Live Nation Global Touring

$4,912,050

U2, THE BLACK EYED PEAS

University of Phoenix Stadium. 50.77S
Glendale. Ariz., Oct. 20

Live Nation Global Touring

54.641,280

U2, THE BLACK EYED PEAS

Sam Boyd Stadium, Las Veyas. 42,213

Oct. 23 1

Live Nation Global Touring

H $4,395,085

02, THE BLACK EYED PEAS 1

Gaylord Family-Memorial 50,951
Stadium. Norman, Ohia.. Oct. 18 -. n .1

Live Nation Global Touring

$2,307,372

METALLICA, LAMB OF GOD, GOJIRA

SaCi'.i

Collide Pepsi. Ouet>«c City, Oct. 30,974
31-Nov. I , ,r-

Giltett Entertainment Grpup. Live Nation

$1309,877

PERSONAL FEST: DEPECHE MODE

Club Chjdad. Buenos Aires. Oct 17

T4F-Time For Fun

M $1,653,329

Hii 5?5 s.-':.'i.-'9'ji

BRUCE SPRINGSTEEN & THE E STREET BAND

Verlion Center, WaiMngton, 17.545

DC Nov. 2 li ,p

Uve Nation

Q $1,306,100

VICENTE FERNANDEZ, SHAILA DURCAL

Allstate Arena. Rosemont, III., 1S.7S0

Oct. 18 ;l

Ralph Hauser Promotions, VIVA Entertainment

HI $1,202,805

MARC ANTHONY

American Airlines Arena, Miami. 14.518
Oct. 24

Cardenas Marketing Network. Live Nation

M $1,148,490

MAXWELL, COMMON, CHRISETTE MICHELE

Hollywood Bowl. Los Angeles. 13,662

Oct. 16 1

Live Nation, Andrew Hewitt Co.

H $1,111,178
Hi '179 5O'S59S0

MILEY CYRUS, METRO STATION

Sprint Center. Kansas City. Mo.. 15,525
Oct 17 . ,

AEG Live

W{ $1,059,159

MILEY CYRUS, METRO STATION

Atai Center, San Antonio, Oct 15 ^f'^^.'

AEG Uve

$1,039,489

MILEY CYRUS, METRO STATION

57?$C' S;9 50

American Airlines Center, Dallas, 15.102
Oct. 18

AEG Live

Rl $1,029,841

MILEY CYRUS, METRO STATION

New Orleans Arena. 15,359
New Orleans, Oct. 20

AEG Live

$1,010,930

AC/DC, THE ANSWER

Verizon Center, Washirvgton. 11.258
DC Oct 16

Live Nation

$979,805

YANNI VOICES 1

iU •

Audltorlo Naclonal, Mexico City, 16.638

Oct 19-21 _>■■ .■:■.< -t -. r, ,', .,

Cla. Global de Eventos

ffl $929,000
■ '''' "

VICENTE FERNANDEZ, SHAILA DURCAL

American Airlines Center. Dallas, 10,532

Oct. 9 ■' »'

Ralph Hauser Promotions. SC Errtertalnment

EH $928,176

MILEY CYRUS, METRO STATION

OMstCenUf.Omalia. Neb,Octl3

AEG Uve

$899,615

USft'StiO

VICENTE FERNANDEZ, SHAILA DURCAL

Toyota Center. Houston, Oct 11

Ralph Hauser Promotions, SC Entertamment

$847,038

BRUCE SPRINGSTEEN A THE E STREET BAND

Scottrode Center. St LauK, Oct 3S V'V'^-

AEG Live

$807,481

LES LUTHIERS

Auditorio Naclonal. Mexico City, 17.544
Oct. 2-4 ' !i ■■>-.

ErreEfe

$773,635

VICENTE FERNANDEZ, SHAILA DURCAL

AT»T Center, San Antonio. Oct. 3 ^-^^^

Ralph Hauser Promotions, SC Entertainment

$770,864

AC/DC, THE ANSWER

Ml'

New Orleans Arena, 8,613

Beaver Productions

New Orleans, Oct. 28

$744,907

AC/DC, THE ANSWER |

Wachovia Center. Philadelphia. 8.546
Oct 21

Uve Nation, trt-house

$696,550

JAY-Z, N'E-R-D, WALE, J. COLE

Bell Centre. Montreal. Oct SO

Glllett Entertainment Group. Uve Natiort

$690,831

JAY-Z, N-E-R-0, WALE, J. COLE

KmAreiw. Seattle. Oct. 17 V'^'.f

Uve Nation, in-house

Iffl $659,880
nil tavi'a

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

Mohegan Sun Arena, Uncasvilte, 9,966

Conn., Oct 24 v' r

Uve Nation

H $642,867

PEARL JAM, BEN HARPER S RELENTLESS7

VJe)as Arena. San Diego. Oct 9

Uve Nation

m $642,387

TAYLOR SWIFT, KELLIE PICKLER, GLORIANA

Sommet Center, Nashvflle, Sept. 12 "^^.^

The Messina Group/AEG Live

$639,423

BRAD PAISLEY, DIERKS BENTLEY, JIMMY WAYNE

t5- 1.-

Sleep Train Amphitheatre, 16.828

Marysville. Calif. Sept 2fi :>^^^<

Live Nation

1^ $636,609

WISINSYANDEL |

Staples Center, Los Angeles, 11,987
Oct 10

Goldcnvoico/AEG LIvo

111^634.876

TAYLOR SWIFT, KELLIE PICKLER, GLORIANA

Conseco Fleldhouse, 13,373
Indianapolis, Oct 8 s& Iulji

The Messina 6roup/AEG Live

Viva Grupo Exito: j
CARLOS VIVES '

Big-Box Bonus

An Exclusive Retail Deal Leads To A Massive Hit In Colombia

Colombia's current top-
selling artist doesn't have a
record label.

Instead, Carlos Vives

released his new album.
"Clasicosdela Provincia II."
exclusively through Grupo
Exito, the Columbian equiv-
alent of Wal-Mart. In less
than a month, the set — retail-
ing at 14,000 pesos {approx-
imately $7). less than half of
what front-line releases
usually cost there — has sold
200,000 copies, according to
Exito. That makes Vives a
10-times-platinum seller in
a market where platinum
now translates to 20.000
copies shipped.

Vives' success has at-
tracted attention from jour-
nalists, talk show hosts and

even politicians who are mar-
veling at his ability to sell
music in a country full of
artists where legal music
sales are plummeting.

An editorial in Colombia's
leading daily. El Tiempo. said:
"[His] sales are a record as
well as a vole of confidence
in the legal marketplace."

Vives is a superstar in
Colombia, where he rose to
fame in the early '90s with his
role in the soap opera
"Escalona" and his album
"C14sicos de la Provincia," a
collection of traditional
Colombian vallenatos per-
formed with a signature fijsion
of rock, pop and even jazz.

Signed in Colombia to the
indie Sonolux, Vives went on
to strike an international deal

Latin ^
Notas

LEILA
COBO

stead of recording new mate-
rial, as Vives had done for his
last several albums, they dug
through Colombia's
traditional songbook of
vallenatos and selected 15
songs. They recorded in
Miami, as they usually do, fly-
ing Vives' band up for the ses-
sions, and again attempted to
|| close a deal with a major.
When a deal couldn't be
reached. Riveira — taking a
page from Target and its
music deals in the United
States — approached Exito.

The result is the most suc-
cessful album in Colombia in
years. "Clasicos de la Provin-
cia 1 1 '■ reportedly sold 42, 500
copies its first day. a record for
the country. At the same lime,
the first single, " Las Mujeres,"
sent to radio after the album's
release, remains at No. 1 on
Colombia's airplay chart after
^^^^^^ four weeks.

Riveira and
Vives own their
catalog and
masters in
Colombia. They
made a 360 deal
with Exito that
encompasses
album releases,
an eight-city
stadium tour that kicks off
Nov. 19 and multiple promo-
tional and marketing cam-
paigns featuring Vives aimed
at driving store traffic.
Exito has to purchase at

with EMI Latin and became
a global superstar and
Colombia's first major musi-
cal export. But after his EMI
contract expired five years
ago, Vives was-
n't able to reach
an agreement
with a major.

"It was a mo-
ment of transi-
tion for the
industry where
no one wanted
to bet on any-
thing," says
Manuel Riveira, Vives' man-
ager and business partner
since 1992. "And since no one
seemed interested in Vives"
project, we did it on our own."

Riveira and Vives decided
to return to their roots. In- least 320.000 Vives CDs-

i7/

UMLE Offers An Inexpensive Sample Of Several Artists

A sprinkling of bang for a
handful of bucks. That's what
Universal Music Latin Enter-
tainment has planned for the
fourth quarter, with a new EP
series designed to capture
the noncommittal hit-seeker.

Beginning Nov. 17, "6
Super Hits" will offer six
songs by one act on each EP,
from Akwid, La Factoria,
Luis Fonsi, Xtreme, Paulina
Rubio, Gloria Trevi, Makano,
Cristian Castro, Eddy Lover
and Fanny Lu. The sug-
gested retail price for the CO
is $5.99 (though the digital
price could be lower). "If it
goes well, we'll introduce
several key regional Mexican
titles," says Machete Music
GM Mickey Hernandez, who
is heading up the project.

Unlike most hits pack-

ages, "6 Super Hits" will fea-
ture current or very recent
singles, and in some cases
new songs or remixes not
already included on an
album. La Factoria's and
Makano's EPs contain the
new songs "Amiga" and "Su
Nombre En Mi Cuaderno,"
respectively. Fanny Lu's con-
tains the current single
"Celos"; a version of the
song with reggaet6neros J.
King S Maximan; her last
single, "Tu No Eres Para Mi";
a remix of the song with
Angel & Khriz; her breakout
hit, "No Te Pido Flores"; and
a cut from her last album.

"We're trying to capture
the customer that isn't in-
clined to buy a whole album
for $10 or $11 or isn't that fa-
miliar with the artist," Her-

nandez says. "Fans are going
to go buy the full album, but
people who might like one
or two songs, we're telling
them, 'This artist is good,'
'You can only find this remix
here,' or 'These new songs
will be featured on the album
five months from now.' "

Universal's non-Latin la-
bels released a set of three
Best Buy-exclusive EPs last
year: Weezer's "Six Hits"
(25,000 copies, according
to Nielsen SoundScan), 3
Doors Down's "Six Pack of
Hits" (28,000) and Nelly's
"6 Derrty Hits" 04,000). Un-
like those titles, however, "6
Super Hits" isn't exclusive to
one retailer. And with most
of the marketing planned
around in-store displays,
Hernandez is focusing on

physical sales.

With the margins on cur-
rent music smaller than on
deep catalog, budget col-
lections like Sony's "Dlez de
Coleccion" series, which
feature older tracks, can
typically offer 10 tracks for
about the same price as "6
Super Hits." "We try to stay
away from fourth-quarter
catalog projects because it's
a quarter dominated by big
front-line releases and you
get lost." says Sony Music
Latin senior VP of commer-
cial sales Guillermo Page.

Meanwhile, EMI Mexico is
offering "Exitos de a
Tost6n," a catalog series of
five hits for 50 pesos (less

220,000 copies of "Clisicos"
and 100,000 from his cata-
log— that will be available
exclusively to the chain for
a year. Exito purchases di-
rectly from Vives. who in
turn directly manufactures
the CDs, which keeps costs
down for all involved and
fuels sales. This week, the
chain ordered another
50.000 copies of the album.

To prevent exports of the
album — deals outside Colom-
bia have yet to be negotiated —
customers can buy only two
copies of the CD.

Neither the album nor its
tracks are available digitally,
and Vives and Riveira haven't
yet negotiated any deals for
digital rights.

With Vives' momentum
showing no sign of abating,
Riveira is now weighing his
options in the United States,
deciding whether to sign
with a major or an indie, or
to look for a similar busi-
ness model stateside, where
he and Vives also own the
masters to two of his previ-
ous albums — "Clisicos de
la Provincia" and "La Tierra
del Olvido."

"Generally, the story of big
acts belongs to a label," Riv-
eira says. "The success of
this deal is in that Vives owns
his rights and can go straight
to retail."

For 24/7 Latin news
and analysis, see
blllboard.biz/latin.

Fast, Cheap And In Control

LOS MEIOKES AKTISTAS
AL MEIOR PRECIO

Quick hits: An artist sampler

than $4). The label's U.S. cat-
alog team is looking Into the
series for release under a dif-
ferent name.

— Aya/a Ben-Yehuda

EN ESPANOU: All the great Latin music coverage
you've come to expect from Billboard— In Spanish!
Blllboard«Mspanol.com.

Cold and smooth: DADDY YA

BRIEVE

COORS SPONSORS
DADDY YANKEE
EVENTS

Coors Light will sponsor
series of intimate appea
ances by reggaet6n st
Daddy Yankee promoting h
new single, "Grito Mundia
as a prelude to the release
a new album, called "Dade
Yankee Mundial," in Februai

Coors Light will presei
Yankee at six events, billed i
"En Exclusiva" (In Exclusive
beginning Nov. 18 in Oriand
Fla.; the other cities are Hou
ton, Dallas, Chicago, Ne
York and Philadelphia. Ea«
event will be open to appro
imately 200 people, who Vt
gain access through a ci
phone texting campaign ai
radio promotions created f
each market.

"This is a way to get clos
to the fans and it builds t
buzz for the release of his e
bum," Yankee's publicist Ma
na Nevarez says.

Coors sponsored Yank
events last year and Coo
Light associate brar>d manag
Pamela Palacios says the pa
nership was a happy one.

Yankee is currently nego
ating a distribution deal for I
new album. —Leila Cot

BISBALABIG
DEAL IN SPAIN

Spanish singer David BIsbal h
registered this year's bigg<
first-week album shipment
Spain at more than 120,0(
copies, or double-platinu
with 36,000-plus retail sal(
according to the Media Cont
albums chart, where he d
butedatNo.1C>ct28.

Blst>al also enjoyed his fi
No. 1 on Billboard's Top La'
Albums chart Nov. 7 with "!
Mirar Atras" (Universai/V.
Music). This week the set
No. 3.

The artist presented his ni
album in three countries on
ther side of the Atlantic in
hours Oct 20-21. He started
Madrid's Barajas Airport, wfH
the Spanish airline Air Euro
named an aircraft after hi
and then flew to Cancun, Mi
ico, and the United States.

The album's first single, "I
clavo De Sus Besos," is In
third week at Na 1 on Hot La
Songs.

— Howell LlewQll

14 1 BILLBOARD I NOVEMBER 14, 2009

2010 INTERNATIONAL iSX

AUDITORIUMS • . «\KQVaHS . %mTO *WlXS.

i SPORTS VKCIUTVES • Cm»K\

\ COH>ltHTIOHCWlT«».WHtwm^^wa>^

COMPLETE DATA ON OVER 3,500

VENUES WORLDWIDE COMPRISING

6,000+ INDIVIDUAL FACILITIES,
INCLUDING AMPHITHEATERS, ARENAS,
STADIUMS, SPORTS FACILITIES,
CONCERT HALd-S, EXHIBITION HALLS

AND NEW CONSTRUCTIONS. PLUS,

COMPLETE LISTINGS OF COMPANIES

OFFERING SEI^^ICES TO THE
- - TOURING INDUSTRY IN THE

FACILITY BUYER'S GUIDE.

ONLINE at www.orderbiltboard.com or
CALL 800-562-2706 (U.S.) or 818-487-4582

Cni

^EbBQfcj^^aiGJTAL ENTERTAINMENT

l»IMl^JM BY ANTONY BRUNO |

By The Dashboard Light

Digital Music Services Find New Ways To Crunch User Data

step up: You Tube's Content ID feature helps labels track user-generated content that contains their music, like the viral video
hit 'JK Wedding Entrance Dance" (above), which featured Chris Brown's song 'Forever'

)ust about every digital music
service is ofTering artists and
labels some insight into how
users access their music.
This often takes the form of
"artist dashboards" that au-
tomatically compile traffic
statistics and user informa-
tion for songs, videos and
other content.

But other than flashy
charts and innovative inter-
faces, are these metrics pro-
grams providing useful
information? They are if
they're offering more than
just a list of the most-
streamed songs and the data
is generated by a service with
a user base large enough to
make assumptions about the
rest of the market.

"Data, by the pound,
doesn't really have any ac-
tionable value.' says Eric Gar-
land. CEO of the analytics
company BigChampagne.
"The value is in organiza-
tional tools, management of
information, analysis, deduc-
tion and recommendations."

leremy Welt, senior VP of
new media at Warner Bros.
Records, notes that some dig-
ital music services provide
only basic data, such as the
number of streams generated
by a music video. But he adds
that labels also want more de-

tailed information on their
fans, such as their age and
where they live.

"There's a difference be-
tween market intelligence and
just trending data." Welt says.

Welt points to the recently
launched MySpace Music an-
alytics dashboard as an exam-
ple of the kind of data that
labels need. It provides de-
tailed information on how
often an artist's music is ac-
cessed on MySpace, along
with age. gender and location
information on the MySpace
members interacting with
that same content.

Hand in hand with this
detail is scale. Given the
number of MySpace mem-
bers and the number of
streams that MySpace Music
generates, artists and labels
can use this data as a window
into the minds of fans beyond
MySpace and inform far
broader marketing and pro-
motional campaigns.

"To take what's happening
on MySpace and start to have
a connection with the artist
development process in a
deeper way, you can do a
much better job of making
smart decisions and combin-
ing it with other
data sources,"
Welt says

MOTHERSHIP
CONNECTION

ces," ^^^r^^^^^S. to

^^^^

Roku, the maker of the SoundBridge adapter
that lets users stream music on their computer through
their stereo system, has rolled out two new video players.
The Roku SD and Roku HD-XR enabte users to stream
movies from Netflix and Amazon's Video On Demand on
their TV set. The SD is a budget, non-high-definition
version of the company's existing Roku HD player The
HD-XR adds new wireless Internet connection options.

The company is also preparing the launch this fall of
a Roku Channel Store, where users can access such
content as digital music services and Internet Radio.

The Roku SD is priced at $80 and the Roku HD-XR
at $130. -AB

"You can share that with
other departments like radio
and sales people, and it be-
comes more real than just
knowing what a few people
on the Internet are doing."

For example. Warner Bros,
used data collected through
the MySpace dashboard in its
marketing and promotional
strategy for the physical
retail release of "The Listen-
ing" by the singer/song-
writer Lights. It then closed
the loop by promoting a Tar-
get campaign on the artist's
MySpace profile.

YouTube is another ex-
ample. The video portal's
free Insight tool provides
running tallies on the num-
ber of streams a video gets
and the location of users
who are streaming it. But
new possibilities emerge
when this information is
coupled with YouTube's
Content ID feature, which
helps labels track user-gen-
erated content that con-
tains niuHic by »>nr of its
artists, such as the popular
" J K Wedding Entrance
Dance" clip that used Chris
Brown's song "Forever."
Brown's label. Sony Music
Entertainment, was able
compare the demo-
graphics of fans
who watched the
official music
video to those who
watched the viral
hit, taking special
note of those who
clicked on links to iTunes and
Amazon's MP3 store to buy
the single. With more than
12 million streams of the
wedding video, that's the
kind of demographic insight
that Sony and Brown's man-
agement team normally
couldn't have tracked if they
had relied solely on user data
for the official video.

Of course, not every digi-
tal music service offering

data analytics commands the
audience of MySpace and
YouTube. To help supple-
ment the information they
have to work with, labels are
launching efforts to collect
their own data, such as
Warner Music Group's deci-
sion to standardize all its
artist Websites using a tech-
nology platform provided by
Cisco (Billboard. Aug. 29).
the revamp of EMI.com as a
consumer Web site and
EMI's launch of its "Your
Soundcheck" Web site.

The Vevo music video joint
venture between Universal
Music Group and Sony Music
Entertainment will also be able
to collect user data by syndi-
cating its content to multiple
services, rather than relying
on those disparate services to
report details back to them.

A few glaring omissions re-
main. The largest digital re-
tailer— iTunes — shares little
user information with labels
beyond the number of tracks
sold. And streaming services
that link to iTunes for a la
carte sales can't provide sales
tallies because Apple doesn't
share that information with
them. These services can tell
artists how many times users
clicked on an iTunes link, but
they don't have any insight
into how many of those clicks
resulted in a sale.

Apple's stinginess witli
data partly drives competing
digital services to offer free
data and analytics programs
as a point of differentiation.
But the primary goal re-
mains a desire to drive more
sales and traffic by empow-
ering artists and labels to
help themselves. The effec-
tiveness of this strategy will
depend not only on the qual-
ity of the data, but how well
it's used.

BITS & BRIEFS

EX-YAHOO MUSIC
EXECS ACQUIRE
MICROSOFT

Former Yahoo Music exec-
utives Dave Goldberg and
Bob Roback are returning to
the digital music business
with their acquisition of
mSoft, a provider of digital
asset management systems
for entertainment compa-
nies. After purchasing mSoft
through their private invest-
ment vehicle Twain Media,
Goldberg and Roback have
renamed the company
Dashbox, which will offer a
synch-licensing subscription
service that links ad agen-
cies and music supervisors
with the proper rightshold-
ers. Roback will be CEO of
Dashbox, while Goldberg
will serve as chairman.

METALLICA TEAMS
WITH 'TAP TAP
REVENGE'

Not content to let "Guitar
Hero: Metallica" be its sole
foray into the gaming
space, Metallica has joined
with the mobile game de-
veloper Tapulous to create
a band-centric version of

the popular "Tap Tap R(
venge" mobile music gami
In addition to Metallicf
themed gameplay, the till
is the first to feature a Bluf
tooth-based battle mod
where two users can con
pete with each other froi
their respective handset
It also features a Metallic
news feed and publi
message board, as well i
10 songs. Including "Enti
Sandman," "Master of Puf
pets" and "For Whom XY
Belt Tolls."

MOCOSPACE,
NELLYMOSERPLAN
MOBILE MUSIC APP

The mobile social netwoi
MocoSpace has teame
with the mobile develop)
Nellymoser to create a m<
bile music application th;
will let fans sample musi
buy ringtones and vie
concert photos. Artists wit
profiles on MocoSpace ci
use the app to preview ne
music, post video interviev
and issue news alerts. Tf
app will be made availab
later this fall through as-ye
unnamed wireless operatoi

Jriz

For 24/7 digital news
and analysis, tee
bllll>oard.biK/dlatt>l.

BILLBOARD I NOVEMBER U, 2009

HOT POLYPHONIC RINGTONES . BiisKin

166

CHANGES

HALLOWEEN (MOVIE THEME)

263

SUPER MARIO BROTHERS THEME

ADIOS AMOR TE VAS

Y LLEGASTE TU

261

PINK PANTHER

NO SE VIVIR SIN Tl

NO ONE

DOWN WITH THE SICKNESS

EYE OF THE TIGER

3P»c'c "Changes" snioys a 34th
week at No. 1, easily the most ot
any tong thit ye.ir Grupo Montez
De Dufanoo's "Adios Amor Te Vas,"
at No 4 this week, holds the record
for most weeks at No 1. with 39

CASH FLOW

CYCLONE

i«

233

SWEET HOME ALABAMA

E.3

KISS KI5S

1 M ME

THRILLER

1 KISSED A GIRL

i 18

i-i

ROSAS

1 19

QASOLINA

1 20

J(l

TEENAGE LOVE AFFAIR

Cni

Power To The People

legislation Backing More Low-Power FMs Clears Key Hurdle

1 this age of satellite and Internet
idio. it's easy to underestimate the
iiportance ofsmall. noncommer-
al terrestrial radio stations to inde-
ndent artists.

"There is a real disparity between
?ople who can access the Web and
tellitc radio and those who can't,"
lusiciaii Erin McKeown says. "There
also a lot of people who listen to
radio in their cars out of habit, and
s easier for them to flip to a new
amu'l than convert to satellite."
McKeown and others who say they
.\r their careers to small, noncom-
t'w kd stations are celebrating a re-
nt victory. On Oct. 15. the U.S.
ousc Energy and Commerce Com-
iiii o passed the Local Community
di<> Act of 20<)9. which eases require-
it'Tils on channel separation between
w-po\viT and full-power FM stations,
ivin^ the way for more l.P FMs toap-
'ar on the radio dial. The legislation
II now go before the House of Rep-
sciitjtivfs for a full floor vote.
LP FMs — which typically have a
iiyc- of three to seven miles with
aiistnitlcrs of up to 100 watts — have
g been an important vehicle for
hnic. religious and local commu-
ty programming. And LP FMs, es-

pecially those afTiliated with colleges
and universities, have provided vital
exposure for niche music genres and
independent artists.

Gelling the bill out of the House
committee represents a huge step
forward, according to Michael
Bracy. policy director at the Future
of Music Coalition.

"We had success getting the legis-
lation through the Senate before, but
this is the first time we got it past the
House committee," Bracy says.
"Tliere was a lot of consensus and not
a lot of debate, either, which bodes
well. I feel pretty optimistic it will pass
the House in the next month and get
through the Senate and signed by the
end of this session. If this all happens,
the licensing window would be late
2010or early 2011."

Bracy is quick to add that the cre-
ation of more LP FMs isn't the solu-
tion to the growing homogeneity and
move away from local content at com-
mercial stations.

"Low-power FM is about creating
opportunities and forcing the big
broadcasters to compete." he says.
" People have a huge desire for these
stations. They want to feel like the
radio station they are listening to is

part of their community."

Local community support is es-
pecially important for indie musi-
cians, who have fought without
much success for airplay on com-
mercial stations.

"Obviously, one of the best places
for any musician to build their fol-
lowing is on a local level," says Amy
Ray of indigo Girls. "Think about
the Athens [Ga.|, Seattle or Austin
music scenes. The bands from these
scenes were served by a bastion of
independent resources — radio sta-
tions, record stores and indie media.
It's all tied together. If any of these
elements start to fall out of the pic-
ture, they are all affected."

Musician Nicole Atkins, who
spoke on a panel about the impor-
tance of LP FMs at the Future of
Music Coalition's Policy Summit in
early October, says she got her start
because of such a station. "A small
college station in New Jersey was the
first place to play my music," she
says. "It was a huge boost for me."

Rep. Mike Doyle, D-Pa., who in-
troduced the legislation, imagines a
world where even more college sta-
tions could break new artists.

"A campus station in my district.

WMKP the Roar at Penn Stale
University. Greater Allegheny, is
airrently webcast only, but it's student-
run, [covers] their sports teams and
plays a diverse variety of music," he
says. "In short, it's a quintessential
college station. If my bill passes, that
station would be able to serve an area
in my urban Pittsburgh-area district
that's too often forgotten and doesn't
have local voices on the airu'aves."

A key goal of supporters of LP
FMs is ensuring that a wide range
of parties has access to new licenses.

Bracy says he envisions a transpar-
ent application process with an eye
toward collaborations among di-
verse parties.

"The last thing the FCC wants to
do is pit the Catholic Church against
the local college and against the local
arts organization." he says. "The
groups who show that they can work
together will have a great chance at
getting licenses." ••••

.biz

For 24/7 indies news and analysis,
see billboard.Mz/lndles.

QUESTIONS

With VLADO MELLER

X the past three decades, Vtado Meller has mastered albums for acts like
ICS Davis, Frank Sinatra, Duran Duran, Metallica, Beyonc^ and Kanye West.
2007, the Sony Music veteran joined Universal Music Group as senior mas-
ing engineer at Universal Mastering Studios-East In New York, as part of an
brt by the major to open up a new revenue stream by serving outside clients.
Meller oversees all of the studios' projects in New York and will help coor-
iate operations at a new facility that will open at Hanna-Barbera Studios In
>llywood In early 2010. In an interview, he discusses his craft and the state of
s mastering business.

After Sony Music closed Its
dio in New York, why did you
?cidetojoin Universal?

I my life 1 worked For (he bi^ labels.
I it was my first choice to come to
nivrisal. because this is the biggest
bel. They had mastering already and
:aine to visit the facility. I fell in love
iih the room. It's a first-class, first-
Ic studio.

What have you been doing to
;tract new clients to Unlversal's

nstering facilities?
mastering, it's really longevity that
mills. I've done it for over 35 years.

I've worked with everyone from [Bar-
bra] Streisand to the Red Hot Chili
Peppers and people in between. We

calcr to cvrrj'ono.

Mastering is still a very profitable
part of the recording business.
You've seen studios shutting down
left and right since the mid- '80s. But
mastering is actually flourishing.
You can record an album in any
country with any engineer, but even-
tually you have to master it. And
there are very few places that will do
it, or do it right. If you look at the
records over the last 25 or 30 years,
you'll see the same names over and

over. It's a repeat business. If you
work with a client and they like what
you do for them last year or five years
ago. they'll come back and work with
you again.

O label cost-cutting posed a
challengo for your business?

No, because if the client liked results
with me four years ago and hit the
charts and sold millions of records,
and is coming out with a new album,
why would they go somewhere else.^
They'll follow you anywhere you go.
If I was in Oshkosh, Wis., with
someone else, they'd just go there.
And mastering is still one area
where labels will pay top dollar.
When you talk about recording,
everybody has Pro Tools. But when

it comes to mastering, it has to be
done at a professional studio.

O Why is mastering such an
Important element?

Mastering is the last stage in the
recording process, where the whole
picture comes together. You can
record an album with 12 songs, with
three done in L.A.. one in London,
one in Paris and one in Tokyo with
three different producers, and then
the whole thing has to come on CD
and sound like a complete record. So
the mastering guy takes over. We're
the guys who put it together. It's like
a puzzle. We sequence, cross-fade,
fade, edit the songs, enhance the
sound and make the sound specific
to the artist.

Q Do most Universal acts use your
facility, or can they choose others?

Artists are allowed to go anywhere
they want. This is where the artist will
decide which sound they like. What's
been happening over the past three
or four years is there's always a
shootout. They'll send one song to me,
one song to L.A. and one song to an-
other mastering person in New York
or Nashville. And they'll pick the one
they like.

Q With improvements in tech-
nology, will amateurs eventually
be able to handle mastering?

The technology is there. I still think for
probably another five to seven years that
it will be a very unique specialty job. But
it's a possibility in seven or eight years
that people will start doing it at home.
But I "m not sure the labels would agree
to that. If somebody goes home and
masters it and something goes wrong
after the CD ships to the stores, there
could be a disaster for the label. It's al-
most a security check at the end. It
doesn't matter where you record or who
produces it. you'll go to a professional
mastering studio to finish the job. That
will never die, because very few people
would take that responsibility. • - • -

NOVEMBER 14, 2009 1 www.billboard.biz I 17

Donald

V Paissm

^\__IhMtl<hor of 'All You Need to
Know About the Music Business'
updates his classic.

When attorney Donald Passman was teaching a course on the music business at the Univer-
sity of Southern California in the tate '80s, he realized that his class notes for that year would
make a pretty good outline for a book.

Writing a book was something Passman had always wanted to do. And he felt that there
was a need for one about how to make it in the music business. Now. nearly two decades later,
Free Press is about to publish the seventh edition of "All You Need to Know About the Music
Business" Nov. 17. Its various editions have sold more than 150,000 copies in hardcover,
according to his Web site.

In a career that has lasted more than 30 years. Passman has been involved in some of the
biggest artist contract negotiations in the industry, including Janet Jackson's switch from
A&M to Virgin in 1994 and the 1996 mega-deal that re-signed R.E.M. to Warner Bros. Records.
He has also been involved In new-media deals and has represented publishers, record com-
panies, managers, producers and other music industry players. These experiences have
helped inform his t>ook. which he revises every three years.

Passman has practiced law with Gang, Tyre, Ramer & Brown for the past 35 years. In his
spare time, he writes fiction and has published two mysteries for Warner Books: "The
Visionary" and "Mirage."

In an interview with Billboard, Passman talks about some of the recent changes in the
music business that will drive demand for new editions of his book.

What changes in the music busi-
ness did you have to address In
the new edition of your book?

The biggest changes arc in the dig-
ital area and the 360 deals. Now the
labels want a piece of nonrecord in-
come. It starled with the pretense
you would get more for it. like you
wilt get a better deal with a share of
the profit and a higher royalty. But
all ol that has gone away.

Tlie other big change is in digi-
tal. We have much more settled how
digital rights get treated. Now we
are handling things (hat didn't exist
three years ago. like the user-gen-
erated content that you find on
YouTube and MySpace.

Have 360 deals become the norm
at all major labels? And how
much pushback are they getting
from managers and lawyers?

There is pu.shback. But unless you
have negotiating power, it's just a
reality you are going to have to deal
with. Again, everything is more dif-
fiailt nowadays.

What do you think of the digeratf

belief that artists no longer
need labels?

It depends on who you are. If you
arc a niche artist, you may not need
a label. If you are a mainstream
artist and you want to break
through, no one has done it with-
out a label. That will obviously
change in the future but for now
you need help, and likely money, to
break through all the noise. But the
next question becomes. "What's a
label?" Look at Irving AzofT, who is
buildinga management infrastruc-
ture that is arguably as powerful as
some labels.

How Is the industry's evolution,
particularly the decline in CD
sales, affecting smaller artists?

It's harder to get CDs into stores,
even for the majors. It's harder now
than back in the day when the ma-
jors had more muscle.

With digital tracking now possi-
ble for all kinds of performances,
will performance data measure-
ment shift to a census method,
or will sampling continue to de-

termine royalty payouts?

Certainly on terrestrial radio you
will continue to see for some time
the use of statistical sampling. In
digital, the census method is obvi-
ously preferable because it's a re-
ally accurate accounting.

The book Is very specific about
CD wholesale costs and even

mentions digital downloads. But
why doesn't it explain the busi-
ness model behind subscriptions
or Interactive streaming?

Because the terms I know about are
through confidential deals and I
wasn't comfortable giving away
those details. Besides, ail the deals
are different and that space hasn't
settled into an industry norm yet.

Are U.S. music publishers right
to remain firm on mechanical
royalty rates, or should they be
more flexible during this transi-
tion away from the CD?
In the rest of the world outside the
U.S. and Canada, the mechanical
rate is a percentage of wholesale.
U.S. publishers have always re-

fused to adopt something like that,
but I am going to guess they may
have to because the profit margins
on CDs will generally shrink. But
I don't think it will be an easy sell
10 publishers.

Looking at digital music in terms
of a life cycle, where Is the music
industry right now?

In terms ofdigital download"!, we
are at the adolescent stage to the
young 20s. In terms of digital deliv-
ery, we arc still at the toddler to pre-
teen stage. Sure, you can download
mu.sic to your cell phone and com-
puter. But eventually there will be
some digital device capable, I think,
of serving as a very robust cross-plat-
form so you can get music anywhere
you want it. Tliat is sort of the ulti-
mate model.

How much longer will the CD
survive?

I think it becomes what vinyl Is. [lim-
ited to] a few specialty stores. Vinyl
is the ultimate irony in that turnta-
bles now come with USB ports.
The C D is being propped up and

is on life support. On the other
hand, the CD is still the majority of
the business — at some labels it is
70% of volume. Today, the problem
isn't the labels. It's the retailers —
the floor space is becoming scarce.

Will the Industry eventually have
a diverse account base with a
host of digital service providers
selling music? Or will it remain
a narrow channel with only
mega-sites like ITunes and Ama-
zon dominating the market?
It's going to be much more diverse.
There will be a lot of niche players,
just like now you have so many
cable channels but on those chan-
nels you have many people making
shows. There are more people In
the television industry today mak-
ing more money than ever before,
but it's very diffuse, with people
making programs for the cooking
channel, the golf channel and the
fishing channel.

I n terms of where indies and ma-
jors stand vIs-a-vIs the evolution
of the industry, are their busi-
nesses becoming more closely
aligned or is the gulf widening?
The advantages that the majors had
in the past are going away. Back
then, you could only get into pre-
mium retail space with major-label
clout. Now the retail stores don't
exist and big boxes carried limited
titles. So while majors are still im-
portant there are so few spaces, [the
gulf between the two camps] isn't
the issue it used to be.

For example, the majors used
to control radio. Now radio is such
a narrow channel, with a smaller
playlist and playing less music,
so [radio] is less ofan issue. That
has forced labels and artists to
find new ways to get their music
to the public. •«••

^Thore will be a lot of niche [digital retail] playersjust like now yon have so
many (;able channels but on those channels you have many people making
shows . . . for the cooking channel, the golf channel and the fishing ( I lannel .

IILLBOARD 1 NOVEMBER 14, 2009

NOVEMBER 12-13, ZQD9 • THE RDDSEVELT HOTEL • NEW YORK CITY

nielsen

• DOW^QHES^

MEDIAanoMONEY

NAVIGATING CHANGE:
SOLUTIONS AT A CHALLENGING TIME

Now in its 3rd year, this conference unites the most important
forward-thinking leaders to examine the evolving media and entertainment
landscape, and reveal new business opportunities for 2010.

KEYNOTES

CHASE CAREY KARA DIOGUARDI

D^pjTy Cti*'rian Sonant iti.'PiriJmt*. AnvKir^ XxKf!.

I>i«i»l»ni a COO SVPAAR. WwntrBrolhmRKanli.

STEVE TISCH ROYCE YUDKOfF

CoOwncn ABtn Partfwn

CONFIRMED SPEAKERS INCLUDE

£D EftMiRDT
PratOam. Cutnanm

ESPN

DAVE MORGAN SCOTT O'NEIL JOHN PART1LLA PATRICOF JIMMY PITARO JEFF PRICE

SmAiwrfi Madlion Squ» Gantan Giot* Mwjij Sin M^^mj Drentor ^oci! TimCer*
Sport* Ck» OMnn«4 Sf-ycrofl LLC

JOSHUA SAPAN HERBSCANNELL IAN SCHAFEB DAWEL SCHEINMAN KEVIN SHEA TOM UGER

Pr-i^V-iI K CFO l,«u--« CK*.'r-.> & CEO ft Fo..-^ 5VP * G«^.* U«>.f|pr Mjf.igoQ ftr^tw Oi.octQ.

VIKRANT RAINA CHRISTOPHER RU550

M<in«g».g Orotic C"**' twojl'vo OHicet

Fantaqr Sporti Vxtturx

Th* Sahar Gioup

TOM UGER CHRISTOPHER AK VOU«R

NETWORK WITH TODAY'S TOP DEALMAKERS

BILLBOARD SPECIAL RATE $1400 • REGISTER BY NOVEMBER 11 • USE PROMO CODE: BBAD

REGISTRATION: Lisa Kastner 644.654.4643 • SPONSORSHIPS: Kim Griffiths 646.654.4718 • THE ROOSEVELT HOTEL 888.833.3969 Discounted Rate $299/night

GaLD SPONSORS

booz&co.

The Salter Gi

■ 1 1 1 ■ 1 1 1 • u LOEB5, 'O"""" flmi
ROUP CISCO fcLOEBuj. v-"

CONFERENCE SPONSORS

I'SNLKagan invf'Sn*

IN ASSOCIATION WITH:

THE WALL STREET JOURNAL
BilllKMrd.

MartetWatdi Dow Jones LBO Wire Dow Jones Privaie Equity Analyst

ItaHollvmoDdllfpodei

An unseasonal gust of wind
greets Alicia Keys as she
steps out of a doorway behind
a Beverly Hills hotel on a iate-
October afternoon. Decked
out in a black leather vest
and black leggings brightly
accented by turquoise suede
knee-high boots and a hint of
matching eyeliner, the Grammy
Award-winning artist gets
surprised by the chilly blast
as she ducks into a waiting
black sport utility vehicle.
Commenting on the wind's

force, the singer laughs when

it's suggested the quick

dust-up is a forecast of the

whirlwind activity cranking

up on behalf of her latest

studio album, "The Element

of Freedom." »>

Cl'

why did you decide to go back into the studio to recon

more songs?

It was just a natural progression. While we were mixing th
last couple of songs, it felt like we would have been rushing fc
no reason to put the finishing touches on songs that deserve
one more week or so to do properly. So we gently moved th
album back.

You've now released two singles, "Doesn't Mean Any
thing" and "Try Sleeping With a Broiten Heart." Wha
other sonic hints can you share about the new album?

This album is really just about growth and freedom. Sonicall
the sound is grand and massive. It feels emotional and vulne:
able but there's also a kind of freedom in it. I can't quite find
better word than freedom to really describe it. Even thoug
every song has touches of different textures and sounds, th
overall [sense of] freedom is the thing that grounds it. It's de
initely the theme of where 1 am in my life.

Another song example is the track "Love Is Blind." Som
people say the piano on it sounds like something from Mai
vin Gaye or Bob Marley. We've been using a lot of differen
keyboard sounds on this album. This particular song uses ih
CP 70 keyboard. It looks just like a piano but has a differer
lone; more of an electric sound. The song has a darker ton
to it and the beats get real heavy. But then the vocals are ver
soulful and bluesy.

Who is the producer on that track? |

On "Love Is Blind" and "Try." I worked with |eff Bhasker. K
plays beautiful keyboards and piano. We definitely had a gre«
time playing together.

You worked again with longtime collaborator Kerry "Kru
cial" Brothers. Who else are you collaborating with o
"Freedom"?

The album mainly features me. There are one or two mor
songs I'm working on now that it would be really exciting I
tell you about. But I'd like to Bnalize everything before 1 sta
spreading the word.

On this particular afternoon, the singer/songwriter/pro-
ducer/musician is being whisked off to CBS Studios to perform
her second single, "Try Sleeping With a Broken Heart," for
an episode of "Dancing With the Stars" that will air Nov. 17.
From there, she hopped on the freeway— in rush hour traffic
—to neighboring Long Beach, Calif., where she spoke and
closed California first lady Maria Shriver's annual Women's
Conference with a rendition of her hit "Superwoman."

Super woman, indeed. That same night Keys boarded a
plane back home to New York to prepare for her and Jay-
2's rocking Yankee Stadium performance of "Empire State
of Mind" during Game 2 of the World Series. Just two weeks
prior, Keys hosted her sixth annual Black Ball at New York's
Hammerstein Ballroom, where among the 1.000 guests
were Chris Martin. John Mayer and David Bowie. The ben-
efit was for the nonprofit AIDS organization the singer co-
founded. Keep a Child Alive, which helps families in Africa
and India— and it raised $2.4 million. In between all of this,
the indefatigable artist launched a new company, AK World-
wide—prepping a new Web site and Jewelry line as part of
that endeavor— and began recording more music for her
fifth album, "The Element of Freedom."

Originally slated for Dec. 1 (World AIDS Day), the MBK
Entertainment/J Records project is now set for a simulta-
neous worldwide release Dec. 15. "She had a couple of
more things in the oven and she wants this to be right,"
says Carolyn Williams, senior VP of urban marketing for
J. "So we gave her the additional time she needed. We also
get a second look into the market to build a stronger aware-
ness campaign."

Using more viral marketing this time. J Records alerted
fans to the project's lost-love lead single, "Doesn't Mean Any-
thing," through announcements on "Live With Regis and
Kelly," MTV, BET and various blogs including PerezHilton.com.
"Doesn't" is No. 14 on Billboard's Hot R&B/Hip-Hop Songs
chart. On its heets is the aforementioned "Try Steeping With

a Broken Heart." Keys performed both songs during her "The
Element of Freedom: The Lecture & Performance Series" Oct.
21 at New York University's Skirball Center.

Keys' live NYU performance is airing on "Yahoo Pepsi
Smash" this week. After a Nov. 5 appearance at the Latin
Grammy Awards, upcoming performances by the singer in-
clude the American Music Awards (Nov. 22), the "Today"
show's outdoor concert series (Nov. 24), the U.K. program
"The X Factor" (Nov. 29). the "Christmas at Rockefeller
Center" special (airing Dec. 2). a headlining stint at the
2009 Cayman Jazz Festival (Dec. 3-5), "Late Show With
David Letterman" (Dec. 14) and "The View" (Dec. 16).

Additional marketing anchors include Keys' free concert
on World AIDS Day. Tying in with all of New York radio, the
event will also treat Facebook contest winners to a lineup
of surprise guests.

BET turns over its "106 & Park" show to a two-hour spe-
cial, "106 & Keys," Dec. 16. Dedicated to all things Alicia,
the broadcast will feature a countdown of her videos, a
Q&A and a live performance.

At retail, an exclusive deluxe version of the album will be
available at iTunes and Target that includes a DVD featuring
exclusive live studio footage and two more bonus tracks. A
direct-to-consumer Fan Pak Deluxe (in the $25-$30 range) is
also available; it features a standard album in special packag-
ing, two other bonus tracks, audio from last year's Clear Chan-
nel "Stripped" program and such add-ons as an autographed
T-shirt and— for anyone who pre-orders the Fan Pak— a chance
to win one of 88 autographed keys from a Yamaha piano.

When Billboard caught up with Keys again earlier this
week, the tireless super woman was finally "taking a small
respite" for few days before the promotional juggernaut
kicks into gear. "Music is my first love." she says. "But what
drives me is the excitement and challenge of trying new
things, stretching myself creatively on as many different
levels as possible."

What triggered this whole freedom feeling?

The process began with "As I Am." I was trying to find the wi
to totally be myself and what that meant: figuring out wh,
choices I wanted to make and not make in order to truly hon(
myself. That was the beginning of learning how to do that. Ar
now it's culminated into "The Element of Freedom": the ab:
ity to have nothing holding you back; to be totally brave enoug
to be completely yourself in all of its glory.

You worked with Whitney Houston on her current slngl
"Million Dollar Bill." Are there any other outside projec
on your plate now?

Whitney is an artist who inspired me from (the time I was
little girl. Fa si- forwarding to now and being able to work wi
her to help create this song that took ofTwas fun. We had a I
of laughs; it was like being with a long-lost friend. Althouf
I'm staying focused now on my project, I definitely see myst
working with more artists as time goes by and moving mo
into the writer/producer lane. It's another interesting and fl
way to express my thoughts, ideas and feelings in another styl

Do you also envision having your own label?

I don't really have a desire to do my own label, to be honest wi
you. It's like a pain in the ass [laughs], because you've got
deal with so much irrelevant stuff. To do like me times six
seven other people, I don't know. I might totally lose it. I ha
more of a desire to bring talented people to the forefront ai
help support them. That's why I see myself doing more of tl
writer/ producer thing. But not necessarily running a label fc
cause labels are dying. It's a whole different world.

You could feel the fun you were having performing "Er
pire State of Mind" with Jay-Z during the World Serie
What jazzes you about being onstage?

One of my favorite things is experiencing the spontaneo
moment that only happens once. No matter how many tim

22 I BILLBOARD I NOVEMBER 14, 2009

'ou perform, you never have the same moment twice. And 1
ove thai. 1 love the magic of that one moment in that one
)lace shared only by myself and all the people who attended
hat night. It's our special connection. Tliere s nothing Hke
he energy, communication and unity that happens through
nusic. Even if you don't speak the same language, you un-
lerstand music.

n the meantime, you've established a new company called
VK Worldwide. How did you come up with its slogan:
The business of inspiration"?

vKW is the home base for everything I'm involved in
■rcscntly and want to become involved with in the future.
Her AKW team incKides managing director Erika Rose and
irector of operations D) Walton. | And its slogan means a
11 to me. When I first started in this business. I was really
oung and trying to figure out how to balance and make
verything work. It wasn't until about 18 months ago that it
11 made sense to me. That for me — through my music and
le various ventures I've done so far — there's a certain in-
piration aspect that goes along with the kind of businesses
want to be involved in.

I'd always wondered why I was so attracted to the model of
)prah Winfrey, and I realized it's because she's able to do things
1 an incredible way that somehow touches your life and makes
ou think about things in a whole new way. There's a lot of in-
piration in what she does and gives to the world.

And that's where I feel comfortable, working with what feels
atural and authentic. There's enough in the world that focuses
n the other side. I'd like to focus on what can lift us up as a
eople. help us leam and be open to new things.

esides your philanthropic endeavor. Keep a Child Alive,
fhat other AKW ventures are being planned?

new partnership I'm involved with is a jewelry line called the
arber's Daughters. I met a designer |GiseleTheriault] in Toronto
ho makes gorgeous jewelry. 1 was just so shocked and stunned
y her work. Not only is it all done by hand but it's also hand-
ngraved with beautiful words and phrases. Being a lyricist, I
ive words. And every word written on this jewelry gives you
jmelhing to think about, to strive for or lift you up in your jour-
ey. You can feel the words on your skin as if it's your own per-
mal mantra. [Keys will debut the collection Nov. 23-24 at a
ublic event at Collette Blanchard Gallery in New York.]

/hen will you introduce the jewelry line?

'e just did a piece for my Black Ball — beautiful dog lags

with the quote: "The best way to find yourself is to lose your-
self in the service of others." It's from Gandhi. We're gear-
ing up now for the formal launch of our first collaborative
line in 2010.

My other AKW venture is an idea I've had for a little
while now, an online inspirational site called lAmASuper-
woman.com. It will launch Dec. 15 along with my album. It's
going to be a great lifestyle place for people to visit . . . ulti-
mately, in essence, an online magazine. A place where you
can get overall advice on financial matters, beauty and fitness
as well as tips and thoughts on other subjects. I want to en-
gage wonderful women from all walks of life to share their
experiences, who can bring specialized knowledge to differ-
ent areas on the site. It will be a place where people can com-
mune and talk about what's on their minds, what's going on
in the world politically and socially.

Any movie or TV projects on your horizon?

On the acting side, there is one main role that I very much
want to tell you about, but I can't. I know thai sucks paughs].
I can say it's an action film. But if it all comes together, that
would really, really be my goal of the year.

Outside of that, my manager/partner Jeff Robinson and 1
are working on a TV show for N BC that's coming along well.
And we're working on a film with Miramax about a female
D], I personally want to gel involved with Broadway. I have
some great ideas in terms of developing new pieces as well
as helping to bring other strong projects to Broadway.

If you weren't in music, what would you be doing?

i definitely love people and being a part of people's lives. I guess
I'd be of service to people in some way. Still on my list of things
I want to accomplish is creating charter schools.

Looking back on your career, has the journey been what
you thought it would be?

This industry is difficult to break into. Like anything you want
to do. you have to love it and be completely focused on it.
Nothing can divert or distract you. It's not going to happen
quick, it's not going to be real easy. It's not going to be the
answer to all your problems or like some Cinderella story.
There's no such thing.

! look back and see where I started from and, in my eyes, I'm
jusl starting. Honestly, all of il is one big surprise. The many
accomplishments that I've been able to be a part of . . . I feel
extremely humble, gralefiil and excited to continue on that path.
It's all one big "wow." ••••

ALICIA KEYS' SIRENGTH LIES IN HER
SALES-AND HER CONSISTENCY

SOURCE n*e Miyoani tOO Hvou9»i t-

HMHnSwndSrin

UASjIn: 6.2M

4.6M

937,000

DM: 1

«iMioii(hift: II

»^

"Songs In
kmm'

'Th. DiarTOl

ucuins'

"UnplugfMl"

J m

GOOD

VIBRATIONS

J RECORDS PRESIDENT OF A&R PETER EDGE
TALKS KEYS AND COLLABORATION

A whole new vibe— that's how
J Records president of A&R
Peter Edge describes Alicia
Keys' coming attraction, "The
Element of Freedom," Edge
credits the album's "fresh,
modern vibe" to Keys' keen un-
derstanding of a music essen-
tial: collaboration.

"Like all great musicians, Ali-
cia is very open to collaboration,
dialoguing about different ideas
and directions," Edge says. "She
can sit and write a song herself
from top to bottom, and this
album features several of those
in that vein. But this album also
features new collaborations that
bring new tones to the music,
fleshing out a whole new feel. She's very smart and very intu-
itive atx>ut what works for her She knows how to make music
with other people— not just tapping into the producer du jour—
as well as herself."

Two of Keys' announced songwriting/production collabo-
rators on "Freedom" are longtime colleague Kerry "Krucial"
Brothers and Jeff Bhasker. Brothers co-produced and co-
wrote the album's lead single. "Doesn't Mean Anything," with
Keys. Another album track by the pair is called "Distance In
Time." Bhasker. the music director of Kanye West's live shows
and a songwriter/producer on West's "8085 & Heartbreak."
has contributed three songs thus far: the second single, "Try
Sleeping With a Broken Heart" (with drum programming by
Plain Pat); "Love Is Blind "; and "Wait Til You See My Smile."
The album will also include Keys' version of Jay-Z's "Empire
State of Mind." on which she guests.

At press time, Edge and Keys remained mum as to who else
(including producer Swizz Bcatz. Keys' collaborator on Whit-
ney Houston's current single, "Million Dollar Bill") may be col-
laborating with the singer/songwriter on "Freedom." The
.^lbum'«; reloasp date was pushed back to Dec, 15 to give Keys
time to add more songs. Edge, who calls the developing col-
laborations "super exciting," says an announcement will be
made within the next week or two,

Edge, who signed Keys to the label and has A&R'd all of her
albums, says he's watched her grow from a young girl ("Songs
in A Minor") and soul-seeking young lady ("The Diary of Ali-
r. \a Keys") into a woman flowering Into her own ("As I Am"). "It
csll comes together on 'Element of Freedom.' " he says. "The
freedom to express yourself and start thinking about how you
want to live your life- that's where she's at. Frankly, so many
artists become formulaic. But Alicia continues to re-create
herself on each album," —GM

NOVEMBER 14, 2009 I www.billbcard biz I 23

ALICIA KEYS

BY THE NUMBERS

Alicia Keys has two of the top 100 best-selling
albums in tiw Nielsen SoundScan era (1991-present)
with "Songs In A Minor" (6 J million) and "Th« Diwy
of Alicia Keys- (4.6 mllion). |

Keys and Britney Spearsaretheonly two female
artists to have their lirst four charting aibums all
debut at No. 1 on the Billboard 200.

Keys has racked up 18 Billboard Hot 100 hits, iwith
nine or those reaching the top 10. She's had three
No. Is: "Fallln'," for six weeks; "My Boo" (with
Usher), for sliiweelcs; and "No One," for five week*. ^

Keys' chart history is just as impressive on the Hot
^&B/Hip-Hop Songstally. where she's notched six
>Jo. Is: -Fallin'," "My Boo." "No One," "You Don't
<now My Name," "If I Ain't Got You" and "Like You'll
"leverSeeMeAoain." -Keith Caulfleia

SALES RANK

Don't Bury The Blockbuster
Yet. The Most Popular
Digital Tracks Account
For More Sales Every Year
By Glenn Peoples

24 I BILLBOARD NOVEMBER 14, 2009

1 1 1 i ^

1 1 ^1

1 L| 1 ! 1 1 ! . . 1 J

— J —

U ±1

rhe Long Tale?

"he great hope for digital music was that it would make the
ecording industry more egalitarian — that up-and-coming bands
v'ith pluck and a knack for promotion would be able to get their
^ork to the masses without the backing of record labels,
according to "The Long Tail: Why the Future of Business
s Selling Less of More" — a 2006 book by Wired magazine editor
n chief Chris Anderson — hits dominated the market mostly
ecause shelf space in stores was limited. Digital retail and
nline media would exponentially increase the choices available
0 consumers, who would then use online tools to discover
roducts that appealed to them more than the biggest hits.

Anderson's "Long Tail" idea comes from a sales graph that
looks like the letter "L" with a curve instead of a corner. On
the left are the hits, the 5,000 best-selling titles that would
typically be carried by a national chain: on the right, further
down the curve, are less popular titles thai sell fewer copies.
In the physical world, few stores have space for these niche
titles, which don't sell well. But in the digital world, where
space hardly matters. Anderson suggested, these titles would
collectively account for a far greater percentage of music

Hates — and of movies, books and other consumer products.

The ways we think about popular taste, he writes, "are actu-
ally artifacts of poor supply-and-demand matching — a mar-
ket response to inefTicient distribution."

For an industry that coined the term "hit parade." this
would amount to nothing short of a revolution.

So far. at least according to Nielsen SoundScan data on
U.S. music sales from january 2004 through October 2009,
that revolution hasn't arrived — although the demand for al-
bums has changed. Sales of albums, especially digital ones,
became significantly less concentrated around hit releases

NOVEMBER 14, 2009 I www.bllll9oard.blz I 25

Cijpyilgl{iiuil iilataria

I I

i I i i i I

ALBUM SALES: HEAD VS. TAIL

As sales of the top 5,000 albums decrease tn units (blue bars) and by percentage of
total album sales (blue circles), those of other albums (In red) gain ground.

S07.ZO7,OO0

DIGITAL ALBUMS: HEAD VS. TAIL

Even as sales of the top 5,000 digital albums increase in units (blue bars), they lose
market share (blue circles) to those of other albums (in red).

m.m,m

lUIL

■f- ®

161.?0I.WO uMim

n.8I1,0N

12 469 000 """''"^Qwinnn 16.181.000

wooo 1.011,000 "'"^ i.m.ooo gjjJJJ

since 2004. But sales of digital tracks — which this year ac-
count for 56% of digital sales by track volume — have grown
more concentrated in hits during the same time period.

Essentially, hit songs are becoming more important while
hit albums are becoming less so.

Although "The Long Tail" discusses the waning promi-
nence of hits, Anderson would prefer to look past the top of
the head of hit singles at a larger group of tracks to gauge
broad shifts in demand. "In short, this isn't enough data to
draw any proper 'Long Tail' conclusions about," hf wrote in
an e-mail, "since it doesn't use Head and Tail the way the
theory docs."

Since the publication of "The Long Tail." some studies have
confirmed the book's thesis, while others have cast doubt on

it. In ii 2008 paper, [ larvurd Business School associate profes-
sor Anita FJberse found that hit titles still dominated sales even
though some consumers were venturing further down the tail.
This year, two researchers at the Wharton School of the Uni-
versity of Pennsylvania, Tom F.Tanand Serguei Nctcssine, ex-
amined Netflix user data from 2000 to 2005 and found that
new titles are appearing faster than customers can discover
them. Perhaps more surprisingly, a study by PRS for Music
chief economist Will Page and BigChampagne CEO Eric Gar-
land found that the demand for songs on file-sharing serv-
ices— which offer users almost unlimited choice — closely
mirrors that of purchased tracks. Only 5% of songs accounted
for 80% of downloads, resulting in what the authors called a
"hit-heavy, skinny-tail distribution."

One thing that hasn't changed since the publication of
"The Long Tail" is how hard it is for artists to sell a meaning-
ful amount of music — whether or not they're signed to a label.
From 2004 to 2008. the number of new albums released per
year has more than doubled. And although digital retail is
taking market share from the most popular titles, the sheer
number of unpopular albums available means that each of
those titles doesn't benefit much from their collective in-
crease in market share. The millions of units that are shift-
ing from a few titles at the head of the tail are migrating to a
few hundred thousand at the end of it — each of which doesn't
sell much more.

THE POWER OF HIT SONGS

So far digital retail is less about albums than individual songs,
which account for 57% of all purchased tracks so far in 2009.
And in the last five years, track sales have liecome increasingly
more concentrated, so that hits matter more each year Tiiis trend
was first noticed by Elberse. who pointed out that it was happen-
ing even a.s the number of tracks available continues to increase.

The change is significant. From 2004 through October 2009.
the most popular tracks have steadily and consistently grabbed
market share — and lens of millions in unit sales — from less pop-
ular songs. The growth is slight at the top of the chart and more
noticeable further down. Tlie lop 10 inaeased to 3.1% from 2.1%.
The (op 40 increased lo 8.3% from 5.9%. And so on. The top 200
tracks — that's just 0.002% of tJic nearly 9 million currently listed
at Amazon — have a markft share of 1 H.7%. In 2004, their share
was 14.5%.

At a time when more music is available than ever before, why
do so many consumers buy the same few songs? It may be be-
cause popular (aste tends to reinforce itself, especially in an on-
line world. Or it may be because buyers of single tracks tend to
be casual fans who are more inclined to buy songs they hear
on the radio and TV.

"One aspect of word-of mouth online is that it can be an ef-
fective discovery technique, driving demand lo titles that don't
have traditional marketing, '" Anderson said. " But the other side
of it is that it can lead to herd behavior, with 'winner take all'
effects. It's possible for both lo work at the same time, with
some word-of-mouth boosting niche acts, while other word-of-
mouth creates bigger hits al the very top of the curve."

Weekly sales figures show just how important hits have
become. Since iTunes launched variable pricing in early
April, the top 200 tracks have retained their market share
even as the number of tracks purchased each week has fallen
by about 6%. {Some of this decline may be due to a midyear
weakness in digital track sales,) From April to )uly. the top
200 averaged a 24% share ofeach week's total track sales. In
the same period in 2008, the top 200 averaged just 22.2% of
each week's track sales, even though most of the top 200
songs were less expensive.

Although higher prices have depressed sales of hits — in

terms of units, not revenue — consumers haven't been spenc
ing their money on other songs. 'The Long Tail" suggests th;
consumers will use increasingly sophisticated digital tools t
discover, sample and buy music that appeals to them more tha
the biggest hits. But in the case of digital tracks, that hasn't ha{
pened. Consumers who are turned off by a SI. 29 price poir
for the track they came to buy don't seem to seek out less po]
ular alternatives. In otlier words, many music fans aren't shut
ning hits because they don't like them but because the pric
rose by 30 cents. And if they don't find the hits they want, the
forgo a music purchase altogether.

THE LONG TAIL OF ALBUMS

Overall, album sales don't look that different from five years agi
at least in terms ol the demand curve. The most significant cliaii^
has been the overall decline in album sales: 32% from 2004 1
2008. As everyone in the industr)- knows, it's tough all over.

As "The Long Tail" predicts, the most popular albums fare
iheworst. losing market share to less popular titles. From 20C
to 2008, sales of the 5,000 albums that make up the head of tf
demand curve dropped 40.5% while sales of the miltion-pk
albums that make up the tail declined 27.4% And not only dt
sales of popular albums decline more than those of others, tf
most popular ones declined the most. Unit sales of the top 1 ,0(
albums of 2008 dropped 41 .7% from their 2004 levels. The se
ond thousand most popular albums dropped 36%, the thii
thousand fell 31.2%. the fourth 31.2% and the fifth 30.9%. Fi»
years ago, the top 5.000 albums represented 74.4% of total sale
in 2008 they accounted for 70.2%. Some of this comes from tf
sheer number of albums that now make up the end of the ta

The marketplace for digital albums is also taking shape a
cording to the theories in "The LongTail." At a time when tl
big-box retailers that now account for so much of the CD ma
ket have cut the shelf space they devote to music, the numb<
of tracks available from online services keeps rising. And di
ital retailers make it easier for consumers to sample music ar
use various other filters and discovery tools that "The LongTai
predicted would distract them from the hits.

)uslas "The LongTail" indicated, demand for digital albun
is moving further down the tail than that for albums overa

26 I BILLBOARD I NOVEMBER 14. 2O09

r t.

■t-f- —

In 2008, the top 5.000 albums accounted for 64.7% of digital
album sales, as opposed to 70.2% of album sales overall. And
ihe market share of the top 5.000 digital albums is shrinking
is niche products take away sales from more popular titles. But
■he rate of change is slowing — the head lost three percentage
Doints in 2007 and 20O8 after shedding more than six points in
2006. which means that the demand curve could settle in some-
hing close to its turreni shape.

Within the head of the demand cun-e. which represents a
A'ide range of popularity, albums have been affected very dif-
Vretitly. In 2006 and 2007. the most popular 100 albums lost
he most market share in absolute terms. The three percent-
ige points of market share they lost represented about 1 mil-
ion units. In 2008, albums from No. 101 to No. 200 lost the
nost share in absolute terms. But in relative terms, the albums
n the middle of the head fared the worst in terms of losing
iharc. From 2004 to 2008. albums from No. 301 to No. 400 lost
he greatest percent of their market share — 34%. From 2005 to
!008. Nos. 401 -500 suffered the most— 22%. From 2006 to 2008.
ilbums as far down as No. 4.000 lost a greater percent of their
narket share (7%) then the top 100 ranks (5%).

As "The Long Tail" predicted, sales will disperse access a
vider range of titles as consumer choice increases. Within the
ail of digital albums, the truly obscure albums seem to be
nilling sales away from those that are merely unpopular. In
!008, even as the head of the tail shrunk more slowly than in
jrcvious years, albums as unpopular as those around No. 8.000
>avc up market share lo titles that were even less popular.

-IFE IN THE TAIL

jfe in the long tail can be difficult for any individual artist. One
uch album — former Afghan Whigs fronlman Greg DuUi's
Live at the Triple Door" — sold 1,400 digital copies in 2008 and
anked at No. 6,736. As "The Long Tail" would have predicted,
:n album with that sales rank benefitted from the effects of
videspread digital distribution. But during the past three years
he gain for an album at No. 6.736 was nil: around 75 addi-
ional copies.

Dulli is the type of artist who might be expected to benefit
rem the economics of (he long tail. Signed loa major label in
he early '90s. the Afghan Whigs released some moderately
uccessful albums, and Dulli has enjoyed similar success as a
olo artist. But now Dulli and artists tike him now face more
om petition, simply because so many more albums come out
ach year — "Live at the Triple Door" was one of 50.000 digilal-
inly albums released in 2008. Even if Dulli keeps cracking the
ap 10.000 albums, his market share is likely to be smaller than
■'hat it is today. And market share is important becau^ it in-
luences other revenue streams, such as touring and merchan-
isc sales. |

In terms of overall album sales — not just those of digital al-
'ums— the greatest changes may be taking place in what might
•V called the middle class: albums ranked from No. 20p to No.
.000 in terms of sales. Many of these are catalog titles that ben-
fited from year-round price-and-posilioning programs at re-
lilers like Virgin Megastore and fye. Sales of these albums
ropped as much as 34% from 2006 through 2008, coi^pared
.'ith the 27% decline in overall sales. |

Most likely because so many music stores closed, catalog
hestnuts like the Phil Collins collection "Hits" havq stayed
lose 10 their overall sales rank while selling far fewer tmits. In
006. "Hits" sold 116.000 copies, enough to rank at No. 699
mong the best-selling albums of the year. By 2008. "Hjts' sold
2.0W — a 29% drop — hut ranked at No. 703. I

In the digital world, which relies less on merchandising pro-
rams. " Hits" IS all but absent: It hasn't cracked the list of the
>p 10.000 digital albums since 2006. Bargain catalog makes
n appealing impulse buy at physical stores, and since many
>tailers can't carry all of Collins' albums, they focused on a
its collection. In the digital world, consumers hav* many
lore options for Collins' catalog. In addition to "Hits." shop-
ers can choose from his studio albums like "No lacket Re-
uired" {No. 3,273) and "But Seriously" (No. 9,652) or 1^ their
ivorite tracks individually.

HIT TRACKS ARE GAINING GROUND

In the last half decade, sales of the most popular songs have sold better relative to total track sales.
The top 200— out of about 10 million— account for nearly one in five purchases.

HIT ALBUMS HAVE LOST GROUND

In the last half decade, the most popular albums have sold slightly worse relative to total album sales.
The market share of the top 200 fell until this year when it has increased so far.

TOP 200

28.4S

TOPTOO

21.7X

TOP 40

IS.7%

TOP 10

---1

5.5%

HIT DIGITAL ALBUMS HAVE LOST GROUND

In the last half decade, the most popular digital albums have sold worse relative to total digital album sales.
But that trend has slowed in the last three years.

■ig^^oo

22.1%

I6.3X

10.3%

JOPlo

4.4%

2009
YID

ilprti

NOVEMBER 14. 2009 I www.blllbaard.biz ! 27

jvm]

rrrr

TRACKING SALES OF DIGITAL ALBUMS AND SONGS

In the last half decade, as sales of individual tracks have grown in units (orange bars), they have declined as a percentage of total tracks
sold online (orange circles). At the same time, tracks purchased from albums— assumed to contain 12 tracks each— have grown in terms
of units (green bars) and as a percentage of tracks sold online (green circles).

ARE THERE RICHES IN NICHES?

So how can music companies adapt to this new world? "Tlie
Long Tail" urges businesses to "think niche." Since the future
is "selling less ofmore," it makes sense to make available ever>'
product possible. And since niche titles are rarely discounted.
Anderson argues, online retailers like Amazon are wise to use
retommendalion engines to subtly nudge their consumers to-
ward relatively unpopular items.

At the time "The Long Tail" came out, this was smart advice —
and it still is for online retailers like Amazon and Netflix. which
sell physical goods. Tor years big-box retailers like Wal-Mart
have used popular CDs as loss leaders to drive sales of more
expensive, high-margin products. So far. however, pure digital
retailers work differenily. and iTunes. which typically has the
highest prices of any online music store, .still has the highest
market share. (iTunes also sells more expensive versions of
some albums.) And as long as the most popular titles command
the highest prices, as they now do on iTunes. retailers would
be wise to steer consumers toward them in order to maximize
revenue and. presumably, margins.

There is also evidence that a retailer could alienate consumers
by steering them toward niche items that don't appeal as much
as hits. Anderson wrote in the book that, as listeners slop buy-
ing CDs and explore the tail, they are "typically more satisfied
with what they find." But Elberse studied user ratings at the
Australian UVD rental service Quickfiix and found that the
more popular titles also received the most favorable ratings.
Users who rented obscure titles tended to rale them less favor-
able than they did hits.

"No mailer how I slice and dice the customer tiase. customers
give lower ratings to obscure titles." slie wrote in her article for the
Harvard Business Review. "Tliereare signs lhal ifyou keep push-
ing people into the tail because the economics for you are really
good, that might actually hurt you in the long run." "That may be
true forthespedficexamplcof the Australian DVDdata." Ander-
son wTOte on his blog. "but it is nol clear from the paper why she
feels able to extrapolate that to all Internet commerce." In their
analysis of Netflix user ratings. Wharton'sTan and Netessine also
found that consumers lend to be more satisfied by hits llian niches.

While it's easy to see how retailers could adapt to Ihe world
of "The Long Tail," what about content creators and the com-
panies that fund and market their work? Any label or artist that
stopped trying for a hit in order to focus on a niche is almost
certainly doing the wrong thing, at least in economic terms. Al-
though niclic titles collectively account for a greaier percent-

age of sales, no individual one accrued any meaningful in-
come— and few have received the attention their creators would
need to perform or sell merchandise at a time when those rev-
enue streams are becoming more important.

Major labels and independents that are r\m as serious busi-
nesses should continue to focus on how to reach a mass audi-
ence— especially on how they can do so using new digital tools
and the advertising and sponsorships that are becoming in-
creasingly important in the music businesses.

Indeed, labels have continued to focus on finding hits for a
reason: It's almost impossible for them lo make real money any
other way. (Even if a company or act decides to give away music

in order to play live or sell other goods, they stUI need lo reach ;
significant audience to make that pay off) Elberse. for one, does
n'l think content companies should focus on hits any less that
they do now. "1 don't think they need to go about their job an;
difFerendy now than they did 10 years ago." she told Billboard
"They will still bet on a few projcxts more than other projects ii
their portfolio and hope lliey will become the winners that pa;
for the majority of things that don't make a profit." •■•

Editor's note: This story was edited by Louis Hau and Robert
Levine: Levine several years ago worked with Chris Anderson, the
author of "The Long Tail." at Wired magazine.

A 'Long' Life

tt*5 Easier Than Ever
To Sell Albums— But
Harder Than Ever
To Stand Out

In the online age, do artists still need
labels? The Long Tall seems to imply
that they don't, and many digital
music executives agree. Just put the
music online, they say, and fans will
find it.

But how many?

Although popular albums no
longer dominate the market like
they once did, each digital album
toward the end of the tail won't ben-
efit much. That's because the Long
Tail phenomenon takes away signif-
icant sales from the few albums at
the top of the charts but redistrib-
utes those sales among many oth-
ers—each of which doesn't sell
enough additional copies to amount
to a significant gain.

The same forces that make digi-

tal distribution so easy make it
harder for each individual album to
achieve even modest sales. In a
record store, an artist might domi-
nate a niche easily, since the shop
might only stock a few thousand
other titles. At an online retailer, it's
easier to get lost in a crowd of hun-
dreds of thousands.

Consider the numbers: Since

2004, the most popular digital al-
bums have lost market share to less
popular titles, according to Nielsen
SoundScan. (Since sates of digital
albums are rising, these losses are
in market share, not units sold.) In

2005, the titles that ranked from
No. 101 to No. 200 on Nielsen
SoundScan's list of the best-sell-
ing albums of the year collectively
lost one percentage point of mar-
ket share— equal to 1,700 units
each. Now, that same force also
hurts albums that aren't in the top
tier of hits: In 2006 the top 2,000

albums lost market share to less
popular titles.

To the losers, the decline can be
significant: Albums among the 100
best sellers of 2006 collectively lost
three percentage points of market
share, according to SoundScan,
equal to about 10,000 copies each.
At the other end of the tail, however,
the gains are so modest they barely
matter. In 2006, the No. 7,000-
ranked title gained about 64 units
worth of market share. At No.
10,000, the gain was 53 units.

Album sales are so hard to
achieve for niche artists that giving
away music may seem like a good
idea, and the value of additional
fans could outweigh the revenue
lost. But it's awareness— not just
sales— that's hardest to come by.
There's already so much free music
available on the Internet that giv-
ing it away might not do much to
win an artist new fans. —OP

28 I BILLBOARD I NOVEMBER 14. 2009

Cni

SIDEMAN NO MORE

David Rawtings holds
hfs own on solo d^but

IN STEREO

Sterophonlcs survive
labf?l chao*;

KID N PLAY
Teen sensation Justin
Bieber splHs the beans

SHAKEN. NOT STIRRED
Pink Martini's
slow-burn success

ISLAND BREEZE
lyaz cracks the Hot 100
with 'Replay'

In the m id-'80s — at the height of
the band's popularity — a rock
critic called Def Leppard the
most faceless band in the world.
While almost anyone with a
radio could sing one of its hits, mem-
bers of the band were able to walk
around largely unmolested, and in
some cases, ignored.

OneRepublic frontman Ryan ted-
der is hoping to avoid a similar fate.
Ever since "Apologize" topped the Bill-
board Hot 100 in late 2007. the song
has become part of pop culture: even
if you don't know it olfllie topofyour
head, you've probably heard it while
you were buying toilet paper at the
drugstore. Tedder's higgest goal for
OneRepublic'snewalbmn. "Waking
Up." which will be released Nov. 17
on Mosley/Interscope. is to define
the band beyond one extremely pop-
ular single.

"Of course it would have beeti safer
to just make (debut album] 'Dream-
ing Out Loud." part two," Tedder says.
"But we didn't want to do that. The
first album sounds like a band in Los
Angeles in a studio. The new one re-
flects our e.\|K'rience since then — it's
colorful and uptempo and exciting,
not just a collection of ballads."

Along with touring to set up the
new album — OneRepublic opened
for Rob Thomas — Interscope is
rolling out an extensive campaign to
define the band. Four sotigs f rom the
new album, including the first sin-
gle, "All tlie Right Moves." will be re-
leased prior to the 17th as part of
iTunes' Countdown promotion. Fans
who purchase those songs will then
have the option of buying the remain-

iivt ofth*.- .itbiirn on rt.-lr;iM- day.

"All the Right Moves" is No. 85 on
the Hot 100. "The song is building
at hot AC and we're getting good
early support from top 40." OneRe-
public manager Ron Laffitle says.
"The band is going to stations in dif-
ferent cities and having sit-downs
with program directors."

LafTitle says "All the Right Moves"
is the lead single in all territories, save
for Germany, where a synch led to a
different track gaining traction. "A

MUSIC

Not apologizing anymore:
ONEREPUBLIC

prcUy big fihn t ame* out tivt-r thci'c re-
cently, and the song 'Secrets' was fea-
tured in it pretty prominently." he
says. "It was a great starting point for
us, artd the song is now at No. 2 on
the German airplay chart."

Steve Sherr of Inlerscope's mar-
keting team says OneRepublic is fo-
cusing its promotional cfTorts on the
local level. "Pretty much every city
they go to. they're doing local press
and regional TV." he says. Despite the
fact that Tedder is adamant that the

itfw ;ilbiini isti'l "drivf I he kids to soc-
cer practice music." Sherr says it's im-
portant for the group to play "Good
Morning Cleveland." or each city's
e(]uivatent program.

"You can roach more people play-
ing local stations than playing Letter-
man." Sherr .says. "But that said, they
are going to play the )immy Kimmcl
and Craig Ferguson shows, too,"

OneRepublic will also be part of a
promotion with the NBC weight loss
reality show "The Biggest Loser" and

cut;:'

thv t liarity FretUng Antcric.i. "Ry.in
was filmed talking about Feeding
America and the work they do. and
we're going to film the entire band at
a food bank." Sherr says. "The seg-
ment will then air at the end of an
episode of The Biggest Loser.' "

hi addition loappealing to OneRe-
public fans. LafTittesays that he wants
to reach out to fans ofTedder's song-
writing. "When we do local media, it's
a great way for us to tell their stor>'
and start conversations." he says. "A

lot of ^t.-ltions will pl:iy sonys «uch as
Beyoncc's 'Halo' during tlieir inter-
views with OneRepublic and then ask
Ryan about writing those songs. It's
a natural thing to talk about and it re-
ally shows Ryan's range."

Tedder says that, in a perfect world,
he would keep his songwriting and pro-
ducing separate from the band. "I do
get tiie extra exposure, ihougli. wliich
is always good." he says. " I will say tliat
being a writer and a producer is much
easier than Ix-ing an artist." ••••

NOVEMBER 14, 2009 www.billt)oard btz

I L ATEST

Lbijzz

»>BON JOVI
PLAYING BERLIN
WALL

Bon Jovi has added a
performance at the 20th-
anniversary celebration
tor the fall of the Berlin
Wall in Germany to an
already full promotional
schedule for its new
album, "The Circle." The
group is currently the
only entertainment at the
Nov. 9 ceremony and will
perform the album's first
single, "We Weren't Born
to Follow." Bon Jovi will
also perform on NBC's
"Today" each Wednesday
during November It will
kick off a world tour Feb.
19 in Seattle that is
expected to last two
years, covering 30
countries.

LADY GAGA
BREAKS RECORD

Lady Gaga is the first
artist in the 17-year
history of Billboard's Pop
Songs chart to notch four
No. Is from a debut
album, as "Paparazzi"
rises 3-1. The singer,
recently honored as
Billboard's Rising Star,
previously led Pop Songs
with "Just Dance," "Poker
Face" and "LoveGame"
from her debut release,
"The Fame." The set has
sold 1.6 million copies,
according to Nielsen
SoundScan. It will be
rereleased Nov. 23 in
expanded form as "The
Fame Monster." Since the
Pop Songs chart debuted
in 1992, only Ace of Base
and Avril Lavigne have
had three No. Is from a
debut album.

> - -LEWIS MAKES
LIVE DEBUT

Leona Lewis played her
first full concert on home
turf in Hackney, East
London, to launch her
new album. The U.K.
singer, who became a
worldwide star after
winning "The X Factor" in
2006, grew up in
Hackney and chose the
borough's famous
Hackney Empire theater
for her Nov. 2 live debut.
"I first performed here
when I was 13," she told
the audience. "So it
seemed fitting to come
back and do my first live
show here." Lewis is
expected to tour next
year, although dates
haven't yet been
announced.

Reporting by Gary Graff,
Mark Sutherland and
Gary Trust.

BY MIKAEL WOOD |

All Eyes On Him

Roots Rock Sideman Dave
Rawlings Steps Into The
Spotlight

Dave Rawlings has spent the last decade es-
tablishing himself as one of the most promi-
nent sidemen in roots music, working in the
studio and on the road with the likes of Old
Crow Medicine Show, Bright Eyes and his
longtime partner Gillian Welch. But this
month Rawlings makes a move toward cen-
ter stage with the release of "A Friend of a
Friend," the debut album by the Dave Rawl-
ings Machine, which finds the singer/gui-
tarist leading an all-star ensemble that
includes Welch, members of OCMS. Tom
Petty keyboardist Benmont Tench and Nate
Walcott of Bright Eyes. The nine-track set
hits stores Nov. 17 on Welch and Rawlings'
Ryko-distributed Acony Records.

Given the authority with which Rawlings
sings and strums on "A Friend of a Friend,"
one might wonder if the desire to make an
album with his name on the cover has been
burning inside him while he toiled for oth-
ers. "In a word, no," Rawlings says with a
laugh. "If it had. I suppose I would have done
it a lot sooner. I just didn't think there was
much of a point in putting out something un-
less it was of a particular level of quality. And
maybe I didn't feel like I could achieve that
until recently."

According to Welch. "Dave never really
liked the sound of his voice as a lead singer
until a couple of years ago. when it kind of
got fatter and bigger. Now he's got this really
great, reedy rock'n'roll tenor."

Indeed, the tunes on "A Friend of a Friend"
— which includes seven originals, as well as
versions of Ryan Adams' "To Be Young (Is

'I jufcit didn't
think there
was mvich
of a point in
pultinj^out
something
unless it
was of a
particular

level of
quality, and

maybe I
didn't feel
like I could
achieve that
until
recently/

—DAVE RAWLINGS

30 I BILLBOARD I NOVEMBER 14, 2009

to Be Sad. Is to Be High)" and "Method Act-
ing" by Bright Eyes — swing much harder
than those on Welch's more austere record-
ings. "Not to make a joke on the title of the
album, but these songs seemed a lot friend-
lier." Welch says. That different quality, she
adds, required a diiTerent approach.

Despite Rawlings' extensive resume, Acony
G M Lori Condon acknowledges that the chal-
lenge in selling a record by the Dave Rawlings
Machine is getting listeners to recognize the
frontman's name. ("He's a little bit of a mys-
tery man," his manager Cliff Burnstein says.)
Condon says the label is utilizing Welch's Web
site and her e-mail list as a way to bring "A
Friend of a Friend" to the attention of those
who may not realize they're already fans of
Rawlings' work.

At retail, the label is focusing on its re-
lationships with indie stores; on his upcom-
ing tour (which kicks off Nov. 28 in Athens.
Ga.) Rawlings is scheduled to make day-
time in-store appearances at Nashville's
Grimcy's and Austin's Waterloo, among
others. Press coverage also plays a central
role in the label's rollout, says Condon, who
mentions an upcoming American Song-
writer cover and a four-star review in Eng-
land's Uncut magazine, "it's pretty difficult
to have any certainty about our sales expec-
tations," Condon says, "especially since
Gillian's last album came out in 2003. But
I'd say that in a year from now, 20.000
records would feel good."

"Talking someone into buying a record that
they don't like" is tricky business, Rawlings
says, speaking as both artist and label owner.
"All you can do is put it out there and let the
people who have a good chance of liking it know
about it."

BY RICHARD SMIRKE J

VISION

Stereophonies Survive Label Chaos
And Come Back Strong

Scoringafifth successive U.K.
No. 1 album should be a mo-
mentous occasion for any
band, but in October 2007 the
Welsh rock outfit Stereophon-
ies wasn't able to savor the
achievement for long.

fust as their sixth studio set,
"Pull the Pin," topped the Offi-
cial Charts Co. (OCC) albums
list, Stereophonies' label, V2,
was integrated into Mercury

Records following its acqiii;
tion by Universal Music Groi
(Billboard.biz, Oct. 22, 2007
That left one of Britain's bigge
contemporary rock bands cdr
lively between labels.

Looking back, Sleroopht
ics singer/songwriter Kcl
Jones reckons the timinii j
fected sales for " Pull the i
"Nobody was working tl
record," he recalls. "Mt-rt i

^LQBALPULSE

EDITED BY TOM FERGUSO

>>>HOWARD'S
END

Veteran South Africa-born/
Germany-based schlager
singer Howard Carpendale
retired from music in 2003—
but that didn't last long.
Carpendale's latest album,
"Stark" (Koch/Universal), re-
leased Sept. 25 in Germany,
Austria and Switzerland, re-
turns the 63-year-old to the
charts that were his regular
haunts in the '70s and '80s.

"Stark" is the second new
set Carpendale has recorded
since shunning retirement in
Miami and heading back to
Germany in 20O7. His Novem-
ber 2007 comeback album,
"20 Uhr 10," has sold more
than 300,000 copies in Ger-
many, according to his label.
Encouraged by that success
and a subsequent sellout tour,
CarpendaledecWed the come-'
back shoukdnt be a one-off.

The 12 tracks on "Stark," he
says, were informed by per-
sonal experience to create "the
soundtrack of my life." How-

ever, Carpendale swiftly adi
that it's not strictly autobic
graphical. "I haven't really e
perienced [all] the things th
I sing about," he says. "Th
would be too terrible. But it h.
to be authentic. The sont
have to be about things th
could have happened to me

Koch says "Stark" is closir
in on gold status (100,00
shipments); it remains on ti
Media Control/Gfk chart.

The new album's origin
material is published t:
Airplay/Warner/Chappe
Carpendale will undertake
40-date tour Germany
April and May 2010, bookc
through the Berlin-base
DEA. —Wolfgang Spa

dn't want to step on V2's
»es and V2 staff were going,
Vc re all being fired.' It was
shit time."

Fast-forward two years and

lies says the quartet is "in
better place than it's ever
ecn." His mood is fueled by
le U.K. release of the act's
e\v studio album. "Keep
dim & Carry On," Nov. 16.
ilowing a successful great-

t-hits campaign.

Mercury will release " Keep
aim" simultaneously In

pan and Australasia: the
bimi will roll out internation-
ly in February 2010 but, as
*t , an American release is yet

be confirmed.

The album's mix of contem-
alive ballads and fiery rock
umbers pushes jones' deep

vocals to the fore. "I didn't want
to make a guitar album with a
big wall of sound." he says. "1
just wanted to do something a
lot more reflective and a bit
more layered."

The act. which is published
by Universal Music Publishing,
has sold more than 9 million
albums worldwide, says its Los
Angclcs-bascd manager Dan
Garnett of Nettwerk.

Label upheaval notwith-
standing, the OCC says "Pull
the Pin" has sold 1 99,700 copies
in the United Kingdom. But
that doesn't compare to Stereo-
phonics' 2001 best seller "just
Enough Education to Perform."
with 1.8 million copies.

U.S. sales for "|ust Enough"
stand at 83.000 copies, accord-
ing to Nielsen SoundScan, but
|oncs says the band has
learned to live with its failure
to crack America. "We just
never had that luck," he says.
"It would be good to do, but
we don't lie awake at night
worrying about it."

The band's first full Mercury
release, "Best of Stereophon-
ies: Decade in the Sun," has
sold 691 .000-plus copies since
its November 2008 U.K. re-
lease, according to the OCC.
"That showed there's a huge
market out there that loves the
band," says Mercury U.K. prod-

uct manager Rachael Paley.

Paley notes that the band built
up a five-figure SMS database
during the " Decade" campaign,
adding that Stereophonies'
strong online presence was
vital to creating anticipation for
"Keep Calm." Twitter, Facebook
and the band's Web site
(Stereophonics.com) have been
key to online activity, with a
special Facebook application
set to go live prior to the
album's release.

TV is also playing a big part
in the U.K. setup, with appear-
ances on prime-time shows like
BBC I's "National Lottery"
(Nov. 11) and specialist pro-
grams like BBC 2's "Later With
Jools Holland" (Oct. 27 and 30).

But internationally, tour-
ing is the heart of the cam-
paign. Garnett says the "Pull
the Pin" world tour grossed
more than $10 million in
ticket sales. He anticipates
similar results from the new
campaign, including a March
2010 U.K. arena tour (booked
by X-Ray Touring) followed
by Europe. Asia, Australia
and three U.S. trips, booked
by Paradigm.

"We're a live band," [ones
says. "That's where we get
our kicks from a lot of the
time — we're all kind of gyp-
sies at heart."

->>SCREEN
>REAM

he Italian music Industry's
>ve affair with TV talent
tows continues to blossom,
he latest proof is Alessan-
ra Amoroso, a 23-year-old
nger from Lecce, who won
le eighth edition of the
anale 5 network's talent
low, "Amici di Maria De Fil-
tpi," in March.
Her prize was a recording
eai with Sony Music Italy,
suiting in an EP, "Stup-
la," which Sony reports
as sold 200,000 copies,
hat was followed by her
ebut album, "Senza Nuv-
' which entered the FIMI
Tart at No. 1 a week after
s Sept. 25 release.
"It's already gone platinum
vith 70,000 copies shipped],"
lys Sony Music Italy CEO
udy Zerbi, "and we reckon
could well reach triple-
latinum." The album launched
ith a concert in Milan that
as broadcast live to movie
leaters throughout Italy.
Zerbi is effusive in his
raise of "Amici" presenter
aria De Filippi, describing
sr as "the real talent scout

and A&R on this." "Amici" first
aired in 2001, although its
impact on album sales was
negligible in its first seasons.
Ironically, during those rela-
tively lean years, the show
turned down a then-17-year-
old Amoroso.

Amoroso, who doesn't
write her own material, is
booked by Sony's Modena-
based agency International
Music and Arts.

—Mark Warden

>>>SLOW
DAZZLE

There's some irony in the title
of Brett Anderson's rapidly
recorded third solo album,
"Slow Attack," which arrived
In the United Kingdom a lit-
tle more than a year after its

predecessor, "Wilderness."

Released Nov. 2 on Ander-
son's own label BA Songs,
the album then rolls out In
Europe, Australia and Asia
through various licensing
deals. A U.S. deal hasn't yet
been struck.

"Slow Attack" teams the
former Suede singer with
sometime Brian Eno and
David Holmes collaborator

Leo Abrahams, the guitarist/
arranger whose work can be
heard in movies like "Ocean's
12" and "Code 46."

As producer/co-wrlter,
Abrahams' cinematic experi-
ence helped create a lusher
sound than the stripped-back
"Wilderness," says Ander-
son's London-based man-
ager Ian Grenfell. " 'Slow
Attack' is a more 'produced'
—and quite a lot more com-
mercial—album than the
last two," he says. "We're
starting to receive good
radio Interest."

The album's setup has in-
cluded posting acoustic ver-
sions of tracks on YouTube.
"We've been dropping in a
new one every two weeks
since early August and get-
ting some very positive com-
ments and high viewing fig-
ures," Grenfell says.

Anderson, who recently
signed a worldwide publish-
ing deal with Bucks Music,
follows up his intimate show
Oct. 27 at London's Taber-
nacle venue with a U.K. and
European tour (booked by
13 Artists) starting in tate
January. —Steve Adams

with JUSTIN BIEBER

CA HERRERA

A year ago, Justin Bieber was a kid from Toronto who had a gift for singing sweet-natured
covers of Usher hits, a penchant for playing the drums and a resourceful mother who posted
clips of him on YouTube.

Today, Bieber could be the biggest tween heartthrob In music. After signing with Island
Records, with the support of his mentor. Usher, the 15-year-old released his debut single, "One
Time," in the summer and almost Instantly turned his online audience into an army of dedi-
cated fans. "Bieber mania," as his management now calls it, has spread so quickly that NBC says
more than 2,000 people attended his Oct. 12 "Today" performance at New York's Rockefeller
Plaza— the largest crowd for any artist this year, including Miley Cyrus.

Bieber's second single, "One Less Lonely Girl," recently joined "One Time" on the Billboard
Hot 100, and a third, "Love Me," which lifts its hook from the '90s Cardigans' hit "Lovefool," also
looks poised to enter the fray. With his debut album, "My World," due Nov. 17, Bieber reflects
on his whirlwind of a year, the experience of recording and co-writing his album and how he stays
connected with fans.

When did you first think you might
have a talent for music?

1 "ve always loved music, especially percussion
. . . I'm a big fan of Travis Barker. My mom
bought me my first drum kit when I was 4 be-
cause 1 was banging on ever>'thing around the
house, even couches, t picked up the guitar
when I was 6 and taught myself to play, but I
didn't really start singing until I was 10.

2 How did you start taking it seriously?

I entered a singing competition, and some of
my relatives who couldn't make it wanted to
see how I did. I posted the videos on YouTube,
and then other people started viewing and sub-
scribing. I didn't tell my friends because ihey
didn't really know that I could sing. They knew
me for playing sports. I just wanted to be a reg-
ular kid, and I knew lliey wouldn't treat me the
same way if I told them.

3 Your first three singles are all about

young love. What are the rest of the songs

on "My World" like?

Most are about love and stuff that girls can ap-
preciate, but I also co-wrote a song called " Down
to Earth." It's a ballad about the feelings I had
when my parents split up and how I helped my
family get through it. I think a lot of kids have
had their parents split up, and they should
know thai it wasn't because of something they
did. I hope people can relate to it.

4 Do you stili keep up with your fans
on YouTube?

Oh, definitely. 1 think the Internet is the best
way to reach your fans. A couple of years back,
artists didn't have that tool, so why not use it
now.^ I'm also on Facebook, and my fans got
together and sent me a "Get Well" card on Twit-
ter when I was sick the other day. That was re-
ally cool. For now, I'm too worried about getting
too close to the fans. I don't share much per-
sonal information.

5 What has been the biggest change for
you in the past year?

I've gained a lot more fans, and I'm able to
travel a lot more. I went to the U.K. for the
first time in the summer, and hundreds of
girls came out to see mc. I wasn't totally sur-
prised because a lot of the people who com-
ment on my YouTube videos are from
overseas, but I still had no idea that many peo-
ple would come.

6 In September, you presented at the
MTV Video Music Awards and defended
Taylor Swift after Kanye West Inter-
rupted her acceptance speech. What
was that like?

When I first found out I was going to the VM As,
I was like, "Wow, this is such a big deal — let's
go shopping!" After I presented, Taylor Swift
thanked me for saying that she deserved to win
her award. She said. "Thanks for sticking up
for me, HI' bro." and 1 was like, "Yeah. I've got
your back." 1 wasn't nervous at all. though . . .
1 never get nervous. 1 don't think any performer
really does. ■->•

NOVEMBER 14. 2009 I www.billboard.blz I 31

ALBUMS

JOHN MAYER

Battle Studies

Producers: John Mayer. Steve
Jordan

Aware/Columbia
Release Date: Nov /7
With all of his recent tweeting and
tabloid coverage, it's a wonder John Mayer had time
to write new music— much less the best and most
adventurous of his four studio albums. Three years
after his double-platinum album "Continuum," the
new release "Battle Studies" finds Mayer musing
about "finding ways to keep the good alive" in
romance. He also marches into fresh stylistic terrain
by sampling an anthemic U2 ambience on "Heart-
break Warfare," weaving Beatles-esque textures into
"Ail We Ever Do Is Say Goodbye" and creating smooth
Southern California pop melodies on "Half of My
Heart" (featuring Taylor Swift). Mayer also puts a
funky, sinewy spin on Cream's arrangement of Robert
Johnson's "Crossroads." And while the artist has
raised some eyebrows by asking. "Who says I can't
get stoned?" (on the album's first single. "Who Says"),
the rest of the collection certainly has the goods to
eclipse that overblown controversy.— GG

TRAIN

Save Me, San Francisco

Producer: Martin Terefe
Columbia Records
Release Date: Oct. 27
Train frontman Pat Monahan
isn't kidding when he prom-
ises toward the end of his
band's fifth album, "Save Me.
San Francisco," that "brick
by brick, we'll get back to
yesterday." Train's 15-year
anniversary puts the group
on the nostalgia track, from
shrinking its lineup to the
three founders— Monahan,
guitarist Jimmy Stafford and
drummer Scott Under-
wood—to a title track that
celebrates the band's form-
ative days- On 'I Got You, "
Train nods to Bay Area fore-
bears the Doobie Brothers
by using the lyrics and
melody from the group's
"Black Water." But Train
travels in a fresh direction
during the beatnik buoyancy
of the single "Hey. Soul Sis-
ter," the playful cadence of
"If It's Love" and the ambi-
ent build of "Breakfast m
Bed." But the trio mostly
stays on a fanniliar track with
the lushly crafted melody
of string-laden songs like
"Parachute." "This Ain't
Goodbye" (co-written with
Ryan Tedder) and "Words."
Monalian's earnest love songs
are all sugar and sunshine.

right up to the gentle album
closer. "Marry Me"— GG

THE BLIND BOYS
OF ALABAMA

Duets

Producers: various
Saguaro Road Records
Release Date: Oct. 27
The Blind Boys of Alabama
have been in business for
generations, but only dur-
ing this decade has the
enduring gospel group
achieved broader recogni-
tion and acclaim. Much of
that has come through the
alliances the Blind Boys
have made with artists from
Ben Harper to Randy Travis,
both of whom appear on the
group's latest release,
"Duets." Only four of the 14
tracks are new. but many-
like the lovely "Magnificent
Sanctuary Band" (featuring
Susan Tedeschi)— may be
unfamiliar to Blind Boys
fans. That track was culled
from an album issued by the
featured artist, but the pre-
viously unreleased cuts
make for some of the most
exciting moments. With the
help of Toots & the Maytals'
Frederick "Toots ' Hibbert.
the Blind Boys meld
nyabinghi reggae and gos-
pel on "Perfect Peace." while
a collaboration with blues-
man John Hammond on

"One Kind Favor" sounds
like a doom-filled sound-
track to a midnight bayou
tour. Other guest spots in-
clude performances by Lou
Reed ( "Jesus"). Bonnie Raitt
("When the Spell Is Broken")
and Jars of Clay ("Nothing
but the Blood "). -WO

VARIOUS ARTISTS

Fire in My Bones: Raw,
Rare a Otherworldly
African-American Gospel,
1944-2007

Producer: Mike McGonigal
Tompkins Square
Release Date: Ocf 27
Most modern listeners iden-
tify African-American gospel
with recordings that mix
passion with professional-
ism, and perhaps a certain
amount of studio smarts. But
that ignores the pre-war
tradition of street-corner
preachers, as wed as the
small groups that sound as
though music isn't coming
to them but through them.
Those traditions cast a
shadow for decades, espe-
cially in music released by
obscure artists on small la-
bels. This three-disc compi-
lation collects 80 recordings
of various unpolished styles,
in all their haunting glory.
Some are peaceful, others
pretty, while a few sound
downright scary. Much of

this music is influenced by,
if not made in the shadow of.
other styles. One standout
is Elder Beck s anti-rock
track 'Rock and Roll Ser-
mon." a tirade against the
pop music scourge of the
day— 1956- As the liner notes
point out. "It rocks harder
than most any rock music in
its day." This smartly curated
collection is essential for
anyone interested in gospel
and good fun for those who
aren't.— fft

ATREYU

Congregation of the
Damned

Producer: Bob Marlette
Hollywood Records
Release Date: Ocf. 27
Atreyu's 2007 release,
"Lead Sails Paper Anchor,"
found the band experiment-
ing with a softer side when
the group's Alex Varkatzas
ditched his snarling growl
for clearer vocals. But
Atreyu has resharpened its
teeth on its new album,
"Congregation of the
Damned.' which features
the return of Varkatzas'
deadly scream. But the set
still features somber mo-
ments, as heard on songs
like "Wait for You," "So
Wrong" and "Insatiable."
Traces of Atreyu's earlier

material— like the 2004
"The Curse— can be found
on "You Were the King, Now
You're Unconscious," "Stop!
Before It's Too Late and
We've Destroyed It AH" and
"Bleeding Is a Luxury"-all
of which contain back-and-
forth vocal exchanges be-
tween Varkatzas and drum-
mer Brandon Sailer, mixed
with chugging guitars,
heavy bass and pounding
drums —fCJ

TECH N9NE

K.O.D.

Producers: various

Strange Music
Release Date: Oct 27

Out of adversity come
strength. That's the messas
independent stalwart Tec
N9ne delivers on his most it
trospective project to dat'
"K.O.D," On the set, he raps h
way through a vivid journe

to hell and back chronicled

JULIAN CASABLANCAS
Phrazes for the Young
Producers: Jason Lader Mike
Mogis

Cult Records/RCA
Release Date: Nov. J
Strokes frontman Julian Casablancas steps out with
his debut solo album, "Phrazes for the Young," and
dynamically weaves '80s techno-pop with psyche-
delic punk, while also reinventing his usual mono-
chromatic croon. His punk attitude is evident on the
opener, "Out of the Blue." on which he sings over
upbeat guitar and bright synths, "I know I'm going
to hell in a leather jacket/But at least I'll be In
another world while you're pissing on my casket."
The first single, "llth Dimension," has an old-school
dance vibe, complete with electro pulses and
enough vocal irony to maintain the cool factor,
while "4 Chords of the Apocalypse" is a bluesy
number that explodes into a woeful wail. The bleak
drums on "Ludlow St." segue Into jangly guitars as
Casablancas boozily mourns New York's gentrified
Lower East Side, proving that he can still orches-
trate his own musical hangover.— K'P

32 . BILLBOARD I NOVEMBER 14, 2009

MORRISSEY

Swords

Producers: various

Universal Music
Release Date: Nov. 3
Most of the songs on Morrissey's
B-sides collection, "Swords," aren't new. but the set
is a varied trove of material recorded since 2004 that
wasn't included on the former Smiths frontman's
most recent three solo albums. There's a lot of piano
and torch here, and plenty of the 18 tracks follow
classic Moz formulas, putting wistful lyrics against
melodic optimism. But the songs also show the
artist's continued creative stretch, from the stag-
gered orchestral layers of "The Never-Played Sym-
phonies" to the ambient "Sweetie-Pie," on which
Morrissey's normally careening vocals are more a
cantor's eulogy. On "Shame Is the Name" (a B-side to
the 2009 single "I'm Throwing My Arms Around
Paris") Pretenders frontwoman Chrissie Hynde joins
on vocals— a brilliant concept that is sadly underex-
ploited In the mix. From the range of production
styles to the bonus disc of live tracks. "Swords" is a
welcome catalog addition.— £jv

ireeacts: "Anger." "Madness"
id "The Hole." Spurred by his
other's health problems,
sch N9ne's emotional jour-
ey also speaks to the pain,
tar and helplessness that all
f us have experienced at
3me point in our lives. The
iflinching opener. "Show Me
God." dramatically sets the
age as Tech N9ne— accom-
gnied by Three 6 Mafia and
trange Music colleagues in-
uding Krizz Kaliko and Kutt
alhoun— creatively winds his
ay past "Demons," "Horns"
id "Shadows on the Road"
id back into the light: the
'If-affirming title track, which
ands for "king of darkness."
jch N9ne's engaging flow,
leatrtcal rhythms and pithy
rics make for a nuanced and
lemorable ride. Who says
lere's no substance in hip-
Dp anymore?— GAf

UPA & THE APRIL
ISHES

ite Mundo
roducer: Oz Fritz

umbancha

elease Date: Oct. 27
'hether it's klezmer, cum-
a, ska. reggae or French
lanson. there doesn't
iem to be a genre that the
an Francisco quintet Rupa
the April Fishes can't do.
!ad singer Rupa Marya has
1 ear not only for lan-
jages but also for singing
them. (She sings in
■ench. English and Span-
h.) Marya gets the right
usicality out of each, with
jthentic results. The songs
e often serious in content,
ickling the longing of
imigrants separated from
eir loved ones ("Este
udo." "Por la Frontera").
ther highlights include the
ngthy flute-and-tabia intro

RIEVIEW&

SINGLES

to "Soy Payaso." which gives I
way to a rollicking soundl
that recalls "Fiddler on the I
Roof" (but In French). The I
beauty of "Este Mundo" is I
how the trumpet, accordion I
and strings can express!
melancholy and boisterous |
joy on a hairpin iurn.—ABY

NEW & NOTEWORTHr'

DOLLY PARTON

Dolly

Producers: various
RCA Nashville/Legacy
Release Date: Oct. 27
Dolly Parton has spent her
career veering between
mountain music tradition
and Nash-Vegas glitter—
what else would you expect
from an artist who built an
amusement park near her
Appalachian hometown?
Her first career-spanning
boxed set, "Dolly." captures
the highlights of Parton's
improbable American jour-
ney, with a focus on her
early recordings with Porter
Wagoner and solo '70s hits
like "Coat of Many Colors"
and "Jolene." This four-disc
set follows Parton through
the '80s. when she strayed
from her strengths on cross-
over hits like "9 to 5" and
"Islands in the Stream." then
returned to her roots on the
Ricky Skaggs-produced "White
Limozeen," Unfortunately,
the set's last songs are from
the early '90s. Since then.
Parton has gone full circle
yet again, recording three
critically acclaimed blue-
grass albums for Sugar Hill,
then abandoning that aes-
thetic on the appropriately
named "Backwoods Bar-
bie." Perhaps that's a story
for another set. however,
and newcomers and fans
alike will find this one re-
markably satisfying.— /?L

JANET JACKSON

Make Me (3:37)
Producer: Rodney
"Darkchild" Jerkins
Writer: not listed
Publisher: not /isted
A&M/UMe

Janet Jackson gave her late
brother, Michael, two gifts in
September. First, the singer
paid tribute by performing
their "Scream" duet at the
MTV Video Music Awards;
then she premiered the "Off
the WalT'-inspired dance track
"Make Me." now a single on
her "Number Ones" album
due Nov. 17. Her most appeal-
ing and high-energy track
since the 2001 "All for You."
the song thumps aggres-
sively, with a funky guitar lick
driving the rhythm. Its non-
stop vamp recalls "Don't Stop
Til You Get Enough." as Jack-
son puts a new twist on that
classic disco number's cho-
rus. "Don't stop it baby, don't
stop til you get it up . . . Ain't
nobody else like you/Only
you got the moves you do."
"Make Me" isn't just Jackson's
best dance song in years— it's
a hit that would make her
brother proud.— MM

THE SCRIPT

Breakeven (3:55)
T Producers: various
Writers: various
Publishers: various

Phonogenlc/£pic
The Script's last single. "The
Man Who Can't Be Moved."
failed to ignite U.S. airwaves de-
spite its success in Europe. The
group's follow-up, however,
should rectify that situation.
"Breakeven" is an insightful
breakup song about the dev-
astating pain felt when one
learns that a former lover has
moved on. "They say that
things happen for a reason."
frontman Danny O'Donoghue
sings. "But no wise words
gonna stop the bleeding/
Cause she's moved on while
I'm still grieving/And when a
heart breaks, no, it don't break
even." A potential multiformat
hit, this well-crafted song is al-
ready resonating with hot AC
audiences and brewing at
modern rock and top 40, posi-
tioning the Irish trio for state-
side chart success.— y4V

RYAN STAR

Breathe (3:50)
Producer: Howard Benson
Writers: P. Star. M. Collins
Publishers: r star— the
Scientists Canvas (SMI),
Okgar Music Publishing
admin, by Sony/ATV, Fake
and Jaded Music admin, by
the Royalty Network (BMI)
Ceffen

On his heartfelt, slow-buming
single "Breathe," Ryan Star
extends a hand to everyone
in need. "Take the world off

)ITED BY MITCHELL PETERS
LBUMS) AND MONICA
ERRERA (SINGLES)

>NTRIBUTORS: Ayaia Ben-
huda, Mariel Concepcion.
ndra Gordon, Gary Graff, Evan
Jones. Robert Levine. Michael
^nachem, Gail Mitchell, Evie
igy. Wes Orshoskt. Kelsey
line. Alex Vitoulis

MTiCS' CHOICE *: A new

lease, regardless of chart
itential. highly recommended
r musical merit.

PICK A new release predicted
to hit the top half of the chart in
the corresponding format.

All albums commercially available
in the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard, 5055
V/llshire Blvd., Seventh Floor. Los
Angeles. CA 90036 and singles
review copies to Monica Herrera
at Billboard, 770 Broadway.
Seventh Floor. New York. NY
10003. or to the writers in the
appropriate bureaus,

RASCAL FLATTS

Why (4:16)

Producers: Donn Huff. Rascal Flatts

Writers: A. Shamblin. R. Mathes

Publishers: Built on Rock Music admin, by EverGreon

(ASCAP), EMI Blackwood Music/Maybe I Can Music

(BMI)

Lyric Street

Rascal Flatts* third single from the album "Unstoppable"
tackles what might be the group's darkest subject yet:
the loss of a friend to suicide. A delicate piano melody

anchors the song's boginning nnd ©nd. providing the sole
support for singer Gary LeVox's voice. In between, its
instrumentation widens to include somber strings, a
steadfast drumbeat and finally, a piercing electric guitar
during the emotional climax. LeVox matches the mood
with a vocal delivery that fluctuates between fragile and
commanding. Co-songwriters Robert Mathes and Allen
Shamblin weave an affecting story, using music as a
metaphor for life. "Who told you life wasn't worth the
fight," LeVox sings. "They were wrong, they lied/And now
you're gone and we cried/'Cause it's not like you to walk
away in the middle of a song."— MM

GUCCI MANE
FEATURING USHER
Spotlight (3:55)
Producer: Polow Da Don
Writers: R. Davis, J. Jones
Publishers: various
So Icey/Asylum/Warner Bros.

You know you're approaching hip-hop greatness when
your single's hook marks the return of a superstar. "It
feels so good to be back." Usher bellows at the top of
Gucci Mane's "Spotlight," about a girl the Atlanta rap-
per wants to bed. As usual. Mane keeps his verses nim-
ble and lighthearted: "Baba. baba. Ok-a/Where you
wanna go today/Know she not a prostitute/But if she
was I'd have to pay." The rapper also shouts-out recent
collaborators Mariah Carey and Trina, comparing his
love interest to the singers over a Polow Da Don-pro-
duced beat. "The spotlight ain't nothing without you.
girl," Usher echoes in the song's infectious chorus,
which is soused with extended piano chords, minimal
drums and paced hand claps. If there was any doubt
that Mane is one of the biggest names in hip-hop this
year, consider "Spotlight" a friendly reminder.— MC

your shoulders and put it on
me," he sings, his voice clench-
ing with veracity. Star catches
his own breath during the
song's breakdown, singing low
and airy over a brooding piano
melody. An electric organ kicks
in that recalls Bill Withers'
"Lean on Me, ' and while those
two songs share the same
uplifting theme. Star's is much
heavier, its urgency intensified

for a different genre and era.
The video for "Breathe" clev-
erly puts the single's lyrics into
action, asking potential em-
ployers to contact the "real
people looking for real jobs"
featured in the clip. But visu-
als are just a bonus to this
bright power-rock anthem,
which by itself offers plenty
to send an inspirational mes-
sage home— SG

NOVEMBER 14, 2009 I www.billboard.blz I 33

PPEMIMG IMQW.

BY LAURA LEEBOVE

Symphonique
Magnifique

DIY Orchestra Pink Martini Sips Success

For the mini-orchestra Pink Martini, taking the slow-but -steady
independent route has paid off throughout its 15-year career. The
group's newest release, "Splendor in the Grass." debuts this week
at No. 45 on the Billboard 200 and No. 10 on Top Independent Al-
bums with 12.000 copies sold, according to Nielsen SoundScan.

With its own label. Heinz Records, and a dedicated team in its
hometown ofPortland. Ore., the cinematic band of about a dozen
musicians has built a following mostly through word-of-mouth —
and everyone involved wouldn't have it any other way. "They re-
ally are kind of a mom-and-pop family operation where it's just
such a hardcore, loyal fan base." manager Sam Feldman says.
"It's more bottom up than top down. We don't do all this massive
marketing that a lot of artists need and want."

Even without extensive marketing, the group's 2007 album.
"Hey Eugene!." debuted at No. 30 on the Billboard 200 and has
sold 140,0O0copies, according to Nielsen SoundScan. Since then.
Pink Martini has secured licensing deals with companies like
Nike and )ecp and has had placements in TV shows like "CSI:
NY" and "Weeds."

Heinz label manager Bill Tennant says promotion for 'Splen-
dor' has been mostly based on in-store placement, including lis-
tening stations al Borders, Barnes & Noble and independent
record stores. "The main thing was just to get a good running
Stan and get it as visible as possible right at the beginning lead-
ing to the holiday season." Tennant says.

Most important in exposing the band to new audiences, though.

are its live shows, which are theatrical
and include varieties of jazz, pop and
classical styles. "When your band plays
for a dozen years and keeps coming back
to the same places, every time you would
see twice as many people at the next
show." Tennant says. For "Splendor."
Feldman says the group will tour exten-
sively in Europe in November, New York
in December. Australia in January and
likely the rest of the United States in the
spring and summer.

Many of Pink Martinfs past perform-
ances have been done with symphonies and orchestras around
the world, which founder/frontman Tliomas Lauderdale says was
an especially significant component of the group's early success.
"We were never the kind of band where you could pile into a van.
get stoned and go on the road," he says. "S>iiiphonies had budg-
ets to buy the whole band in and put them up. It made it possible
for us to remain independent and thai became our tour support."

Pink Martini found much of its success in Europe before the
States, and while its multilingual music is often considered Eu-
ropean. Lauderdale says he feels it's more like the "ultimate Amer-
ican band."

"America is the most heterogeneously populated countr)* in
the world," he says. "And in that sense, this repertoire that we do
sort of honors that real diversity, which I think is a more accurate
representation of America."

Since the band's start, it has always maintained relationship
with individual distributors in the States and globally, a tactic th;
Feldman says is quite "old school." Tennant adds that while
takes work to maintain these relationships, it's worth it to ha\
control of the group's music. "We're basically licensing to nir
or 10 different people," he says. "We love to have that sort of coi
trol. We love to have the relationships with people in these diffe
ent territories who know their territories, who are really committE
to what we're doing."

Lauderdale jokes that Pink Martini fans are the last-standin
physical-album buyers. "There are really great groups out thei
and they're dealing with a younger population that doesn't ha\
that kind of sentimentality or even thought process about whj
it means to actually touch something." he says. "But I'm a d
nosaur. Hopefully our record-buying public is too."

BOO!

With this issue's charts reflecting the week that included Halloween, it's only fitting that we round up the
week's biggest "scary" songs and albums. * Michael Jackson doesn't just top the Billboard 200 with "This
Is It." he also has the week's biggest-selling creepy digital download with "Thriller. " The tune was also
the most-played spooky cut across all monitored U.S. radio stations. The classic "Monster Mash" by Bobby
"Boris" Pickett & the Crypt-Kickers is in second place on both tallies, while Ray Parker Jr.'s "Ghostbusters"
is third. 1 On the album side, customers were apparently on the hunt for appropriate music to play at
Halloween parties or their own haunted houses. The majority of these mostly instrumental and sound-
effects sets had their sales come solely from digital download services. — Keith Caulfield

of no ghosts: ^

9 ghosts:
RAY PARKER JR.

TOP DIGITAL SONGS

MOST-PLAYED SONGS

TOP ALBUMS

sat un

UIKI

SUK

KTKIIOH

utm un

Sil

MIchMlJidoon

"Ms-

nooo

Michael Jackson

-mmr

3.323

KIdz Bop Kids

"atii«HMiK«- bnih

7.00

Bobby "Boris" Pkkett
4 the Crypt-Kickers

"HiNBiuNflir hm/flhto

50,000

Bobby "Boris" Pickett
ft the Crypt-Klckers

"HoatoHKii'

1,823

Various Artists

"UmtnMr.liSwvSoiigs' l-W

6.00

Ray Parker Jr

"aoiMiK- UMiwi

29.00O

Ray Parker Jr.

"QuatHfiUn'

1,206

Various Artists

"Sosacflloira- IWaciSMCjiinnlMs/IWiD

5.00

John Carpenter

UMarikan UwimtMt/inxnH

18,000

Warren Zvvon

"WmwJiBirflotKkMi"

Anlutn

900

Various Artists

"hamT iMmSonH'niiiiiitVMKn

3.00

Warren Zevon

14,000

D.J. Jazzy Jeff a
the Fresh Princ*

■tllgMunaiHrSliiir

MKI

VarlouiARIitt

"HMMcHISnotrlMC knoOMlMiMi

2,0C

RodnwN

nooo

Blue dyster Cult

"(Dan1Ftat)I)Kl)HP(r'

593

Various Artists

-mmmHmmr knUinelljik

2,0C

Danny Elfrnan

"MKHlMnr Mlltan
(tan 'Iht ligMiHR OnaiBO

n.ooo

Rockwell

"JtnKbotr'sNalctilngNt-

HotiMm

559

Various Artists

"iumwateHiDrBtr mm

2,0C

ShebWooJey

"taoltaokittr" NW

9.000

Eagles

"WhtirWiHiuri"

Asylum

492

Various Artists

"Honst«'tlUlow«iPiftr" SdJnuHtf/lnntfSpltAdolMj

2,0C

OhBOBcktgo

■naiiaiirm' nu

8.000

Rob Zombie

Mtol/MmuiM

450

Various Artists

"lalOMeiSniriillNts' BqlttHiw

1,0C

Marilyn Manson

"MttttaHiT IMDbn

6,000

Edgar Winter Group

-Inlnistiia'

381

Various Artists

■HeCMnHI—iinriirnir Bmnom

1,0C

SOURCE. Sales accofdifvg to Nielsen SouidScai"! . ai'pJay according l9 Nivlsvn B

n all monitorvd U.S. stations. Both through th« weak «nd)nB Nov. 1.

NOVEMBER 14, 2009

Hey, soul
brothers:

BY GAIL MITCHELL

Behind The Music

rhe Story Behind
he Song'
Provides Yet
lore 'Chicken
ioup Soul'

usic fans curious about the
igins of their favorite
njjs are tlie intended
idience for the latest addi-
on to the popular series
!hicken Soup for tlie Soul."
"he Story Behind the
)ug." A diverse hneup of
ngwriters from Hal David
Kanye West share their
Tsonal stories and tech-
ques behind 101 classic
ngs in the Nov. 10 Simon
Scluistcr release (S14.95).
itcd by veteran publicist/
lent manager |o-Ann Gef-
n and "Chicken Soup" co-
unders lack Canfield and
ark Victor Hansen.
As Geffen recalls, the proj-
l started as "a fluke of good
rtune." In Las Vegas atlend-
g a PR po\%'wow for a hotel
lain, Geffen heard a sepa-
te presentation by Chicken
lupforlheSoii' " ' !i 'w.n;

president Robert )acobs.

"l began to think about
stories I'd heard or experi-
enced in my career and
asked Bob if they took out-
side ideas," recalls Geffen,
who has worked with clients
like the Commodores and
still operates her own Los
Angeles-based publicity
firm.IAG Entertainment. "I
started a list the same night.
People on the plane started
chiming in; it was like a
scene from a movie."

Castinga wide net in terms
of genre and age demograph-
ics. "The Story Behind the
Song" encompasses pop,
R&B. hip-hop. country and
rock (includingclassicallcr-
nativeand punk rock)
as songwriters reveal
the insightful, funny
and sometimes sad
moments that in-
spired some of their
classic hits.

Among the song-
writers sharing their
experiences are Paul
Anka ("My Way").
Christina Aguilera

("Highter"). Melissa Eth-
er id ge ("Come to My
Window"), Ryan Tedder
("Apologize"), Diane Warren
("Because You Loved Me"),
Richie Sambora (" Livin' on a
Prayer") and Sean Garrett

("Yeah!"). Each story is ac*
companied by the song's
lyrics. Lamont Dozier. a
member of Motown's prolific
songwriting team Holland-
Dozier-Holland. wrote the
book's foreword.

Behind the
music:
CHRISTINA
AGUILERA

I n his own entry about the
Supremes" 1965 hit, "Stop! In
the Name of Love." Dozlcr re-
calls he was arguing with a
screaming girlfriend at a "no-
tell motel" he had been visit-
ing with another woman
when he asked the girlfriend,
"Why don't you slop in the
name of love?" The next
morning he told Brian
Holland he had a great title
for the hook Holland was
playing. "Ca-ching," Dozier
writes. " I definitely heard the
cash register."

Submitted before this
year's MTV Video Awards in-
cident, West's reflections on
"Welcome to Heartbreak" are
particularly moving — and
ironic. "I don't want to be a
superstar shell of myself. I
need to know. 'Who's the real
person?' I don't want to sim-
ply be a caricature of myself "

Dozier and fellow fea-
tured songwriters Carol Con-
nors and Stephen Bishop
will join GefTen at lier first
book signing Nov. 12 at tlie
Grove's Barnes & Noble
bookstore in L.A. —

CHUGGING
ALONG

Wandering the streets of scenic
Cleveland, Train frontman Patrick
Monahan can't help but celebrate his
band's No. 17 debut on the Billboard
200 with Its new album. "Save Me San
Francisco." But, he says, "Our goal
Isn't to make a record that gets big
and then disappears. We want this to
be a stow burn and stay on the top
200 for two years."

Monahan credits some of the al-
bum's success to its first single, "Hey
Soul Sister." The song, which went to
radio 10 weeks ago, is No. 4 on the
Triple A chart. No. 45 on Rock Songs
and No. 14 on the Adult Top 40 tally;
it's also No. 53 on the Billboard Hot
100. "It's doing scary good, " Mona-
han says. "We're waiting to take it to
pop until January, though, because
this time of year is crowded."

Train has spent plenty of time at
radio stations on its current tour,
which kicked off three weeks ago.
"Our biggest goal In setting up the
album was rebuilding the fan base
and re-establishing relationships be-
cause It's been a few years between
albums," says Columbia marketing
manager Jacquelyn Jablkowskl.

JablkowskI adds that the band also
worked with Major League Baseball
to promote the new album. "They
taped a performance and interview
with MLB.com, which started running
during the World Series," she says.
'The timing couldn't be better. MLB
has supported Train for a long time,
and their music really resonates with
the sports audience."

Train has also logged additional
success licensing "Hey Soul Sister"
to the CBS-TV show "Medium."
Jablkowskl says there are more li-
censing deals in the pipeline.

"The album Is really a return to our
roots as a band," Monahan says. "It's
funny to say. but it seems like we're
moving forward by going backward. '

—Cortney Harding

www.blllboard.biz I 35

Copyntj.,..

»LAY IT AGAIN

allowing the recent success of Sean King-
on and Jason DeRulo, lyaz has landed a hit
igle in the emerging genre of "Island pop."
ieplay," a light and catchy tune with a soar-
9 hook, is No. 13 on this weel<'s Billboard
3t 100. It has become the 22-year-old
tist's introduction to U.S. audiences, al-
ough it wasn't intended to be.
"We weren't looking for a single. 'Replay'
as supposed to be one of the album tracks
e were banging out," lyaz says of the J.R.
stem-produced track. "But it had a killer
elody, and I knew I could put some crazy
irmonies on it. It turned out to be one of
y best songs."

lyaz (born Keidran Jones) grew up In the
-Itlsh Virgin Islands with a father who
'Ured with singing groups and a mother
ho directed church choirs. White study-
g digital recording in college, he recorded
e track "island Girls," which became a
dio staple in the Caribbean Islands and
lught Kingston's attention.
"Sean hit me up on MySpace, but I didn't
Hieve it was him. I ignored him for a few
lys and even gave him a fake phone num-
;r," lyaz says.

Kingston persisted until lyaz realized it was
deed the hit singer/songwriter, and soon
e two pop vocalists were talking music and
icoming fast friends at Kingston's house in

low what
e want to

Fort Lauderdale. Fla.

Within weeks of meeting Kingston, lyaz
inked a deal with the Time Is Money/
Beluga Heights imprint on Warner
Bros. Records. He Is working
with Rotem, who pro-
duced Kingston's hits
"Beautiful Girls" and
"Take You There, " on a
debut album that will ex-
pand the infectious Caribbean
sound lyaz refers to as island pop.

"If you listen to 'Replay,' it has so
elements going on that you don 't know
will happen next, and that's what we
do with this music," he says. "Everything
starts off small, but we just hope to move
forward with this sound."

lyaz is planning to release a second sin-
gle early next year, with his debut album
tentatively set for a second -quarter bow.
The singer plans to keep recording and
performing at various U.S. events
through mid-December as "Replay"
continues to grow.

"I've had to record white visltiog
three states in one day," lyaz
says, "it sounds busy, bu'
busy is the best way to be
In the music business.'
—Jason Llpshutz

Repeater:
lYAZ

Billboard connect with the music industry's most important decision maker

For ad placement in print and online call Jeff Serrette 800-223-7524/jserrette □ blllbpard^com

BUSINESS OPPORTUNITIES

Hello my name Is ALVIN W. IRVING and I recorded a
song called SEXSOLISIOUS I DID IT to buy my mother
a house and I won't stop until I do. I am also a member
of many charities like ASPCA AND THE RED CROSS
AND MARCH OF DIMES AND JERRY LEWIS MDA
AND CITY HARVEST so please dear people I beg you
to help me get my mother that house this Christmas
please go to Itunes, amazon.com and cd baby.net
and buy one of my songs. I really want to make my
mother happy this Christmas so if you can help please
do and from my heart GOD BLESS YOU AND YOUR
FAMILY'S ervingn@aol.com 347-843-7781

MASTERING

T-SHIRTS

REAL ESTATE

tangerinelMASTERING.com

Grammy winning
CD mastering
REISSUES &
RESTORATION
201-865-1000

BUY DmCCT AMD SAVEl

WhHs other people are raising itwir prices, we
are slashing outs CD's. LP's, Books,
Cassettes as low as 50 cents Your choice
from the most extensive listings available.
For Iree catalog call (609) 890-6000.
Fax (609) 890-0247 or writ*
Scorpio Music, Inc.
P.O.Box A Tfonlon. N.J. 08691-0020
email: scorpiomus@aol.com

uiomct

FASHION

Worldwide Distributors of Licensed:

ROCK & NOVELTY T-SHIRTS,
STICKERS, PATCHES, FLAGS & MORE!

Checic out our website catalog:

mMsfije-hslimm

or call for a free price list/flyer (dealers only):

800-644-ROCK

(outside the U.S. - 928-443-0100)

BE A
LANDLORD

OWN A BEST BUY
OWN A COCA-COLA DISTCTR
OWN A JACK-IN-THE-BOX
OWN A MCDONALD'S
OWN A SHOPPING CTR

OWN A WAL-MART
TRANS STATE INTL., INI
513-251-9600
tslOfusa.nat

New Luxury LA
Apartments .

Ossrih Tk UHiR Joh\ MAKKt-l.

S,500 SQFT Health Spa. CfdjiBRm-
7'R.-l/^'ER Onstte, L\FiNm' Pool,
CvARj} Caiuj Comfvsm-
Sr-imNG $2,^00

Billboard Classifieds Covers Eve

wtto.paiazzowestvrood.com
Cai.i- (888) 482-9084

DUPLICATION
REPLICATION
VINYL PRESSING
CD ROM SERVICES
DVD SERVICES FOR SALE
PROMOTION & MARKETING
SERVICES
MUSIC DISTRIBUTORS

AUCTIONS
RECORDING STUDIOS

REAL ESTATE
INVESTORS W/ANTED

STORES FOR SALE
EQUIPMENT FOR SALE
STORE SUPPLIES
FIXTURES
CD STORAGE CABINETS

DISPLAY UNITS
PUBLICITY PHOTOS
INTERNET/WEBSITE

SERVICES
BUSINESS SERVICES
MUSIC INSTRUCTION
BUSINESS OPPORTUNITIES
COMPUTER/SOFTWARE
MUSIC MERCHANDISE
T-SHIRTS
EMPLOYMENT SERVICES
PROFESSIONAL SERVICES
DJ SERVICES
FINANCIAL SERVICES
LEGAL SERVICES
ROYALTY AUDITING

TAX PREPARATION
BANKRUPTCY SALE
COLLECTABLE
PUBLICATIONS

TALENT
SONGWRITERS
SONGS FOR SALE
DEALERS WANTED
RETAILERS WANTED
WANTED TO BUY
CONCERT INFO
VENUES
NOTICES/
ANNOUNCEMENTS
VIDEO
MUSIC VIDEO
POSITION WANTED

LISTENING STATIONS
FOR LEASE
DISTRIBUTION NEEDED
EDUCATION OPPORTUNITY
HELP WANTED
MASTERING
AUDIO SUPPLIES
ROYALTY PAYMENT

PRINTING
MUSIC PRODUCTION

METAMUSIC
STAGE HYPNOTIST
CD FAIRS & FESTIVALS
MUSIC WEBSITES
NEW PRODUCTS
DOMAIN NAMES

36 I BILLBOARD ! NOVEMBER 14, 2009

Cni

THE

BOX

\ WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

son DeRulo celebrates his
Slllboard Hot 100 No. 1 as
itcha Say" rises to the top
page 42). It's the fourth
this year that an act has
1 Its Hot 100 debut to the
'ollowing No. 1s from Lady .
I, Jay Sean and Owl City.

•cord-breaking eight
longs arrive In the top 40
t Hot 100, surpassing the
ous high of seven on the
6 chart. Taylor Swift
IBS five top 40 bows (see
42} along with new
lis from Lady Gaga. SO
and Justin Bleber.

d Stewart's latest covers
ie Raa nuggets-fllled

book." debuts at No. 4 on
llboard 200. The album,
starts with 64.000
B sold, is his sixth covers
a row since 2002. AM
-cached the top four. J

'This Is' Michael Jackson's Sixth No. 1 Album

Michael Jackson's "This Is It," the
companion piece to the musical doc-
umentary film of the .same name, de-
buts at No. 1 on the Billboard 200,
selling 373,000 copies in its first week,
according to Nielsen SoundScan — the
fifth-best sales week for an album in
the United States this year. Only the
debuts of Eminem's "Relapse"
(608.000). U2's "No Line on the Hori-
zon" {484.000). Jay-Z's "The Blueprint
3"(476,000) and Dave Matthews
Band's "Big Whiskey and the
GrooGrux King" (424.000) have posted
better first-week results.

This is Jackson's sixth No. 1 on the

tally, and it arrives with his best sales
week for an album since "HlStory"
started alop the Billboard 200 with
391.000 copies in 1995.

His first topper was "Tliriller" in 1983,
and he followed it up with " Bad' (1987) ,
"Dangerous" (1991) "HlStory" and "In-
vincible" (2001).

This year, following his death in
June, his 2003 "Number Ones" hits set
sailed to No. 1 on the Top Pop Catalog
and Top Comprehensive Albums
charts. (It wasn't eligible for the Bill-
board 200, since it is a catalog title.)

The "This Is It" album contains the
original studio recordings of Jackson's
hits that he performs in the film. It also
has one quasi-new song — the from-lhe-
vaults title track. A deluxe version also
contains a few demo recordings and a
spoken-word poem.

The album isn't a conventional
soundtrack. One would have thought
it would include the live recordings of
Jackson performing his hits as seen in
the film, but it does not. Sony Music
representatives say this decision was
made because there weren't any com-
plete audio recordings of any of the
songs heard in the movie.

Having seen the film, there were —
at least to my ears — some complete
songs suitable for an album. Specifi-
cally the gorgeous "I Just Can't Stop
Loving You" and "Human Nature."

However, a lot of the uptempo dance
numbers that involved choreography
weren't sung ail the way through.

And. considering Jackson's perfec-
tionism and incredible attention to
audio detail that is evident in the film,
one could suspect that he would have
paused at the idea of these perform-
ances finding their way onto an album.
In my mind, when Jackson was sing-
ing in the rehearsals that turned into
this movie, he never thought those
recordings would wind
up on an album.

As the filmmakers
have stated, the foot-
age for "This Is It" was
never intended for a
movie. It was initially
meant for Jackson's
personal archives — at
best, as a bonus fea-
ture for a possible
DVD release of the planned concerts.

Of course, if the footage that was
never supposed lo be a film ended up
as a film . why couldn't the audio record-
ings that were never meant to be an
album turn into an album? Who knows?
Maybe the DVD release of "Tliis Is If
will come with a CD of those audio
recordings, remixed and retooled.

For many, this movie represents the
closest thing to a Jackson concert
they've ever seen. For Americans, it's

Over The
Counter

KEITH
CAULFIELD

the nearest they've had to a true Jack-
son concert in 20 years. Sure, he did
the CBS TV reunion special with his
brothers in 2001 , but after having seen
"This Is It" and the TV special, there
isn't any comparison. "This Is It"
would have been it.

Coming out of the theater after
watching the film. I wish I could have
taken something home from the expe-
rience, much in the same way after at-
tending a conventional concert where
1 want to buy a T-shirt or
a program.

With the film, the clos-
est thingyou have to some-
thing approximating
traditional tour merch is
the companion album. The
commemorative element
of the set and its packaging
was probably a great moti-
vator in its sales among
specially considering the songs

fans-

on the album have already sold so well
this year in many other configurations.

However, it's too bad the album and
its liner notes didn't take it a step fur-
ther and double as an informative doc-
ument about the show itself — a tour
program, if you will. While it's great that
the album booklet for "This Is It" has
many photos of Jackson and his dancers
and backing band, it's unfortunate that
none of them are identified. • ■ • ■

Market Watch

Weekly Unit Sales

A Weekly National Music Sales Report

Year-To-Date

UBUW UBUffi-

DKITU
lUCIO

This Week

6.316.000 1.424.000

19.102.000

OVERALL UNIT SALES

last Week

S.729.000 1.301.000

18.628.000

AllMIIB

332.365.000

287.604.000

-13.5%

(lunge

10.2% 9.S%

2.SX

Oigitaj Tracks

887,106.000

979.836,000

10,5%

DBWeetlxtVar

6.96O.0O0 1.252.000

18.068.0O0

SIOK Singles

1,4)5.000

1.527,000

79%

Change

lolal

U20,SS6.000 1.268.967.000

3.9%

-9.i% 13.7%

5.7%

MbuKw/lEA'

ntto <ounUd wthm .itioji-" '

421.075.600

385.587,600

-8.4%

Weekly Album Sales (Miiiion units)

2.4 million J

'-"^

foi w«* «nc*ng Nov 1. 2009 Fmufei *• roundKl niclscn

C«mp<«d Imom Ji nuionitl wnt** or rMnil «of» ant rart

•Mv^ rnnofTi cnnortKt and pmviditd Of SoUndScdP

Distributors' Market Share:

09/28/09-11/01/09
• UMG ASME #WMG ^ Indies ^ EMI
10.0%

\,o%

Total Albums

8.2%

F M A M

S O N D

SALES BY ALBUM FORMAT

CO 277.496.000 222.984.000 -19.6%

Digital 53,290.000 62,549,000 174%

Vinyl 1.466.000 2.021.000 37.9%

OHier 114,000 49.000 -570%

Current Albums

25.8%

JHART
BEAT

I Is new again. Boyz II Men
(No. 34 on Adult RAB and
} on RAB/Hip-Hop Songs
n update of Bonnie Raltt's
lit ballad "I Can't Make You
■le." On Hot Country
., Bucky Covington starts
58 with his version of
Iback's multiformat smash
a Be Somebody."

week In which Michael
an opens atop the
ard 200, who else should
ebut but an artist who first
id widespread success

parody of the late King of
'Weird At" Yankovic, who
»d No. 12 on the Billboard
■0 with "Eat It" 101984,
s on the albums survey at
B with "The Essential
I Al' Yankovic."

Read Chart Beat
every week at
billboard.com/chartbeat.

Go to www.biliboard.biz for complete chart data I 37

b3 S£ io is ARTIST

' T ' eiiiiNii lAetL •cmcEi
MICHAEL JACKSON

Michael Jackson's This Is tl {Soundtrack)

■

1 CREED

Full Circle

si bliiiiUiU TAYLOR SWIFT

nTjmlH dir. MACMNF 0300 riB.9B( 9

FaarISM B 1

1 ROD STEWART

Soulbook

■

1 TRANS-SIBERIAN ORCHESTRA

1 AG l?098l

Night Caslle

STING

1 ■ ,11, i ■ 1 '.vtHSAl ClASSICSGBOUP (16 98r*

If On A Winier's Night -

■

MICHAEL eUBLE

^gi ..ill'.'' . 1 ^'.''-:Mh BOOS lltOSi +'

Crazy Love

;^ B

jj^ SOUNDTRACK

Mm >' 'i<iip'iLTi«hiic&i»4;i,'AeiiS98)

The Twilight Saga: New Moon

■V TIM MCQRAW

%M LiifOi ."n-,: ftN9H|

Southern Voice

|«>

ROC hAiinri 'iI'ob^'^- kg na 9B) «

The Blueprint 3

■EW

|H| JACK JOHNSON

En Concert

Qj MILEY CYRUS

The Time Of Our Lives (EP)

THE BLACK EYED PEAS

IK iruf i!'.r,in-f Tij^ft,-' :.A ag,

The E N D,

•EW

TECH N9NE

K.OD,

THE SWELL SEASON

Strict Joy

■

I WOLFMOTHER

!-i'i(iscof( (ii3385*.ia*(i3 sej

Cosmic ' Egg

1®

TRAIN

Save Me. San Francisco

{M[ ATREYU

Congregation Of The Damned

OWL CITY

', u ' 1' t.ik: U-3H1-.UMRC no uai

Ocean Eyes

7 BRIAN MCKNIGHT

Evolution Of A Man

^fl TEGAN AND SARA

' ." '. : '.'..'.-'-.-u BROS (I39BI

Sainthood

i«

^ ZAC BROWN BAND

The Foundation

■m

LADY GAGA

liM "iTRE^W.Il.E •,riKL!V[ tt'f RUrlREt INIEBSCOPf Oltm''Xk» \ M Mt

The Fame

■I

BEBE & CECE WINANS

Still

■

WM BARBRA STREISAND

Love Is The Answer

Q BREAKING BENJAMIN

Dear Agony

urn

EDNITA NAZARIO

Soy

Q KINGS OF LEON

Only By The Night

■1

M LADY ANTEBELLUM

Lady Antebellum

■1

g WHITNEY HOUSTON

t Look To You

•n

H MARIAH CAREY

i-..l,>,Mi 11 <..'i..lli.iMl. ilQ V>»

Memoirs Of An Imperfect Angel

ff TOBY KEITH

Ihl ' ' ''■ lis 9Hi

American Ride

Q MIRANDA LAMBERT

Revolution

GOV T MULE

By A Thread

JASON ALOEAN

Wide Open

•n

^ BETWEEN THE BURIED AND ME

Great Misdirect

n DRAKE

Ifl YOLItll, MOWO'CASx MaMT llXlVERSAt yOlOWH UIMM^IMRG |9 9S1

So Far Gone (EP)

M SOUNDTRACK

Hannah Montana: The Movie

Q SELENA GOMEZ & THE SCENE

Kiss And Tell

I*.

ALICE IN CHAINS

Black Gives Way To Blue

M KISS

KISS :Oim\ EK (14 9S CtVIM)) ■*)

Sonic Boom

n PARAMORE

'iiiL!;. h< 'iiF^iv siB2SflMG (IB 99)

Brand New Eyes

PEARL JAM

Backspacer

>E«

fl TRIPLE C'S

m I.U-IU.MIMI .l\M0nte&'ltlJMQ(13 98)

Custom Cars & Cycles

Jll^ PINK MARTINI

Splendor In The Grass

VARIOUS ARTISTS

! ■ ' . ■-■{GmTV t4B57-EMI CMQ 117 9fl(

WOW Hits 2010

LUKE BRYAN

Doin' My Thing

|«

HARRY CONNICK, JR.

jj^ 111 1. Ml !>' sortv MUSIC 113 981

Your Songs

Hj TREY SONGZ

1^ iniiK AT.. ASTit S1Br94'*G |1B 9B)

Ready

n THREE DAYS GRACE

(J . UE '1'./V. .ILL

Life Starts Now

After ttits set was
reissued last week
Willi bonus Iracks
and a DVD. i( sells
109.000 (OpKS (up
225%) for Its b«l
sales week sime
Oefember. It aho
becomes Itie se(ond
album to sell more
Itufl 2 million
(optes in 2009.

k career -htgfi chart
rank greets Itie
act's new studio
album. With 8!,000
sold, it's the
ensemble s best
debut sates week.
Sales were helped
in targe lurt by its
$1.99 daUv deal
price at AmAZtm s
HPJ store Oct. 26.

His holiday -esque
album rings rn the
season with 80,000
copies and becomes
hts ninth lop TO solo
album. It aho
reaches No. 1 on the
Top Holiday Albums
chart.

15 »**-r

Glen Hansard and
Narketa Irglova,

who tirti pjiircd up

lor the Mo. 7-
peaklng "Once"
soundtrack in 2003.
release ttieir first
studio album,
wfticb beQifK with
28.000 sold.

-B
^1

3>S

MEEKS
ON CMI

ARTIST

IMPRINt 4 NUMBIH / OlStRIBUIWQ LABEL fPHICti

Tille

NICKELBACK

A-t

MAXWELL

. «>14I/S0KV MUSIC III BBI *

BiACKsummers' night

•

MUSE

. " . ■ ■ II wi.Kiii.-i imi''. ilBUfli

The Resistance

1
J

3fi

ROSANNE CASH

The List

PINK

Funhouse

VARIOUS ARTISTS

■ ■. , -. Ai . IVd/. .D.l l l-LJlV MUSIC (18981

NOW 31

COLBIE CAILLAT

1 ... HfiMIBtiC 013104 UMHG 113 981

Breakthrough

TAYLOR SWIFT

■il 981 ♦

Taylor SwiH

JOSS STONE

II.. L.-.-'lIul lie 98i

Colour Me Free!

DAUCHTRY

li -iVu lie QBi •

Leave This Town

BROOKS i DUNN

" ',v:-vlLL[ i^'iil SWi 113 981

#1s ... And Then Some

MARIO

i.ii..." -iv:. illMi

D.N.A.

SKIUET

iililttjl Hid ATlANltC Sm2?,.AC |I3 98|

Awake

■ i

SOUNDTRACK

1 Hill SmUi AILNIlC S1M;1','*S (18 98) +

Twilight

■'

CKI

□

EMINEM BrtanM

.. 1 ■ ■ r.iiFi.vuin.iMl(fiSCOP( 81!M3'/IG* (13981 nsiapse

MADONNA

1 iJ .18981

Celebration

□

DARIUS RUCKER

II . .11 ii.-il* lis 981

Learn To Live

GEORGE STRAIT

■re UMGN (1398)

Twang

SHINEDOWN

. ■ 11 1 . il.S 9B)

The Sound Of Madness

LYNYRD SKYNYRD

God & Guns

JOE NICHOLS

Otd Things New

■

REBA

V.1L0H* 118 98)*

Keep On Loving You

□

RAMMSTEIN

1IL0F.I-.' uNi.[(.i' -i. :r^t3S8.v»ORiLtn MB 98)

Liebe Ist Fur Alio Da

BOB DYLAN

riiiiiu-^in ' -i::i s'lriy Music 113 9Bi

Christmas In The Heart

CHRIS YOUNG

1 sMf1|10 981

The Man I Want To Be

KID CUDI Man On The Moon: The End Of Day

Li^t^U (111 1.1 1.1 LI UMV(RSAL MOTOWN OI3ie8*>UMIt(3 (13 98) +i

DAVID ARCHULETA

19. DVE iiiH JIG 113 9BI

Christmas From The Heart

BEYONCE

MI IJ I9492.S0N¥MUS)C (11 BBl

1 Am...Sasha Frerce

■

CHRIS TOMLIN^^ j^^^ Highest: Christmas Songs Ol Worship

'^^

SUGAR LAND

'.' .1 - -11 ' I'.'li .[ iin)?6.UMC») 113 981

Gold And Green

THE AVETT BROTHERS

■1" ■■. 1 iiLUMeiA 3S09aiS01tY MUSIC (1!98l

1 and Love and You

KUTLESS

1 11 i 9HI

It Is Well

FLIGHT OF THE CONCHORDS

■ . 1 9 f'.^l' itli 9p,

1 Told You 1 Was Freaky (Soundtrack)

DETHKLOK

Metalocalypse: Dethalbum II (Soundtrack)

□

KVt KNGLH UtAIM PUrJCH

War Is The Answer

139 165

BSjj ^^^"""P.^-^" Christmas: 25Ih Annrversary Collection

icn

THEORY OF A DEADMAN

Scars & Souvenirs

KEITH URBAN

' 1 ■ ■■..".I- (IBM)

Defying Gravity

FRED HAMMOND

I . .;■ lib 9S|

Love Unstoppable

125

CAGE THE ELEPHANT

Cage The Elephant

MICHAEL JACKSON Mk:hael Jackson's This Is tt: Selections From (EP) (Soundtradi)

-1 ■ 1 iljfl" MUSK. If in

}
1

KAREN 0 AND THE KIDS

l-,i '. i ■ U-l- n:» m

Where The Wild Things Are (Soundtrack)

RASCAL FLATTS

1 1 ■ ■. 1 . i Is 9B|

Unstoppable

KENNY CHESNEY

Greatest Hits II

REM.

■ ; ii'i 99(

Live Al The Olympia: In Dublin

THE FLAMING LIPS

■ nsMi +

Embryonic

SUGARLANO

it?n*UM0»l(13MI

Love On The Inside

PHOENIX

; ■ ■ " ' 'j^'CiiiSNOIl (11 98)

Wolfgang Amadeus Phoenix

RASCAL FLATTS

1 ■- 1 Thin o[i;';fi4 o'i 88)

GrealesI Hits Volume 1

t
!

100

□

KELLY CLARKSON

,'. ■■. Hi ^ Surf. UUS\L |I3 98l +

All 1 Ever Wanted

THE BILLBOARD 200 ARTIST INDEX

J0H'(

fWCKSlKttHMJYb T?o

IHtmACKEVEDPtAS
BOMSHCL

13
169

1-n

OEVENOnAeAWWII 139

UL'BOOSIE - .

t2I

.lASON ALDEAN

CtC&IA BARTOU 188

dOrSLIKEGn.5

130

ALICE n CHAINS

■10

TMEetAtlES . 113,143

BfUWNEW

ire

OAVD AnCHULHA

enWEENTtlE BURIED

BftCAKHe MNJAUffl

AlttW

ANOME St

BROOKSftDUNN

AVEHTURA

BPfONCE 78

ZACBROWMBAM)

Avtn mot»cfi<

0AVDB6BAL .. 1M

UJKl BRVKM

; Kmv CUHKSOM

caopuv

_ HAWtV CONMCH. jn W OnNKUW
102 C(WVE*%E '63 NSIOMUOND

BmONCAGE

CAGE TME ELEPHAKt 90 CREED

COLBIt CAIIIAT .57 DAVID CROWDER fiWO
UARIAH CAREY 3) 107

BRANDtCARLU US BlUr CURRINUTON I3S

CAHTU 167 MlErCVRUS '2

R05JVMCASH U

KfMVrCHESrCY 94 ■■■E^^^H

CtCVaXE 109 OAUGMtnV GO

M tiVE firiGlft UtAlH
127 PUNCH
37 FIVE FOR flOHIlW
. .74 THE FUMNe UPS
FUOm OF TX
COCHOROS
FLORENCE f IK
MACNNE
COa FORD

3^ „___________

QMRaA 1S2

96 GHOSTfACt KtlAH , 196

GLORIAW ,, IBt JACKSOfifi

S3 SaENAGOiAZ&nC UH>W1 JACKSON

sent SB t HI

i90 OOVTMUE

195 DAVID GRW

115 iAU

JEREMIH

6-3 JACK JOHNSON

lOe JAMeV JOHNSON .

30 JONAS BROTHERS

lOBYWnH

no CUDI

I9r KJDZeOPKIDS
192 KNGS OF LEON

iu nss

149

179

LAIPf ANIEMLLUM

LAtWGAGA

32 MIRANDA LAKtBERT

76 tEDlEJ

, 172 UTOYA

29 Lll WAYNE

. 41 LMFAO

?3 MANNHEW
■a STEAMRQLUR

IBS MAFM

173 MAm-MARY

1» OiA^ lAATTHEWS BJ

38 Go to www.billboard.bjz for complete chart data

K'JON 119 OEHLOVATO 144 MAXWtLL

Data for week of NOVEMBER 14, 2009 I CHARTS LEGEND on Page

;tscii

indScan .

ARTIST

IMPRMT A NUUStH i OISIRISUTINO LAgEl (PHICE)

Title

III

76 6!

MONSTERS OF FOLK

Monsters 01 FolK

ii,

BYRON CAGE

1, 1 . . i HlHic.wSMHy j.iiJ.i J! Ti il? 98)

Fallhful To Believe

VARIOUS ARTISTS

■ ■■ I ' lu CIS B^IO SURBUCRS (12 Ml

Up. Down. Turn Around: Circa 80

LYLE LOVETT

■ rn I, '4.UMGN (13981

Natural Forces

VARIOUS ARTISTS

NOW That's What 1 Call Country Vol. 2

VARIOUS ARTISTS

"^L [1.6 5at

The 99 Most Essential Vivaldi Masterpieces

DAVID CROWOER BAND

Church Music

101

107

HOLLYWOOD UNDEAD

Swan Songs

•n

\<a

CHEVELLE

.",lL ill 3fl|

Sci-Fi Crimes

SOUNDTRACK ,,gaBi Translormers: Revenge Of The Fallen: The Album

FOREIGNER

" -"■' ",;[■ mmr> its 93 Ci> ovo; ■*■

Can't Slow Down

136 ;

CHRISETTE MICHELE

■ ■■ ■■■■ . i vr, 113 9B( ♦

Epiphany

■

■15

THE BEATLES

The Beatles In Mono

■

THE ROCKET SUMMER

-"L V LiliA L";.'Lr iHfisu LiiwiAt tmojuB \z.n\

You Gotta Believe EP

111

8t Q

DAVID GRAY

IMT raiW 'MERCCH STREET 03 M>

Draw The Line

108

106 Q

BRAD PAISLEY

AniST«H«SKYilU SUN |t3 9Bl

American Saturday Night

■

EMILY OSMENT

Ail The Right Wrongs (EP)

SOUNDTRACK

Disney: Phineas And Ferb

113

133 '

K JON

!■ ■tiVinsai.HEPlt8LIC013t6Z.UMRG(l39S|

1 Gel Around

TAINTSTICK

■,iii'i,niuFi\: :i ibr (iS98Ca'0V0»*

6lbs- Of Sound

ss Q

LIL' BOOSIE

i^iiiL (.j-.,iV --lilMl WARNER BROS (IBM)

SuperBad: The Return Of Boosis Bad Azz

116

losQ

JASON MRAZ

We Sing. We Dance. We Steal Things

■ 1

105

ikQ

SOUNDTRACK

Hannah Montana 3

103

990

DAVE MATTHEV/S BAND

Big Whiskey And The GrooGrux King

■ 1

■1

ORIANTHt

1 . ■ . ■.i.-fLfi ii> ■i'. .'i99i

Believe

88 ^

PITBULL

i.-i- -■III. ■.,'(ij;(!iUS J il9*iI.flMG 113 98|

Rebelutton

■

136

126 Q

NEIL DIAMOND

. '-■h .■. M MUSIC ni 981

A Cherry Cherry Christmas

■

GREEN DAY

■ .■."HMfl BROS I1B9BI

21 si Century Breaitdown

123

128 Q

LIL WAYNE , rart«, iii

1 ..-.M '.MMv i.M',ifv:-',L Morav/n<i(i97r.ijM(i6(i3 9H. ^aner iii

107

BOYS LIKE GIRLS

1 !i .5 .i9i'i: '.i'fiy Mil-- [: m 9B)

Lovo Drunk

■

122

120?^

JEREUIH

Jeremih

■

lie

114 ^

JUSTIN MOORE

Justin Moore

62 Q

PETE YORN & SCARLETT JOHANSSON nr«i, i m

H..I-- /.«ii.,i-,.-ii,6- :.h;v,(i3W. Breakup

■

■n

CARLY SIMON

Never Been Gone

lis

ROB THOMAS

'.11 *liTIL. iKMl X\:, (15 9Bi ♦

Cradlesong

117

109 Q

VARIOUS ARTISTS

i V iM.i - ■,;>■ ', -.imv uiv--,it: lis Jfli

Now Thai s What 1 Call Club Hits

■

ill

itoQ

FABOLOUS

III Mni ■ ■; : ; i ■■■■■ ' n ■■.icioJMQ (13 90) +

Loso's Way (Soundtrack)

120

BILLY CURRINGTON

r.'..' ■ .1. ■ii. i.MGrl(139ai

Ultie Bit 01 Everything

■

DEVENDRA BANHART

What Will We Be

■

153

.97 H

THE USED

HEPhlSE 519304" ■A^fiNER 8HaS (IB 98 CD'DVD>

Artwork

■j

104

68 Q

API

nov I'ltH ^COPt On^BU.IG* |1.)98l

Crash Love

■

103

137 B]

SICK PUPPIES

Tri-Polar

THE BEATLES

Ifh i .-.1 1 ■- ■ ''H r:0'OVD| .*

The Beatles In Stereo

125

119 Q

DEMI LOVATO

Here We Go Again

62 Q

BRAND) CARLILE

. 98)

Give Up The Ghost

SWOLLEN MEMBERS

(lAIIlt *«t US SUBUHIWN W>i« 115 981

Armed To The Teeth

Z-RO

1 f^flUill i?2i26.'KW A LOT 4 IIFC (1? 9Sl

Cocaine

124

122 JJI

THE FRAY

EPIC lOJOT-i'SONY IKJ5IC [13 «) ®

The Fray

•n

135

143 Q

JAMEY JOHNSON

MfRCunr NASHVlUt nnnrvuMQN f13 W)

That Lonesome Song

•I

126

135 Q

LMFAO Parlv Rork
PARTY BOCKWlt 1 AMiCHERRrTREEilHTtRSCOPf OIJMJ.'IO* IID 9Bl ro.iy riuv.

TlwSlailwcks-
Hdu^ve variaus-
artlslsuKS.OOO
sold), wliich also
bows at No. ! on
llw lop Compilation
Alfaums chart, fea-
tures an ecledir
ineiip ol rocli atts
from David Bowie
and Everyttiing tuit
tlieGirlloNew
Order and ttie (ore
(pictured).

It's the seventh "99
Host" set to reacti
Hie Billboard 200
his year, lhanlis to
Amazon's HP]
slote-llib new
release sold lor
S2.99 Oct. !0. It
also debuts at Ho. S
on Compilation
Albums.

ESI

The band's album
was ref eteased a
week ago with a
{Hit o( bonus tracks
and 3 DVD of the
group's June B
(oocert al the
GreeflMd Festival
In Interlaken,
Switierland. The »t
rtowllha20B%
jump.

g|
3*

|oS" ARTIST

So I'.'(-R1NI & NUUBen DISmmUllNG LABEL iPRICt)

Title

CfRT

■8

jg A DAY TO REMEMBER

Homesick

isa

133

l„ feV RODRIGO Y GABRIELA

11:11

146

150 Q

1^ ' 1 1 1'.' s;\l4iVlWAHti[K 3H0S {13 98}

Skinny Jeanz And A MIc

■

1B4

1J4

Ppt ' '■ i"i 'i' 1181 11 J 9BI

Want

■

iss

127

131 Q AVENTURA

The Last

186

149

„,WMEGADETH

Be ' ' ' " ^>

Endgame

lar

131

130 in SUGARLAND

UVE On The Inside

■

188

li K f"'^^ ^0*^ FIGHTING

^OMV IIIJIU! ^i? 9H}

Slice

■

188

1«

100 11^'^^^°

Kaleidoscope

180

130

132

No Una On The Horizon

«|

M : W n o<^.7. JV^ 1 1 ) 9Hi

Ultimate Christmas Cotlection

182

2Q H| DEAD BY SUNRISE

Out Ot Ashes

188

R C:ONVERGE

(2 ■ Its 98i

Axe To Fail

':^<i

104

138

127 "^""^ KNOPFLER

Qg^ I*. dRtiS (IB 9B|

Get Lucky

■

IBS

121

,5ilREUENTK

" . :i Ll . .t 39£tiJlG (H 9BI

Forget And Not Slow Down

188

129

,,2 1,^ ; RAEKWON

Only Built 4 Cuban Ltnx... Pt. II

187

- fl CMIEL

'''''' "' ' I'^^Bl

Cycles

RB'jf SOUNDTRACK

|fll<^': ' v,c ■if-rwERN (17 B8)

Away We Go

188

Fight Uke A Qtrt

170

114

t^v BACKSTREET BOYS

This Is Us

171

100

,53 RISE AGAINST

Appeal To Reason

172

143

■ KIOZ BOP KIDS

Kldz Bop 16

173

160

• 'U UPilUL lie 98l

Lady Love

164

171 Q ^,?T^P^!^Tif ail Viva U Vida or Death And All His Friends

178

132

7R 91 MAYDAY PARADE

Anywhere But Here

17S

141

113 iTi BRAND NEW

l'.|.,j|,i;.-ii,,*.lfOGC IHUHSCOF^ 01335: IGA 03 98)

Daisy

irr

168

IflO R UNCLE KRACKER

H irn Oil'", .Ml •.'!<' Z 5 '^fl- 7, AG 1 - 3 961

Happy Hour

Uttf^ WEIRD AL YANKOVIC

ifl i ■ i[> IIS9B)

The Essential "Weird Ar Yankovlc

179

152 146 2 BROTHERS

Lines. Vines And Trying Times

THE RED CHORD

Fed Through The Teeth Machine

181

155

171 M GLORIANA rwi=,r,a
ly ir M i ftAHNiH BROS (lt«HVlUtlSI97Ba'WRNn3 98) Uioriana

182

173

"57 KELLIE PICKLER

Kellle Pickter

183

145

lasM INGRID MICHAELSON P«««h«dw
I03 u , ... iJNiVERSAtMOTOWNOt32l7'UMRGll39B) cvwryowoy

184

119

:|; DAVID BIS8AL

||--^ i' --.'.!. MUSIC LATINO 0IJ*9I/UML£ I" 98P*-

Sin Mirar Atras

188

156

m LEOISI

llJ '.i---,^ 1 i-ti AST [ji.-;er:.MO (I3'J8).*-

Turn Me Loose

188

178

IB? fSI ^f^ANK SINATRA

m RflllS-f <3e^'j.' WAftHEI BROS (18 98)

Nothing But The Best

ejl

187

167

I7R R VARIOUS ARTISTS

'II" 1 i,'(i;-4 liut ne 981

NOW 30

• [I

188

137

jjg KEVON EDMONDS

Who Knew

iVPB CECILIA BARTOLI

iflUI r ' [ lASSlCSOnoUP |74 B8|

Sacriliclum

hi!

190

179

H FLORENCE + THE MACHINE

12 1'. i--n.'UURG|l3 96|

Lungs

181

163

175 Q MICHAEL JACKSON

The Definitive Collection

192

158

?. JESSIE JAMES

( ■., ,t796|

Jessie James

^^■B NOW Thai's What 1 Call A Country Ctirlstmas

194

177

g| VARIOUS ARTISTS ^j .ikjs 4 Worship 50

50 Greatest Praise And Worship Songs

■

161

ITftQ COLT FORD

Ride Through The- CoiMilty

188

144

0 ^^ZfIltPl!i![hm at^oMdlr^h Of Poo.,y iM f .......1.1 C„y

187

ITSR T.L

:.'i'.'IO Hi;SME ATI ANTIC iimf'AG (18 98)

Paper Trail

188

154

g-i REGINA SPEKTOn

fg^\ .i - V,ftHf(tn BROS 11598) +

Far

188

150

iw ri THIRD DAY

Revelation

200

180

1<U n MARY MARY

190 liil ':<-iLUMBIA?8Mr'''S0MVUt^ (11 98) t'

The Sound

ICGRAW 9 ElMITA NA^IO

lUCKWGHT m NEW son

KTM . 156 jOtWCHOLS

MiCKULSON tB3 MCKaSACK

CTTfMCHtLf "2

TEHSOf FOLK 1D1

.27 BPLAX)i«.^Lti
153 WfWHORE
71 PtAHL JAM
, ,51 H«Er*IX

«IL)E PICttLEH

lIMOORE 132 KW0tOAU)THEKI16..« PMK
MRA2 m ORIANTHI tZS PITBUU

53 ttttYOSMEMT ,117
OWLCirV ,19

1 E M~ . .95 SHNEDOWN

4? IWtKWDM 166 SKK PUPWES

41 fUMMSTEIN 73 CARIY SIMON

96 AASCAl FLATTS 93, 99 TRUW SINATRA

192 BBA 72 SWUCT

45 ntfnai CHORD lao HEcnASPEiaon

55 RaiENTK 165 BOOSTEWAHT

126 FUSEAONNST 171 SlING

TKnOOCTSUUUER 114 JO&S STONE

DAfllUSnUCKER , .67 GEORT.E STRAIT

The album, which
hassotdZS.OOO
copies since its June
release, bows on the
lalyroftherirst
linH thanks to a
$1.99 sale tag at
Amazon's HP] store
Nov. I. The bulk ot
HKalbinn features
mustt by Wex)
Murdoch (pictured).

At Ho. 91, the
iTunes-excltisive

lii -wng CP of

hiQhllQtTts hm the
"This Is It" album
at No. I bows with
6.000 copies and
also enters lop
DI9IUI Albums at
No. 17.

DAR8MSTREISANO 25 TME MOVIE U TXORVOTADEMMW 87

AO SUCARUWO »,9T.1S7 TtUftSrOiaiEftS THIROOAY 199 u:

142 nCSWElLSEASON 15 flCVQlSE OF T)E FALLEN ROBTHOMAS 135 UNCLE MUCKtFl

134 UyiORSMFT . 3.5S THEALBUM 110 THHETDAVSCKACE 50 KftTH UitilAri

186 SWOLLEN MEMBERS 1<6 1WJ6HT U Tl 197 rne uyi)

f»3 THE IWUGMI SKGA IIESTQ 159

NCWMOON H CHRtSIOhlM ,

THAM ,t7

THANMIBtniAM H7,Tn"]^' TV'-i' >'

ORCHtSTRA JS I>€ 99 M(KT ESSENTIAL

TREY S0HG2 *9 VIVALDI UUTERPlECES

TEGANANOSAHA 2t TRIPLEC-S M

.4 AWKTWEGQ I1

6 OCKYfWEASAHO ^
59 FTO 118 IMNISlICK

tiff tWrnWHONTANAS 123 TECH MNE
HANNAH UOrnAHA.

_ 106 WORSHIP SONGS IW JGHWSSON 1»

60 NOWaO 187 UP DOWN, TURN AHOlM) CHRISWUW -75

r: MOWSI 56 CIRCA8O 103

U lOWTHArSWHATICAU WOW WTS 2010 . _____
.10 A CCWTH'i' CHRISTMAS ZRO

193 ■■HOHMB

MOW THAI S WHAT I CAU BEBf & Cf « W1NANS 2i

CUJ8WTS 136 WOlfWOTHfR 16

NOW THAT'S WHAT I CALL

COUNTRVVOL 2.. ,105 ■■■■KHBH

SONGS 4 WORSHIP 50 SO Wt IRO Al, YANKOVIC 1 7B

QREATEST PRMS£ AND PETE rURN & SCARLET [

a for week of NOVEMBER 14, 2009 For chart reprints call 646.654.4633

Go to www.billhoard biz for complete ctiart data

BillbMrd.

EXCLUSIVE CHARTS
FROM BILLBOARD

TOP INDEPENDENT

ARTIST

iKI^RlNI i tllJM6ER 0*SIFtl|}UTIMi lABCL |PRICE)

Title

MT
BE

IHOT
WIT

■SI TECH NAME

^^KW STRANGE 61''RBC fIB 91}

K.00

E«

THE SWELL SEASON

Stricl Joy

HEW

BRIAN MCKNIGHT

Evolulion Of A Man

BEBE S CECE WINANS

Still

GOV T MULE

By A Thread

JASON ALDEAN

Wide Open

•

BETWEEN THE BURIED AND ME

Gieat Misdirect

KISS

MSi .'WiWH IX (H H tr» Iivlli +

Sonic Boom

PEARL JAM

Mir.'l >,■,! > M 1. IIB9SI

Backspacer

■

PINK MARTINI SplcnlH In The Grass

■

RAMMSTEIN

. ■ "iSB VAfiHANI ilfl 58>

Liebe 1st Put MIe Da

FLIGHT OF THE CONCHORDS 1 Told You 1 Was Fieaky ISounilliBcki

. 1 ■ !■ ; ^ ---L q^i

DETHKLOK Metalocalypse Dethalbum II (Souridlrackl
■■' i: ■ 'J'" ' "'"'"i 'S

nil.Ti'JiM ""**"" Ontrai:2SliAiMnryODMIm

[^QgjB AMFRICAN GRAMAmONE ?57S (IB M)

If.

CAGE THE ELEPHANT

Cage The Elephant

PHOENIX

WoUgang Amadeus Phoenm

MONSTERS OF FOLK

Monsters 01 Fotk

■»

VARIOUS ARTISTS Up. Down. Turn Atound d'ca SD

■'•■ir.- ruM i-'^nnLCIS B^iO SWHBUCttS iir =181

IK«

VARIOUS ARTISTS The 99 Most Essential Vrvaldi Masletpieces

DAVID GRAY

Draw The Lme

TAINTSTICK 6lbs 01 Sound
15 M CD'OVDi *

•

CARLY SIMON

Never Been Gone

■

SWOLLEN MEMBERS

Armed To The Teeth

H-C

A DAY TO REMEMBER

Homesick

ROORIGO Y GABRIELA 11 11

RMftViVrifl^S O06B''AtO |I5 9fl C.& OVOl ♦

TIESTO Kaleidoscoije

' I- M ■■■iir-r-F.> :t.s7 ui'RA ii; 9Bi

CONVERGE

Axe To Fall

THE RED CHORD

, ■ . .i.ijgi

Fed ThrooQh The Tenth Machine

H COLT FORD

-^'Vt-'.'.: ' iM~,98|

Ride Ttirough The Country

22 H

PHISH

JtMP 11)39' (13 sai

Joy

CHICKENFOOT

RtruiNf JIIMI- .1-1 98.

Chickenlout

JOURNEY

mWOU 4iW, H ,U 98 CD OVIH ♦

Revelation

THE XX w

YOL.IlL ruHnS ibO- |M 9H|

■

VARIOUS ARTISTS

IT, ■.1i:J:Mt;.U OIGHAL EX

Halloween 20 Spooky Tunes

9 Q6)

THE WHISPERS

HATEBREED

Hatebreed

r„

SUFJAN STEVENS

BQE tSoundliack)

1'! «

VARIOUS ARTISTS S«vSalMl£K

dn btSB iTDule To Ma^ fejl. Frarte Sei&if

;.i

ROYCE DA 5'9"

Street Hod

VICKIE WINANS

How IGol 0^-

■t-l

NTRT

BLESSTHEFALL

Witness

StLVERSUN PICKUPS

. ■ ■ ■ ■ tai

Swoon

DORROUGH

Dorrough Music

;©

PELICAN

■ ■i|i;rif n'j no iM =iBi

What We All Come To Need

INSANE CLOWN POSSE

.i.-. Ml. II K'yg)

Bang! Pow' Boom'

ALL TIME LOW

Nolfting Personal

SOUNDTRACK Yo GaDba GabOa' Music Is Awesome

ATLAS SOUND

LOflos

RAY LAMONTAGNE

Rf/i "i;>f.:i3' nfi

Gossip In The Gram

THE BLACK CROWES

Betofe The Frost . Until The Ffee2e

U2's lourtti studio album. "The Untonjettable fin"
debuU at Ho. 17 on Top Internet Mbwns and at No. 6 on
Top Pop Citalog Albums (viewable at billboard.com/diarts)
wiUi 9,000 oapm sold. The set w« reissued in deluxe
lorm wKh bonus tracks and a DVD. it's th« slilh reissue
Irwn U2 to thart on the catalog tally since 2007, follDwing
"The Joshua Tree," "War," "Boy." "October" and "Under a BJood Red aty."

40 I Go to www.billboard.biz for complete chart data

TOP DIGITAL

«i is

ARTIST

■Mi'L. : • .i;. . ihf,

Title

HEW

|^|TRANS SIBERIAN OHCHESTHA Night Caslle

CREED

Full Circle

MICHAEL JACKSON Ucliad Jackson's TIBS Is II (Soundnk)

;? 49

TAYLOR SWIFT

Fearless

JACK JOHNSON

En Concert

OWL CITY

UfU';fl-,nl HiCUBLlC UMRG

Ocean Eyes

JAY-Z

ROL" ^^^ION AG ♦

The Blueprint 3

NEW

TEGAN AND SARA

Sainthood

wai

WOLFMOTHER

.iM'iLUHl .IGA

Cosmic - Egg

1 3

SOUNDTRACK The Twilight Saga: New Moon

liPATlANIIC AG

HEW

TRAIN

CflLuMBiA SOri> MUSIC

Save Me. San Francisco

HEW

ATREYU Congregation 01 The Damned

■W

THE SWELL SEASON

Strict Joy

HEW

ROD STEWART

Soutoook

4 ■

MICHAEL BUBLE

Craiy Love

TECH N9NE

KOD.

MICHAEL JUISW I.WiaBlJaas(IisnKte

■,! . ■ J.-MHIA bOriV MUSIC

1: SelecttrK Fran \^ iSoinnckl

STING II On A Winter's Nigni ..

'1' - -■THFE nCi UMVIRSAL CLASSICS GROUP +

VARIOUS ARTISTS Halloween Parly; 16 Scary Songs

1,' 49

LADY GAGA

The fame

•! ■ i.i l^ ^i.IHEE mTiRSCOPt ICA

. 21

THE BLACK EYED PEAS

TheEND

•EW

VARIOUS ARTISTS Trw 99 Most Essential Vnralm Masterpieces

>EW

THE ROCKET SUMMER

UlL Ml. II..-. -.Rii ^ l.-.L.l'JD D.IMG

vtiu Gotta Believe EP

TIM MCGRAW

Southern Voice

■

KINGS OF LEON

Only By The Night

■

9 TOP INTERNET

si is

ARTIST

TIllB

DEW

KM MICHAa JACMOH Uchael Jackson's Dils Is It |ScuKltrack)
BSSm." inc rsoer soRv uusic

TRANS-SIBERIAN ORCHESTRA Niglll Castlr

STING It On A Winter 5 Night
' ■ 1 )329-. UNIVERSAL CLASSICS GROUl* +

6 ■

BOD STEWART

Soulbook

4 ■

TAYLOR SWIFT

Fearless

3 H

GOV T MULE

By A Thread

M H

THE BEATLES

The Beatles In Mono

113

3 4

MICHAEL BUBLE

• BROS *

Crazy Love

HEW

TEGAN AND SARA

■Ht >L'H.'4 '/lARVEH BROS

Sainthood

if'

CREED

Full Circle

1 3

SOUNDTRACK The Twilight Saga New Moon

■. lii9*!1.AG

< Hj

NEW

PINK lUIARTINI

Splendor In The Grass

43 H

TECH N9NE

K.00

14 H

1«

6 4

ROSANNE CASH

The List

S4 H

HEW

THE SWELL SEASON

Strict Joy

15 H

■EW

JACK JOHNSON

■ II iHl iiiP^vi- ;iufiG *

En Concert

•EW

- r iii^i *

The Unforgettahle Fire

■f-EKTBT

THE BEATLES

1 ..i-i-LU ♦

The Beatles In Stereo

143 H

r, 9

BOB DYLAN

. ;.i.iri* MUbIC

Christmas In The Heart

74 H

TRAIN

Save Me. San Francisco

17 ■

a s

BAR8RA STREISAND

Love Is The Answer

2S H

WOLFMOTHER

.1 hsCOPE ni ilfii* IGA

CosmH: - Egg

IS H

TAINTSTICK

. . ■■j; t

Bibs. 01 Sound

120

10 2

LYLE LOVETT

,li.'.',y 013174 UMGH

Natural Forces

»4

KILLIAN MANSFIELD

Somewhere Else

■

|S TITLE

kg ARhST IIUPRINT'IASELI

I USE SOMEBODY

Lcom

1 11,

Hffg IINCiS Of HON (RCA.'RIIQ|

ALREADY GONE

■KUV ClARKSCir4 1 ' ' M~ A RUG)

FALLIN FOR YOU

COIBIE CAIHAt ',r.'"'", I'.l ■ H.lf'i

1 WANT TO KNOW WHAT LOVE IS

UAfllAH CARCT 1 M' 1

•

PAPARAZZI

LAOT GAGA if>TH[AMllNE.'«ONLIVt<CHrRRirrREtr'INTERSCOPE) i

FIREFLIES

OWL CITY II', ■. 'i-i-i." ■in-'iiriir

YOU BELONG WITH ME

lAyiflR SWiri III.' '.i.FRSAl REPUBUCI

•

SWEET DREAMS

UTONCE .Ml '■ 1 .'. 'HI !' ■ (iHiMHIAl

- ^..'S>'

DOWN

i«ir UAHFEAIurtlNGlll WAVHt < '< ii« >.lnNf ¥ UWVERSAL RCPU8LIC)

TWO IS BETTER THAN ONE

BDYSLUlECIRlSFtATUBmcIAYlOH SWIFT iLUtuyBIAj

Ms:

1 CiOTTA FEELING

rHE WACKITtD PtAS .:'JUKt.l.U»'i|

'■It

SEXY CHICK

DAVID GUEITA FIAtUHINfi U.OU iGUUi ASIHALWERKS-CAPIIin i

1 13

WHATCHA SAY

JASON DinuiO - t i I'l.A KEIGt'lS. WARNER BROS 1

LOVE DRUNK

BOYS ir« GIHIS ■ "1

PARTY IN THE U.S.A.
MilEY CtHuS 1 ■ r. II

® YAHOO! , Mus
VIDEO '

Lcorr

■

btf 3H TITLE AMh a moBI-slredmed vid«o« on Yaix)o' Mui
3P 318 ARTIST IIAARRIHT LABEl i

, WW AGAIN

mgfivKAf i,vaUiOCTONCjWIERSC0I>E»

. PARTY IN THE U.S.A.

MUtr CYRUS " li ' iii

, ONE LESS LONELY GIRL
JUStIN BKBIR ii .L-'.'.li lli.ll.'l.,

OBSESSED

MARIAII CARZV ilSlAUD'IDJMGl

, FIFTEEN

TAnOR SWin IBIG UACHlMf t

, ONE TIME

IlISriH BIEBEH lISlAND.injMG)

„ PAPARAZZI

LABVCAGA I i.TRF AULUrCKONLiyEiCKtRRVTREeiNIERSCOr^I

. DOWN

JAY SEAR rEATimiHG LIL WATNE i A li l.i: llEY UKIVERSAL REPUBLICI

YOU BELONG WITH ME

lAYlORSWiri 1 II I.I ■. .IH -it^llBllO

, SWEET DREAMS

HfYUHCE ' ' - 111 COLUMBIA!

, RUN THIS TOWN

lAY t HIHANHA A KANYE BKSI IRDC NATIOttI

,0 THRILLER

MICHAELJACKSON itl'IC LEGACY)

,„ SHE WOLF
SHAKIRA rl'iCi

14
19

, FIREFLIES

OWLCIIV iillllVIRSAL REPUOLICl

^ rWISttO SISTER lAILANtIC RHINUI

□

TOP ROCK ALBUMS

KM FULL CIRCLE

Id CREED ikVinil UPf

NIGHT CASTLE

TRANS SIBERIAN (KICMEStflA .1 1 '. 1

THE TWILIGHT SAGA: NEW MOON

SOUNDTHACA i Mi.' i li ■ li . . , '. Ii, AGl

EN CONCERT

JACK jailNSDR . 'HIRE UMRGi

STRICT JOY

THE SWELL StJtSON lANII EPiIAPMI

COSMIC - EGG

WOIFMOTMER (MOOULAR OGC INIERBCOPE.'IGAJ

SAVE ME. SAN FRANCISCO

IHAlh 1 I' ■ 'jv WUblCl

CONGREGATION OF THE DAMNED

AtREYU

•

OCEAN EYES

OWL CITY : REPUBUCJUMRGI

SAINTHOOD

TEGAN AND SANA . : SIREiWARNER BROS |

DEAR AGONY

BREAKING BENJAMIN -MLVWOODl

ONLY BY THE NIGHT

KINGS or LION ■ '.111

BY A THREAD

GOV r MUll 1 I '.

GREAT MISDIRECT

BETWEEN IHE BUHiEU AND ME 1 YiC lOHl i

BLACK GIVES WAY TO BLUE

ALICE IN CHAINS .'inLiU i Ai'|i|'L

Data for week of NOVEMBER 14, 2<

HEATSEEKERS ALBUMS

ARTIST

HOT SHOT

Hiin

1^ EMILY OSMENT

All The Right Wrongs (EP)

TAINTSTICK

" .1; NW£ IS' (159a zs.S'n •

SIbs. 01 Sound

ORIANTHI

B«llevt

DEVENDRA BANHART

What WHI We Be

SWOLLEN MEMBERS

Armed To The Teeth

THE RED CHORD

F*d Through Tho Teeth Machine

CECILIA BARTOLI

Sacflficlurn

FLORENCE + THE MACHINE

Lungs

COLT FORD

RkM Through The Country

J^yfMmi^^UAmaajfC on.l-ll»»ttl>rO,

m NMfc Rom KnuEk Sir ^DUriMJ

THE XX

ROVCE D* SI-

Slreei Hop

peucAN

■ '■»■■"■ ""I

Whil We Ail Come To Need

JOSHUA BEU

Al Home With Friends

MELANIE FIONA

'.(.WeiUlElUtlfiGlSMl

The Bridge

NELLIE MCKAY Normal A« Bkietetry Pto: A Trtbute To Dori» Day

RANDY HOUSER

Anything Goes

ATLAS SOUND

Logos

KINGS OF CONVENIENCE

Dedarallon 01 Oependervce

THE RAVEONETTES

In And Out 01 Control

TRANSATLANTIC

The Whirlwind

NICK SWARDSON

Seriously, Who Farted?

FUCK BUTTONS

Tarot Sport

EDWARD SHARPE k THE MAGNETIC ZEROES

Up From Below

■

COLT FORD

Country Is As Country Does

9ie'tttitfoii1}i
cajt nmnlw trtrni
ttw "Himati
MflitUna" TV show
to cfiarl with an
afeunana
MMbtv.tol-
kwinimevCrrm,
BHy tor (vm and
Mt(M Mifiu.

■

ARTIST

t WMKR OtSTnauTIMG UBEL (PfRCf I

Tltlt

GIRLS

Album

■Ii- m: -■. CIIJ- TflUf PAN'HtH (.OUNOb ■ 1

LA ROUX

La Roux

THE AIRBORNE TOXIC EVENT

FrlOTGflv ISLAND 012e2r-/IDJHO I'.' «t

The AirlKime Toxic Event

THE GOSSIP

Music For Men

THE MOUNTAIN GOATS

The Ufa Of The Worid To Come

EUGE GROOVE

Sunday Morning

t1']=^iVyij SIDEWALK PROPHETS

TiteM Simple Truths

BARONESS

Blue Record

SERANI

No Games

TRAILER CHOIR

sur* V'K. K^sKfuie o?i ■ ■■

on The HillUlly Hook (EP)

DAVID GARRETT

DavW Garrett

DEAS VAIL

UnuC 1 1 I CilGIUL tX'WARNtR BROB. |7 M)

Bird & Cages

THE LAWRENCE ARMS

F*I WRSCK CMCfll?-. miTtl f« 3 981

Bultsweal And Tears (EP)

MAYER HAWTHORNE

A Strange Arrangentenl

LUCEflO

■J, - i- iun&(io98i

1372 Overton Park

saw

ALVIN DARLING & CELEBRATION

You Can Make It

LINDA EDER

Soundtrack

THEISAACS The Isaacs ...Naturally: An Jl

Jmost A CappeUa Collecbon

JOE 80NAMASSA

The Ballad Of John Henry

AUSTRIAN DEATH MACHINE

■jif.:; 1 : ■

Double Brutal

CAROLINA LIAR

*IUIHTIC J7*36t «.G ■ . - ■

ComIhb % Iknui

THAO WITH THE GET DOWN STAY DOWN

Know B«Q*r Laam Faster

Sf-tmiT

ERIC HUTCHINSON

Sounds Llhe This

U-WIIT

LIGHTS

LlliMlS-" ■■■■■.'^SERBflOS.iIJBBl

The Listening

SKELETONWITCH

PRDSTHfli: MOiV

Breaihing The Fire

HEATSEEKERS SONGS

REGIONAL HEATSEEKERS "1 ALBUMS

■Br TiTt-E mM

IH 7s ye wrist mmt pwrnvoHimi VHH
ft ] KIreo LIGHT

RUNiBWAY

LCr»'( "IliTWn -v'-PClA'DODi

wHire LIAR

MINkNOl lAMBEHT i ' C .>.>vq.i^>

LA LA LA

LMFMifcr.rv >, /, , • -.v mi^^ymi iITepsuppe

AIN T NO REST FOB THE WICKED
CMU IHI aiMMT IDSP.-IIVI^'JIGI

SHOTS

IMFU HATUniMG la XM |l>«firv ROCK.'WILl 1 UI'CHf nFOTREl mlEJISCOl

EIGH"^ SECOND RIDE
jAu (wn 1

LOOKING FOR PARADISE

aujahlmu sau (uiunMG UJCM aYI iWARHER LAIIHAi

1901

PMOrvK .iVA'JIfCitSSHOTil

SAVIOR

HiUACAH^T ■ ■in«'vCO'-h

DOLLHOUSE

PRISCllUk KEHEA .::Jl>-ltai.)

ESCLAVO DE SUS 8ES0S
oAVBHi!RAi ' < . 1 Mi;sicunm)

CITY ON OUR KNEES
loiriuc 'J '

JARS
CMHfUl

|,.

YOU RE GOING DOWN
tiCK rvr*tu ■ . ;i-'ii;jL

5 STAR CHICK

Toeoni '.;'5 jf««»

BOOTS ON

IUUBTHt4JtER ..MVfF'.^AL S'llU^'t'

■Hi

CLOSE TO VOU

■Hi acta wmutt roic--»k\. Ki„

I M IN MIAMI TRICK

IHFU . ■ ■ ■ ■

KINGS AND QUEENS

WSfCMJStOMARS .._ vi-,&WiC*firOL|

TE IRA MEJOR SIN Ml

JOANIEUniAM i -"tSMeaAl

HURH^r HOME

JAin -Mi CANHOIL iHR'STA HASmLEl

SU VENENO

AVEHTURA i M .H>

ON ThE OCEAN

rjW ■■ 1 'Ii'-l-'.-M ^£PU3llC>

■

1 LOOK GOOD
CHHJtBCY [

Armed To Ths Taeth

Swollen Members

All The Right Wrongs

Emily Osment

All Th« Right Wrongi

Emfly Osment

SOUTH CENTRAL

Colt Ford
fllda TnraiU0fr nw Country

SOUTH ATLANTIC

MID ATLANTIC

NEW ON THE CHARTS

The Band Perry, "Hip to My Heart"

The trio of siblings Reid. Neil and Ktmberly Perry makes its Bill-
board chart debut at No. 52 on Hot Country Songs (viewable In
full at billboard. biz/charts). Recently signed to Republic
Nashville, the act will make its Grand Ole Opry debut Nov. 13.

Devendra Banhart

WhMl bVUI M% S«

The Red Chord

Swollen Members

Armed To Vte Teelfi

Orlanthf

Talntsdcfc

6IDs Of Sound

•

Emily Osment

Air TTw RIgM Wrongs (EP)

Transatlantic

The IVMrhvinO

Royce Da 5V

StrMTNop

Cecilia Bwtoll

Sacrllfcium

Jay Farrar a Benjamin QIMMrd
0«Faib»»MaowlMcAn*an4k|Innam

■A for week of NOVEMBER 14, 2009 i For chart reprints call &46.654.46S3

Go to www.billboard.biz for complete chart data i 41

I Billboard

^THE BILLBOARD HOT 100

1°
~3

TITLE Afllst
■■f-i ««lll(r,-pR(IMCtin'. ■iPF

Klv/HATCHA SAY Jaaon OeRuio

WEm ['■'■( MIDCRSOHJ OESmULEAUX.IfleM'l It SaMA HBCHTSWUrJi ~ ---^

It!

FIREFLIES Owl Cily
l1i'i'-H*lA'!l'n!?l STATE OF HIND JayZ + Allda Keys

□OWN Jay Ssan Featuring Lil Wayne

' ■ 1, A'S. i-'OHEl Itl'W* 1 -^AUf-'FrSi^^nCiiilTEni OO hash Ur«>iWMS:-^ "l-i pi

PARTY IN THE U.S.A. Miley Cyrus

- . ,:]TIrt*LD C «tl.lTJ CiWWSHt 81 ■tC>U''A'00r

PAPARAZZI Lady Gaga

' ' . 1:3 GGtHMMOTU H f^^^J,t<n QOO SIDfAULIMNOHLIVE: Off HR'-ACC lM<<tSCC<^i

RUN THIS TOWN Jay-Z. Rihanna & Kanye West
1 ' l&CCA»TtRKW($liWILS(M.nrEilTV.AU.AIAS) (MDO '

3 Britney SpL-ari

.1 ■ F(.r> >•. ^ UANTIN HMiUHAliK T ftMBtHt 0 ' -

SAD ROMANCE Lady Gaga
 9 smEutuM/iioiiiivEtiMHRTTRit imiericoti

1 1

JUMP THEN FALL Taylor Switl

SWEET DREAMS Beyonce
■!,v<vi.£SJ(iSCME(KftWWlU«IS.WOtOWl • Mi . i -i

MEET ME HALFWAY T?» Blach Eyofl Pfins
".aOWU.SrtKUSOIlKMAHIISJBAitlSTtSGWDOM) OM'

REPLAY \yaz

. . :iiS<IOUlEAU>.rT>€nONTnoM3> OtMK SMCiCVaauUXi'i'

YOU BELONG WITH ME Tkytor Sv. t!

.>Virr '.i|CtS[| 9 BK MACMME'UMVERS'. '

1 GOTTA FEELING TUt Btach Eywl Pr.r.
_-:.|: i^iDAMS«l>:NEOA.jeOMUSFEn&USaNDCuniA'ni[STERt>l: (D

FOREVER Drake Featuring Kanye West. Ul Wayno & Eminom

"i.»MJlLS*C>(lAKiAt)(»tS!OCJftttFlMl«lMftei ® HW.tT HASrAiOht i : .-. iM:- ■..:-■=

TIK TOK KeSha

17
16

iil

■

SEXY CHICK David Guella Fcu!i,r,ng Akon

UNTOUCHABLE Taylor Switt
'.iPtCRB*ftUl«IE.«IBA(llOW.H.J«ESl © im^ i.-.'.inif.i

USE SOMEBODY Kir^gs Of Leon
' : .LumiL J roLiowiuuiouotwx.MFOiLaiiim.li ® 1 .j wl

ALREADY GONE Kelly Clarkson

- . . - . . i- -iDMS; © -. .

THE OTHER SIDE OF THE DOOR Taylor Siviti

■, ■ ■ -^. 'U 0 ■ili^ 'li'.^

NEED YOU NOW Lady Antebellurn

1 .. i 1 1 lU ,n "iVWOOOC ".FllF-M SCtill J ■EiKI © :!=■ " " i N.'.'^riull 1 i

1 CAN TRANSFORM YA Chrl* Brown Fealufing Ul Wayne & Swijz Beatz

■i ■. ■ - 'i: '■; iihOAM J BO'B « K*»J * B£Rf*L.DCA*lIiflt O . .t n C

23
16

■

ONE TIME Justin Bietiet

-'('AAXI I'C A STEAARI J SUMKM C COLl INi.HEHE«.1V[| ® IL . >.^ < 1 < Jl/i.

OBSESSED Mariari Carey
l.( 1i;m C SIt**flI iM CABtV.I NASH.C » SUWtfir, 900 ' ■

SUPERSTAR Taylor Swill

■i .--I.'.. '.'IS ■ .f;i>' iiVlfti ROStI © ilK. k'.i.'iir.L

27
11

COWBOY CASANOVA Carrie Underwood

■-' ■ mMClIIONOCSjaWSi © ^^i^\SJ^Ul■'-M'^\l^^

FALLIN FOR YOU Colbte Call tat

■

COME IN WITH THE RAIN Taylor Swift

■. 1 1 O Bit WACIIl.t

EVACUATE THE DANCEFLOOR Cascada

.1.-.- UHtUllftl (iXl ■

TOES Zac S''"'.^''' Band

?5
33

23 ia

BABY BY ME SO Cent Fealurir.g Nt. Vn
> . ':^JH. X J jdlUS.S SmfU) • BHAIHr/«rtUIIUTH m

FOREVER & ALWAYS Taylor S-vifi

. . ./i.Ti © nil. 1. .

BREAK UP Mafio Festuring Gucci Mane & Sean Garreii

.-.I ■ II II' !i OAHWlirs CHAKWOBO.H 3AV.il © . »'/.'..

■

LOVE DRUNK Boys Uke Giris

1'.! ■<!'. ■ ■! :. ■!>■.. 1 "JiT.'l ® 1 . -.'1

•

LOVE ME Juslin Br. i.i-i

|.. M.^,.,. I . ■,v..r. . ©

SAY HEY {1 LOVE YOU) Michael Frantl & Spearhead Feat Chenne Anderson

" |1A^£SP^A(^ IM FRANtl.C lOUIOl 0 : 'M' . ! ■

WASTED Gucci Mane Featuring Plies Or OJ Dn Jjict'rriiin
h A WiSMlWIWl, ©!.'-■ . 1 ,. ,L ' . ■

37
14

THROW IT IN THE BAG Fabofous Featuring Ttie-Dream

1 ■'.iHSOHCHSTtWAHIHIASNi ©© DtSiRl SIMM.dtf J.IM iLijMu

P*
Rk
K>

32
4t

29
SO

PAPERS Ustior
1 II . "^vxiD^r ^ aAftREnji00Ts0N,AUArws) © .^■n:; ilc

31
1

HOTEL ROOM SERVICE PitbuK

DO 1 Luke Bryati

II ■ h.-, . tvi: -^TftOOOf 0 . i-T.'. ,'j.'.--(',ii;t

FUNHOUSE Pink

, . ,h. IrlKfttJHAflRYl © L*llCi. JLl:

BODY LANGUAGE JesM McCartney Fealurif>g T-Pain

.■ '.'-'.I 1 J SJNI^INC CIXS JWCCARTNn.I-Ptllll © MOlUWMD

SHE WOLF Stukira

GOOD GIRLS GO BAD Cobra Starship Featuring Lolghton Mocslc

■

GETTIN YOU HOME (THE BLACK DRESS SONG) Chfis v^jr y

33
4«

IS)

62
36

6>
34

FIFTEEN Taylor SwTft

■, ■-■m : V*in |I5«IM( © BIGM*£HINE

ONLY YOU CAN LOVE ME THIS WAY KeWi Urban

. li: .,_!-.■. ■■. Urj^.tK J ^flB) © :aPII3l fiSiH'/ILLi

f»

WELCOME TO THE FUTURE Brad Paisley

. ' .:?■]!£. e WlSTt 'li-HVlLI 1

MONEY TO BLOW BIrdman Featuring Ul Wayne & Drake

" "■. ■.(•.■■.■. ■ . . iWv » f.WKAM 0 CWniH.C WOlT.PN! O C»5M »nnrv uWVEK-sai MOT^VVt,'

52
S3
3B
SI

HEY. SOUL SISTER Tram

--.^r,. PUOhAMAHElWDA&JOHMUTOi © IWAfF tli'.UVe^'

DROP IT LOW Eiier Dean Featurtr>g Chris Brown

■ : 1 ntfl'j c fi«a»**i O HAfrvrv MA50ti;oN£ ^.siREiMLmi-'iTEfiJCDi'f

IMMA STAR (EVERYWHERE WE ARE) Jeremih

1.' -.ri-.,,!.- ■■[,■...■... iame;. r^^i:t..j(T7, « Miw SPiuiritiEf jam.iojug

ELl

Ttw song is the
label's ttiinlKol 100
No. I iMs decade
and ih ftrsl since
Daniel Powter's
"Kad D>y" in surlng
IKi. Madonna's
-NusiriedUitta)
In SeiftefntKt 2000.

TlKdUO.lIlM

pcrfomiMl Uk ung
0(1. 29 pfiof to
same In« q\ Vk
Wo>lilS«l«,Uk«

trtKOl-SMHol
DIgllilSoiigijiililk
alfpUv Hitkn by
IIK(lM«lllol
lOOAIlplit).

Fnailv, a (Dnlinned
Un^le riom 1%
upuxning "Belorel
SeNDestriKt" aflum.
Die tndL available
asptftolttie
aUxHn'spn-ordef
«nTunes.sefe
4S,D0Od(wnkHds.

riie song should
soar into the top 10
i»it Mdown-

[ut Uie fmi [ime,

Ilw Itand vcwes its
I2thstra«gMtop)0
oniUUveRockOt-
10), wtiktitsits
entite chvl output.
Ttic ad's last ttiree
Io(i 10s OR that list
afl iKt No. 1.

&
it

£8 S8

a*
®

40 4S

59 75

46 36

53 «

B2
@

S7 -
67 90

66 64

70 66

61 -
44 17

73 81

65 63

7? 74

75 79

76 86

81 87

100 -

71 73

77 78

91 96

90 -

59 37

(Si

S6 98

53 85

62 S2

M 82

53 ■

®
®

63 40

B8 9&

89 90

®
®

98 -

94 69

riTLE

. Fi' (SMCWRflEltl
M ALIVE

SMILE

Artist ti 1

IMPRMT . nOMOtlW LWtL SbM
Kenny Ctieaney With Dave Matttiews ~~ 'j|

Uncle Kracher

. <P:WS»tOHG GWEtn DAVl

Green Day

NUMBER ONE

^ HAUILI!^<t IR *.hl'< n HAMILlOH •* K.

R Kelly Featuring Kerl Hilson

SUCCESSFUL

AMERICAN RIDE

GANGSTA LUV

CONSIDER ME GONE

• STARSIBllC^ALQIiy I

DOESN T MEAN ANYTHING

Alicta Keys I

STARSTRUKK

30H13 Featuring Katy Perry

Tim McGraw \

John Mayer |

0 I' 1

FACE DROP

I M GOING IN

:-.E .J&WGLETOWMPEmCEDMAtKPStVI

■i-i^Ah iiaGtKjx.K o(HMH-C woftSAaM woatMi

RUSSIAN ROULETTE

L (SauUSCSMITHHBUlCKllOStI

I INVENTED SEX

Trey Songz Featuring Drake

TWO IS BETTER THAN ONE

Boys Like Giris Featuring Taylor Swilt

Love And Theft I
» CAflOtWQOO I

Mary Mary Featuring Kierra 'KiKi' Sheaid j

B NS-CAUPBELl 'Aums-C'.UPiiEUi O F,i. -.!;:' :r... '>,'f.i.'. ;

Tie ME DOWN

New Boyz Featuring Ray J

' 1 [>^.LABD.S SWrn.M S EWtSEIl IE KRWAlrSEWi

WHITE LIAR

Flo Rid* Featuring Ne-Yb ^ j

I l«MBERI,II.HEMBn

ALL THE RIGHT MOVES

UNDO IT

LA LA LA

\-JO0.l. [■OGUAflOl W (REOERWSEK L LAHin>

ONE LESS LONELY GIRL
HAVEN'T MET YOU YET
UNDER

Justin Bteber

,UM Shin it LEWIS t IWHAWyAO.i PMAMILtOW H SWW] © ISlA^MDJWi

Mtchael Bubte

T JOetS K 5TtPICB90ll U COOWRt

AIN T NO REST FOR THE V/ICKEO

Cage Ttie Elcptiani

IF YOU ONLY KNEW

SPOTLIGHT

Gucci Mane Fealunnti U^iher

GOOD MORNING

BREAK

WHEELS

. jUfEHTttP[irr>

SHOTS

A OWQiJ H SMITH I Oil»TOWIE> © P*«TV ROCn W

LMFAO Foatufiiig Lil Joi

lUO&ARI.l LfWlSi

YOU RE A JERK
t GET IT IN

Omarron Featuring Gucci Mane

BETWEEN THE BULLETS

SWIFT'S BONUS TRACK BOUNTY

liiyior Swift becoint-s llie first artist in llio liistor> of llie BiUboard Hot 100 to debut fivt
tracks in the top 30 in a single week as all of the new songs that a[^ar on her *Fcark"s:
(Platinum Edition)" reissue debut, "jump Then FalFfares the best, opening at No. lOvritl
Ifil.tXiodowTitoads. Swift nowha.s 1 1 top 30 Mot 100 debuts in her diart career, wliidi be
^^an in 2006, Only the Beatles, with 1 1 suth debuts between 1964 and 19%. have more
Swift's dt'buts join a re-entry ("Forevtrand AIwd)'s" at No. J4. redone for the reissue) aiK
two holdovers from last wedc (Nos. 14 aJid 49) to give her eight listings on tiie ciiarl. thi
most by a female artist since the list launched in 1 95«. — Silvio Pietroluongi

42 I Go to www.blllboard.biz for complete chart data

Data for we«k of NOVEMBER 14. 2009 I CHARTS LEGEND on Pag*

miOMD tr CMPIIU IT

■

dsL-n nitlscn

S SoundScan

Billboard UfVT

TITLE

DIlTtSI iiM 'RItl PRWOTKIN

El DOWN

nMljitnRFBiu,wniicwinraiMM,<vniii

^ 33 4

TITLE

• fillSI liMPC-M PBQMOriOK LAflttl
PAPERS

LWlfl ...■.I.'.. ■ .J^-

TITLE

ARTiSI iiUPniNT . PflOMItOHuWEll
SUCCESSFUL

SAW FIAT nfTSCHGI < -JN^ IIMyUO< HXninieVA. HOaM

PAPARAZZI

UmMG* '-'i^M •.■rtf.vCltWTHti.WIfilSttfti

^ 26 12

WASTED

CUCCI KJUIE 'EH PlIEJ ly..*'.- ■ n.- ' .'. 'J. M. ■■ L

RUNAWAY

lOWAWTHEfl ■■.i^iilWMDl

SWEET DREAMS

BlnWCf " ■■ 1 ■■'11 .JMBIil

i» »

ONLY YOU CAN LOVE ME THIS WAY

KErtHUHaWI ■ Jf 'L'L I.':"!!..;.

RED LIGHT

DAVID NAii . ;. ;,:,Hi'lUJ i

WHATCHA SAY

J»SD«Util_.D ■ ■-■.-•,!^tWOS)

1® " '

DO 1

lUiESR'Ali ■ ■

BAD ROMANCE

lADtfiAOA ; : ^l '4wmi*«€RmT«£«rilSC0P()

YOU BELONG WITH ME

^ » 4

1 CAN TRANSFORM YA

CHRIS SHUWs <EAr LiL nuKi i inui mat:

BABY BY ME

iO CENT 'EAT F<E-fO '■:-)A0V'AFTtRtl*rK'H(TEBSCOP(l

RUN THIS TOWN

j*r 1 HiHiMPU t *Mtn wm f nutoh)

^ a; 13

GETTW YOU HOME (THE BLACK DRESS SONG)

CMW3 rOUW ''O. .

SOUTHERN VOICE

EMPIRE STATE OF MIND

. »iici»iiErs ■■ . '.^'n"'.

FIFTEEN

UnORSWVT Vtl.HII.M

GOOD GIRLS GO BAD

USE SOMEBODY
infis OF L£Dn .

W 6

ONE TIME

jusnH WBEn 1^1 Arin.'iDJVG:'

MONEY TO BLOW

UIMMI FIAm «Am 1 nin rj.>< UMYUMItSAL wnwKi

PARTY IN THE U.S.A.

MIUT CTBUS irtCtHftOCsTi

4(i S

1 INVENTED SEX

IKT SONG! FUI DRAKE ' I'M: p-|-'>. Ill .^M'!'.

GANGSTA LUV

SfCCP OOGG FUT nC-CMW JXOC>STVl£tW)HY:lumCLl

FOREVER

IDUKE ■<■•<■■*'.'•'■ VASCJJIW <Sl«lt»MLIHL-NnftiCO''f ■

as 19 11

LOVE DRUNK

Mrs iMiiaflis ii- 1 .1 VP I.

ALL 1 ASK FOR ANYMORE

TRACE ADKpNS ■ ■ ■ 1L NASHVILLf 1

1 GOTTA FEELING

TUt »M> [TED PUS ■ '.T;n;.:DP[|

RUSSIAN ROULETTE

nWANHA 'iF-'

SHE WOLF

ShAHIIIA " isll lATIKEPICI

ALREADY GONE

ULLY CLAqKSDM i' . ^■u.^HK•J:

37 3

S 10

I'M ALIVE

nnxT cxmi mm oavf MAnwwi tm* i

BE ON YOU

FLO HtDA FLAT h( YO H fii"iv .ITl ftMlCl

MEET ME HALFWAY

tWILIIM ETIOPUt I SlUtVCOl'll

ID *f '

BAD HABITS
HAXWEll

HISTORY IN THE MAKING

wiinitTiwwiiJuF iLO-

M 4t 9

EVACUATE THE DANCEPLOOR

IMMA STAR (EVERYWHERE WE ARE)

jiraMIM . ■ 1 ■ ■ ..>/ il tMCl

BREAK UP

M«niO tUI 6UCCI HUM 4 SEAN UARtn i: 'Uu.

^ 31 i

CONSIDER ME GONE

FtEIA '■■ = l-'.'"Mi;K.V»ltlKf;

ESCLAVO DE SUS BESOS

OAYIBfllSBAl .-. I -. ,■1. . MLMC LATINOl

FALUN- FOR YOU

anm tuna lUNr^tnuL (UPueiici

.,0 " '

SONFIRE

CKAICWHUM UriA.

SMILE

UNCll HftACIES ■ ■ 11 'I';! i'lA'lIICp

FIREFUES

owiarr iiiNi>ifi)s.»L niPuSDC)

1^ St 6

REGRET

LEWAFiAt uxucm iCHinXi

LOOKING FOR PARADISE

ALIJAKDfID SANI FIAT AIKU KETS i A'An-iF F) l«*l^Al

SEXY CHICK

-J3 14

GOD IN ME

WHITE LIAR

OAVin GJHTA Ftlir JUOH (jJF^ «.SIfiAlWEnR£C*P1I0L|

^ —

MARY MARY FEAT KIERnA SMAflD • NldCH. rJIL llMHi.i i

HIHANOA lAAtBFn ■

22 S

COWBOY CASANOVA

|m 37 1«

HOTEL ROOM SERVICE

mBUll "1 1 ■■ 'iri' ■ rv.

EVERYTHING. EVERYDAY EVERYWHERE

FABOlOUSItAT ttWlrtUON. ' ..'i' ..MU-M iWA-UMi

REPLAY

mz --A HerCMtyflEPfiiStj

4S 35 13

AMERICAN RIDE

TDSYtlEiT'l ■ .■

WHY

HAKAl FlATtS ■ -I . ■

NEED YOU NOW

t»0»WtBULU« Idi hASMVIUl)

|W 44 12

SAY HEY (1 LOVE YOU)

mn mum ) yiUHjui ^ <,.:ij,x:^.:.-tf-ff J. i^!

WHEELS

fOOFICHTtllS ,-. I"',

TOES

IK BHOWU EMC < .fifiWKP.IiKtK.mBBBUVniK)

^ « e

DOESNT MEAN ANYTHING

ALICIAAEIi ■■ ■ ■

1 JUST CALL YOU MINE

kURTINA HCtlilDE "i< >.i: i •

OBSESSED

UARlANCJlRi'

i& SS s

1 WANNA MAKE YOU CLOSE YOUR EYES

OtMS tttilUt ■ ■ 1 . .

THE TRUTH

JASOH ALDFAN " ' ' ' , -

THROW IT IN THE BAG

riwtat! FUI lMt()nUM>L-_.L-:: :'. .*tA'X' MlifiM^

4* 4

9 10

NUMBER ONE

R lELlt FEAT KERl HFLSOH . .'i

TIK TOK

AEWA ' 'J'^

WELCOME TO THE FUTURE

IIUOnL'UET .-.I'MA Mkl,i<^'ILi:i

Mi'

2 11

UNDER

PLEASURE P ■■ ISIICl

TE IRA MEJOR SIN Ml

JOAN SEMSIMII WJi'tT.llAUOAl

[►)hot digital songs

TITLE

AHI1SI ',!f -;l^r pflCiUOIiOH UBEli

ii i

ill

TITLE

ARtttT (lUPfflKI 1 PflOMOIIOH lABEll

§1

TITLE

UIItT ;iMt>RHI 1 PMHIiniOR LUtL)

nl FIREFUES

EC9 OWL cirr lusi'i^QSAi nEnjiHici

26 1

? 13

SWEET DREAMS

•

STARSTRUKK

30HI3 ."^ ■[!■ f ■iV-.M 1^1 l-t.- ■■■ KU',

•

JUMP THEN FALL

Iktu)!' ■» - T i; ■

27 18 14

ONE TIME

JUSTW tiEBER ' ;.i i,rL3 rsjuai

3 MONEY TO BLOW

tHMIiFFr 11 M'\E t iMUI ^."..W

BAD nOf,1ANCE

MONSTER MASH

ami -acfE- Fom AW IK owmooB it ■ ■^. ■ ,

GOOD GIRLS GO BAD

■

WHATCHA SAY

JSSDN n-^l .n ■■ ,r-=, rti^lt.n -.uns ,

. BABY BY ME

SOCtNTRAt NI-T11-rtfc:n i,-TFHWM rr-Fi-r,-:'

.. FHjKLn 1 ACE

■ fmoePRms-titEfisrOTi

EMPRE STATE OF MIND

jm . mci* KEYS I- .1 '.■■iriti.

aO 22 27

YOU BELONG WITH ME

TAYIOH SWIFT ■"• ■] '.HCH.If

■

V/HO SAYS

JUMH MAKFt . ,','l-i'i

PARTY IN THE U.S.A.

KlifTC-nUS

31 20 14

ALREADY GONE

IIEllY UARIISON ;l'l y-V<-,\

■e

BOOM BOOM ROW

TMI HACK EYEC PEAS .A IS'(H'.i, Hv.

(HIINi- -.I'll'-.

^ ?a I?

EVACUATE THE DANCE FLOOR

CAJCiCi*

SMILE

UHC:E IRACKEH : ■ ■

TIK TOK

33 ^4 6

COWBOY CASANOVA

CAWIl UKOIF«»-000 ■ H l.til'.'ll.i,

ONE LESS LONELY GIRL

JUSTIH IICBEN < : 1J.>

UNTOUCHABLE

UTLQR imn BIG MACHINEi

34 2

6 17

OBSESSED

MARIAHCAHE' ■ MFvQ iDjMdi

ALL THE RIGHT MOVES

ONEHU'UBLIL; r 1 ' >NItHSif>''[|

REPLAY

tu 1 ■■ M ^ ' I-

^ 3

. r BODY LANGUAGE

' ;tss[ wccAmuET (UT T-PMi iWLLrwC'iin

WASTED

luai iwt 'tx navu Mau— turn Qvmix

DOWN

^ 3

8 5

FUNHOUSE

NEW DIVIDE

■

iTf Slu -itr 1 1 »if It . .

IIMINPARK (.'■■..■ (IF,: jMOP.WAmiER BRK 1

of HER SIDE OF THE DOOR
iinoHJWin ■

^ 37 4

HEY SOUL SISTER

IRAIB .iM.iWaiA)

. UPRISING

^ MUSE ■ ■ .1' .■..r.'ltn V^-V ,

MEET ME HALFWAY

TM[ lUCH EYID PUS S:' " : k

33 23 14

SAY HEY (1 LOVE YOU)

BETCHA GON KNOW (THE PROLOGUE)

MARlAn CAREY ..<'.' n.'U'.i

•

PAPARAZZI

^ 27 3S

USE SOMEBODY

KriWSOf LEON F<.:n.t|MGi

■

GOOD MORNING

CMAttllVIUIWmE I'.'.l.'li 'I»(t> llM.VB.';*! «tPlIH;Fi;i

SUPERSTAR

HUDHSWIir !.■;.(. 'IITJll

^ 30 la

LOVE DRUNK

■OrS LtKE GIRLS l.JLUMBlAi

•

AINT NO REST FOR THE WICKED

CASE THi ELEPHANT ■ I'l^ JIM. ILfil

•

RUN THIS TOWN

Ml I CIHAHM t lANTE Win IROC MAnOHl

•

41 33

DROP IT LOW

(TEFt OJA ILK m MM NHtT WraUX nnURML' 1 '

1 M GOING IN

)

SEXY BITCH

UWDllKnAftAI M • .'T=;, flK.v.''j=<"j> .

43 29 16

SHE WOLF

SMAJUNA I",. Mi'M ',11'. ■ HI 1

•

SHOTS

)

- COME IN WITH THE RAIN
inioF mwi ■

43 40 7

FACE DROP

SEAN HWPiiiTOK .1' " 11 .

SINGLE LADIES (PUT A RING ON fT)

itfOWtt ■■■ ■' ■

■

1 GOTTA FEELING

THE aUCK EYED HAS i'

44 32 14

TOES

IACBfW*iHM.« ■■ '.' . -'.',1 ■■lily 1

VANILLA TWILIGHT

OWI tiTV 'ii, Ti ■

THRILLER

NICHAiL JACISDM ! ' '

, GHOSTBUSTERS

" fWTPAHCFflJK

TWO IS BETTER THAN ONE

lOYS IKE t-flli FEAT lAYlOHSWIFI .1...^ '.

FOREVER & ALWAYS

, UNDO IT

CAIUtIL UNDlFiWOUU

PAPERS

U&HEH . ■ .1 ,,

, LOVE ME

mm e.-£iit(i ■ . n >■■.'

47 3

9 18

HOTEL ROOM SERVICE

wieutL Mil . ■ I" 1 I-"

GANGSTA LUV

SHLtTMSFUi THEMjjr.ixiarfsr>a*n(ni¥,uHi"i.

FOREVER

48 i 44 12

IMMA STAR (EVEIWVMERE WE ARE)

BIG GREEN TRACTOR

jAMi* AiDiAR -II "11. mmi

•

)

1 CAN TRANSFORM YA

owuanuwHiui ui *iim* swu/iuii jv. -l

43 43 te

FALLING FOR YOU

CfKBie L*rLL«-

YOU RE A JERK

NE* .1 . . ; 'I .'..Mrjii. IIP--: 1

•

NEED YOU NOW

LADt mTEBELlUM i. I .

90 V T9

21 GUNS

eWEHMI ■ ■

•

THE WAY YOU MAKE ME FEEL

MICHAEl JACX.'^nn

ta for week of NOVEMBER 14, 2009 i For chart reprints call 646.6S4.4633

Go to www.billboard.blz for complete chart data

ALBUM CHARTS

Satn dftta compilad from a cMncirehsiivo pool of U.S, mutic
rTi«rchants by NKlsen SoundScan. Sates data tor RAB/hlp^oo
fctail charti li complkd by NlctMo SoundScan from a national
uibtet o' con tiores mat sp»cialiie tn ttwse genres.
# Alborrn with the grvatvit talet gains lf« week.

I W hero inclixlvd. ItiK vivard indicatet ttw title
with the cttart'i larQetl unit increase.
Whirrc included, tttn award ir>dK«te« ttie title wttfi
the cIvBTt'i blgoeu percentage growttt.

PRICING/CONFIGURATION/AVAILABILITY
CIVCsstem prkas an umttOi kst or equfvalent poce^ wMch
are projected fwm wtwHuH prte*«. •& after price liYdkdtei album
only avaAabte on riiJfTtrr CC/tVO after pnce irtdkates CD/CVO
combo only i wMtMa 9 OtaDlK awwtable. * CtVt)VO combo
avaUHc. ■ IndlcolK tdnyl LP Is Mftabie. Pricing and vnyl LP Jivalh
abllKy are not IrKtudod on all charts. EX after catalog number ndt-
catef title K exduUve to one accoiM or hu limited tfatrtlxAon.

SONG CHARTS

RADIO AIRPLAY CHARTS

Hot 100 Atrptay, Rock Songs, Hot Coi>itry Sor>0s. Hot Rap
Songv Chriitun SDn9i. Hot Latin Sor>gi and Lalm Airplay charts
arv compiled From a national samole ol data uwphed by Niefien
Broadcast Data Systems Charts are ranked txy numtier of gross
Impressions, computed by crou-referencing exact timet of air-
pAay witti Artiltron Itciener data Mainstream TOd 40. Adull
Contemporary. AduB Top 40. Alternative. Tnple A, Active Rock.
Heritage Rock. Mainstream R&B/Hip-Hop. Rtvyttimic, Adult RftC,
Hot Christian AC Songs. Hot Gospel Songs, Hot Oanco Airplay,
and Smooth Jazz Songs are ranked by total detections.
^ Songs showing an ifKrease in audier>ce (or detectiora)
over the previous weett. regardless of chart moverT>ent.

I Where included, this award mdicates the Irtle
with the chart's largest airplay increase.

RECURRENT RULES

Songs are removed From the Billboard Hot tOO and Hot MO
Airplay charts simultaneously after 30 weeks on the BIHboard
Hoi 100 and If ranking t}elow No. 50. Sortgs are renwved from
HOI RftB/Hlp-Hop Songs after 20 weeks If nvihmg below No.
SO Songs are renvDved from Hot Country Songs after 20 weeU
If ranking beiow No. lO in detecttons or audience, provided tttai
they are not still gairting enough audience points to tnillet or if
ttwy rank betow No. lO and post a third consecutive week ol
audience deciirte, regardtMi of total chart wee^ Songs are
removed from Mainstream Top 40, Rock SoF>gs, AltomBtive.
Active Rock. Mainstream RAB/Hip-Hop, Rhythmic, Hot Lai in
Songs and Latin Airplay charts after 20 weeks If ranking below
No. 20. D«Meni:l>r>g songs are removed from Adult
Contemporary and Adull Top 40 after 20 weeks if ranking
below No. 1S. after 26 weeks rF ranking bxHow No. 10, or after S3
weeks if ranking bekiw No 5. Descending songs are renwved
from ttw tnple A. Heritage Rock. Adult RAB. Christian Songs.
Hoi Christian AC Sortgs. Christian CHR, Hot Gospel Songs. Hot
Dance Airplay and Smooth Jaiz Songs ctiarts after 20 weeks
and rt ranking below No, 15.

CONFIGURATIONS

• CD single available O Digital Download available. O DVD
single available. O Vinyl Maxl-Single available. O Vinyl lingte
avaltabte O CD Maxi-Smgle avatlablt. Cofldgurations art not
included on alt singles charts.

HOT DANCE CLUB SONGS

Compted from a national tampte of reportt from dub DJl

• Titles wath the grMMst dub play

AWARD CERT. LEVELS

ALBUM CHARTS

• Recordtng Industry Assn. Of America (RIAA) certification for
net shipment of SOO.OOO atoums COold). ■ RIAA certlficanon tor
rtel shipment of 1 million units (Ptatinum). ♦ RIAA certification
for net shipment of 10 miBion units (Diamond), Numoral within
Platinum or Diamond symbol IndKates alburn's mulli-plalinum
ievel For boved sets. ar>d double albums with a njnnir>g time of
KX) minutes or more, the RIAA multiplies siMpmenis by tlw nurrv
ber of dbci and/or tapes. ~ Certlflcalion for net shipments of
100,000 unitt (Oro). Certtflcation of 200,000 units (Platino).
I CertAcation of 400,000 untts CMuM -Platino).

SINGLES CHARTS

• RIAA certification for 500,000 paid downkiads (Gold).
■ RIAA certlficatkin for 1 mMon paid dowi^oaA (Platinum).
Numeral wKhin pMirHxn symbol Indk^ates song^ nxMplaOnum level

RIAA certtficalion lor net shipment of S(X),0O0 singhs (GoU).

MUSIC VIDEO SALES CHARTS

• RIAA 90W «rtin»tk>n ror itMpmam or I5.000 wilt for
video lingln. ~ RIAA gotd certification for net shipment of
50.000 units for shortform or kingform videos. ■ RIAA platinum
certification for net shipment of SO.CKM urtiti for video sirvgles.
1j RIAA platinum certincallon for sales of K>0,000 units for
shortform or longform videos. Numeral within platiruim symbol
mdkaies song's mulUplatinum leveL

DVD SALES/VHS SALES/VIDEO RENTALS

• f»AA o<M c«rt«hartlon for net tfvpnwnt of SOOOO urate or SI 1)4-
■on In sale* at suggested letaM prkx. ■ RIAA plaUnan certtncaBon
tor calK of tOOiOOO urMs or S2 nriMonin sales at suggested reta*
ivtaa. ^ (RfiA gold certWcation for a iTw*Twm i«ie of t2S,000

or a dolar voturm of $9 mMon at r«M lor thMMcaMy reteased pre-
grami. or of at least 2S,0(» intti and ST m«an at MWMHl retal
for norHheatrical tlltes. I IRMA ptalintan certHcotkm for a mlnrnum
s^ of 2SO,000 units or a dolvvohana of ne mMlon at r«ta« lor
theiadic^ released programs, wd of at leait SOOOO unte and S3
mMon at suggetMd reiai for non-thoatrtcil Wm.

Cni

120091

T5M

Billboard

TITLE

«HIiii M> - PxauoiKW lABEll

Kl PAPARAZZI

BBSlmkim riiuf.KiilMfiECMMllnEbWIUCCK;

PARTY IN THE U.S.A.

DOWN

lirrSfjWFUlLlWArhE - * ULr^y.-uNftf ng^ REnjBXl

WHATCHA SAY

;JISUH DtfluLO I'LiJbli HEll^<tt:i1V*RllEHSfll>S f

SWEET DREAMS

USE SOMEBODY

KINGS Of LIOH '

YOU BELONG WITH ME

unOH SWifl - '•-■:<' ll'lltfEHSAL BtPWUC)

ALREADY GONE

RlUrCUIMtOH I'V ilL'. -iMlil

JBi
mm

BMtHET SPflRS i <;vl- .11 .i>

If)

FIREFLIES

omciTY li.fr^AL flfPusLiCr

RUN THIS TOWN

J.t1Z RIMJINHX 1 KMrLMIST u.lCtUIIOhl

;

MEET ME HALFWAY

IHt BMl ErtDPEAS . '< ii . -npri

LOVE DRUNK
ami LKECMis i:-i;'.:.iv& t

REPLAY

IT« ,- Mr ■■ k'JNfT BELWA tt- .iHTsr.E''ni-;f 1

1 GOTTA FEELING

IMI eiACK ETiO PUS 1 iHIEHiCOnEi

ONE TIME

AJSIIN BItUER l:.LJl^l^'ll>JtK)

FALLIN- FOR YOU

COUtECAIlLAt .irjFl'tMMLBEPWIKI

SEXY CHICK

DAVID CUETU FC*r MOM . .U ASIRMMRKMMVTOl,

GOOD GIRLS GO BAD

OBSESSED

»Kmti tmi , -'in .n.u..,.

EVACUATE THE DANCEFLOOR

C«CMill - ■■ i ■

, FUNHOUSE

WNI , -I,'... '

26
3«

2
4
Z

ITIlTiVHI RUSSIAN ROULETTE

BODY LANGUAGE
BAD ROMANCE

TIK TOK

MiM* - .1.1

IF YOU ONLY KNEW

SHlNillltWI.

HOTEL ROOM SERVICE

pimiu .> ■ ■ 1 -1

EMPIRE STATE OF MIND

SAY HEY (1 LOVE YOU)

TWO IS BETTER THAN ONE

saii HUE G)«is FE*i jmon swift i . j ji.' .

STARSTRUKK

:inii j FEAT KATT nmi .pwio r<«i6H'ATiANTic.tinp)

BEST 1 EVER HAD

DRAME . -1 i.ir. . MI 'IF' llASM MMF' lJNW BSAl MOTOWNi

HAPPY

lEOM LEWtS ri.'Tl- . HMGi

S.D.S. (I^T THE MUSIC PLAY)

JOnON SPARK! '10 iiVI.AG^

DOLLHOUSE

PRISWUREMEA LAOIIOIJ

NEVER GONNA BE ALONE

MCMIBAUK ' ' -r. .fi''i

GIVE IT UP TO ME

SHAAIRA FEAT 111 MIYht ' n. .

BE ON YOU

FLO IKIA (CAT M VII . . .-TinMI-;.

...

■m

HOW YOU LOVE ME NOW

HFrMWOAT "ti . ■ (I'SIOi

Mr&i9il»H0iiKftlNflntart(slliithen-TNr MstDrrotttH
NMnn Iip40 charl to nolcli four No. ts tram i debut aflwm. «
"h(iiranl" ibe M.

Ihc singer pnvlwislv led widi "Just Dance," "Poket Fate" and
"ImfGime" rram ber Mul rdeaie, "The Fame." Hie iim wll be
nrele«sed In eipMiM tonn ai "Tite Fame Nonster" Nov. 23. New
stRgle 'lad tomante" bouMb 3ft-2S on Naiaslream Top 40.

SiKe ttie sum teKlwd M 0(lo6ei m2, two am prior to LadY
6aiipbadamlli.li

MIH^OMB-B).

adlHfatf b Mt af liidifi

fWR her Int U.S. aftun,
-Jagjed UttlePII" flWJ).

OnMDanCMt
Saags, "Paiwrazzi"
bKotnes Lady Caga't ttilrd
No. I. OnlY "Just Dame" feH
tFiort oF titeuinimll. peak-
mg at Ho. 2 in June 2008.

44 I Go to www.bUlboard.biz for complete chart data

^ cSiiSTEMPORARY

Ii iiii
ii 3 »

TITLE

MTIIT iiMP«IIKf PADHOtlOM LMEl)

KIyOU BELONG WITH ME j

lAVlUR SiVFt tWCHM.VHMIISAL KfUBltCrl

HER DIAMONDS

MU1 IC;iHJ_' ■ 1. . .■

0 13

FALLIN FOR YOU

caiHIl CAIL.AT . . ' ■.■lit-

4 38

COME ON GET HIGHER

2 34

THE CLIMB

MEY <TRU^ '. .

5 41

YOU FOUND ME

8 9

LLi'JljllJ HAVEN'T MET YOU YET
^nHH mcHtuauau u^f^ jpnisii I

7 ig

PLEASE DON T LEAVE ME

9 21

NO SURPRISE

DAUGtiTRf ' . .

10 7

1 WANT TO KNOW WHAT LOVE IS

WAfllAH CA.IM i J,

KISS A GIRL

KEIHURSAM 'iAaMVm.t.tAFIIOll

12 9

CHANCES

Fill fCB fff.MTlht; ■Ainj.COLUIMIAl

13 16

CLOSER TO LOVE

lUIftAHHLT 1 '.CLUniBiAl

IS q

USE SOMEBODY

KlhC!; OF LEON Mi^i

BEAUTIFUL WORLD (WE'RE ALL HERE)

BATTLEFIELD

16 22

SECOND CHANCE

IS 3

THIS IS IT

i.'.'i;,l, .'.[. i":'. itA: I«i)iettO« iMJJEPiCi

20 4

ALREADY GONE

KElLTCLAnNUN . > RUGI

19 13

THEN

BRAD cAiiiET .VKi^.iA r.t;,nviiii wMt^i

26 2

WE WERENT BORN TO FOLLOW

BDN Jim I'JiK'.LHV .'JJM6i

21 4

WHEN IT COMES TO LOVE
FontiGMfl iAi[,>-iriL mtm

22 5

SMILE

UNCIE KRACIFR '.' . i

24 :

SAY HEY (1 LOVE YOU)

1 GOTTA FEEUNG
iNEkiACK ETEDPfAt iii<:£nsi:::Fi i

• s;- fti.y-

[>ULT TOP 40

H iiii

1 1

TITLE

ABTISt .(MrKiST PROAJonCN l»»il|

KTIUSE SOMEBODY
[jjjjj iiM&s nf lECN ■ ■ ■

I M

YOU BELONG WITH ME

3 21

FALLIN FOR YOU

CUieii CAllLAT -. - ■ r, .; .

7 13

ALREADY GONE

tfUY CLAHKSW I ' f- ;a,flMCi

4 2«

NO sunpnrsE

PAIiCMTHY ■ ■. ■. r ;ir,.

6 17

SAY HEY (1 LOVE YOU)

5 18

t GOTTA FEELING

tH( BIAC« iHU I'tAi IMEftblJOPEi

8 Is

SMILE

,INCU ».nA(;iifl» ' iGilAtlANTIO

12 7

SOMEDAY

ROB IHOMAS ■ . ' " ATlAMICI

9 29

PLEASE DON'T LEAVE ME

10 26

NEVER SAY NEVER

13 11

WE WEREN T BORN TO FOLLOW

son i<IV\ ■ ' iV^i

11 22

21 GUNS

MUU DAY -.r ■

^■1 11

HEY, SOUL SISTER

IRAIN " L MiilAi

15 13

CHANCES

FIVE I^Jtl HliMTIN[i ■ ■■..i^f CCLVS".!

16 10

PARTY IN THE U.S.A.

20 1

ll-J.liVtU FIREFLIES

LoilKIIiH mn. QTT (iMlvERSAl KPmuL;

17 6

NEVER GONNA BE ALONE

NICHlLlACI iftCAK^LWER flRl';.

18 10

MAYBE

'ImnNDUlltlN .1 l "MW WlliVi

19 5

WHO SAYS

jaWUMTER . -.''I'll

21 S

PAPARAZZI

lADYGAO* ijr'tH.'>l.,l.t »C»I.MCH{BRYlraL«lE«SCOFt;.

22 9

COME ON

Gfttti Rivtn ORDtwiici .v\r-2t'. ctniT':.,

21 S

ALL THE RIGHT MOVES

ONEntCUBlIC v;; . ,.v Hvr. -i.;:-;.

26 g

BREAKEVEN

rmscFWT K-i'M \--

new

HALI^AY GONE

UFEMOUIE idEF'IK INtEHBCOPEi

SOCK SONGS ^

ii
o

2
1

TITLE

AHTItl '.■-=111.1 PROUQIIOH LAHL)
Bui WHEELS
^BM '00 iieiKllflS I HLisnElURCAi'llHfil
CHECK MY BRAIN

1 WILL NOT BOW

BREAK

THREE BAYS GDACE

JARS

CHEVELEE '

UPRISING

TOim WOMOOBNG IF 1 WANT YOU TOI 1 WMfT mi TO
WtUEH ..

THE FIXER

PttBl JAM . ■-■ ir.tti-WRSWCHI

SAVIOR

ROEAGMNST '. n OPE ,

YOU'RE GOING DOWN

SICKPUPl'IU ■ llRTCi

OVERCOME

CREED .m:.:! I F.

NEW DIVIDE

IIHIIIN PARK .'-'■fMiv;-: Ain-irn efiQS 1

:ti

KINGS AND QUEENS

N ttCONEtt 10 HAM -' ..W CAPITOl.)

PANIC SWITCH

SILUERSJH PICKUrt -.[.

USE SOMEBODY

KIMet Of LEON

IF YOU ONLY KNEW

MEDICATE

AFI 'iIFBSCOPF.

MEET ME ON THE EQUINOX

DUIH CAB rOR CUTIt i ' ' -li <-' in ANIC)

SOUND OF MADNESS

SF- HI [IIVK-t

1 ■

1901

l-KtS'.H (..|T[|

*l.

IGNORANCE
tlijiflVtli PAHQ

^LUS TKt{MCP.OaUDnitTUnEIMNTEn:^COPEl

CRAWL BACK IN

DEAD n SUNRItE

BACK AGAINST THE WALL

CASE I"f i.ECHl-j: . ,,

AGAIN

EinEAf . 'iSCOPEl

HAFID TO SEE

l.ki ilt,-,f^( liulH i-ji,i:m >'fl.OSP-ECI PM«1

•

EAST JESUS NOWHERE

CRfEll PAF ' '

JUST BREATHE

fiw j*« .■'.'•mimHEvim

SPACESHIP

PUOOU Of HUU (FiAttUiS QEFf IK'lHIERSCOff )

.13

SNUFF

ILTUiar I'.iinRUHUKiRflPl

INVINCIBLE

Aotiius wn J viflew'CAPiioii

FUGITIVE

OAYID GRAY WiROB STREn'DOWNTtHWI)

J©

MONSTER

SmilE! ■! '!■.: 'Ji> .UL<.STlC|

SUBSTITUTION

FOREVER IN YOUR HANDS

ALt THAI REMAinS ■' . it^ & Tlfr

BROKEN. BEAT & SCARRED

■M

BLOOD ON MY HANDS

1 LL GO CRUY IF 1 OONT GO CRAZY TONIGHT

U2 I'.i r. -t .

MAYBE

Mnmmjwictan ;*TTOMi.9aw.wwa5Ai.Mon>Mn

WHO 8AV8

JOMH MmR tcoLUweui

SLOW POISON

*>'! Hunm ,i.tiu'j -I'j.tAG'.

WHY 1 AM

DAn MATIHm BAND ' .'l.'- RA;];: Ni:!. RktTx

STORM TO PASS

ATREYO

CRASH

HEY. SOUL SISTER
TMUH ■.■■'-■<-■ rniuvsis.

FIREFLIES

DW, cm i!, .-^stL Fifpufi.nri

BY THE WAY

-i-Si-iiiY r.f ADEAOMAN ifiCJ SC«nn'Jh'*t(i I^Hff

MESS OF ME

(WTCHFOOt IH'ICi

JUST SAY YES

tWWrMTnOL " '.1 v Ih'idtiCOPt >

PERCUSSION GUN
WMITE UtBITS

OmM VliRures liy anlo Bock Songs
H M. 22 wm Him Fug. " The xt. mir
iw al Dm MMUmMlw band IM
R|MnitMiHiiit1liifc--laili
Homm (OiMo of Nr nnic Afc) and
John Paul iotm (led ZepfKlin), niasK tli
»ll-IIIMd«IiulaliiiisNo>.n.

f ACTIVE ROCK

«i Biiiis

TITLE

AfiTiSI ■''■:!.• WlOlAOITONiUELI 1

fffll WILL NOT BOW

BfltAKIM lENJAAtlN i-IC'l .''AODDI

CHECK MY BRAIN

BREAK

iHRFi .ifc.s (iRAa IJMjjtQI

JARS

CHEVtUE ' - .

PT. -

YOU'RE GOING DOWN

SlCICPUPPliS -URVJfllilH.CAPITOl;

OVERCOME

tflEED M iHi

WHEELS

liX)l'SH1LA£ -<'j!^WLURCA.MM£i

HARD TO SEE

'IVL ) VULM L4AIH PUNCH 't-i^Lb^UI ^ANKI

A
W

INVINCIBLE

A?[UT*S»AY

IF YOU ONLY KNEW

iHIHEDCm'M

MONSTER

CRAWL BACK IN

DFAiiBi M,NHiSF :■ - r'ji,

WHISKEY HANGOVER

eoDi-wAC" '

FOREVER IN YOUR HANDS

AtL TnAT RENAMS .1' h : ] : RA;i](4 A TIE.

AGAIN

'LTlEAf -I'liV VlWil ISi£i^:lC2PE 1

SOUND OF MADNESS

tHiNiacwH -■.thiici

SPACESHIP

PUDOlt Of KUDO iFLAWLESj GEntlilflERSCOPtt

SNUFF

StIPAHOJ Sl.N^:>^■ftR.^f

CHAMPAGNE

ZiVO ■ - ' .1 L

NEW DIVIDE

IINKIN PARA HiNt vt'UP 'A'AHMl 11 URUS |

BROKEN, BEAT A SCARRED

MEtAlllUA .', ', . ■■ i

STORM TO PASS

AIRHiJ ■■

FOREVER

MO i- 1 ', Him

CRASH

CATO ■- f -.r-t

WHYYAWANNA8RINGMED0WN

AAAHOA 1 .] '1. .)',

EROCK

Si si TITLE

31' ARTIST

■

•

©:

HCHECKMY B
Alice m avm iVWMitiwna^

OVERCOME

LHEIJ . ',

n-j'iVfll WHEELS

[nj^Qjl FOO RCWTEM I'TnyiYHL RW

I WILL NOT BOW

BURN IT TO THE GROUND

«iCAiiiACi_r _ £ I -i'.;-'

NEW DIVIDE

IF YOU ONLY KNEW

STILL UNBROKEN

HWYHOiCTIffll) !Ljl.^n i PBaua'HOADHiJiaiER.R]BI

MODERN DAY DELILAH

tits I

SPACESHIP

PUDOIE 0* WUDO I'LAWtES&Gf'^FtK'IHITEBSCOPt)
MONSTER

CHKiiwion' _
CRAWL BACK IN

DEAD BT JUHRIlt ^'.'."'.1 i< :

I PRCSPECT WtKi

Data for week of NOVEMBER M, 2009 CHARTS LEGEND on Page

u» s*as om
fTOMD IT COMWtO tt

SoundSun

BillbKird Q

HOT COUNTRY SONGS~

P!il

TITLE

- ir. ,; — .-- 1

: Artist

1 19

iJlTOES

1 Zae Brown Ban.;

m vamniAiaiciwea ^ i

WELCOME TO THE FUTURE

j Brad Pai»i'.'v
• MISMNAS'i'.

S 5

COWBOY CASANOVA

1 Carrl* Und«rwoo[j

0 t9')UllSI*WS-lvi

NEED VOU NOW
[rf 1i;i3:M 1 .. ID CKtUtYKIO

] UdyAntMMllum

dtTJ UAPD • CJIPnOL KUHVILU

i 1

ONLY YOU CAN LOVE ME THIS VtfAY

Keith Urban

B a

DOI

1->'fh^ 1; «H»»NC »fltttO MArwUOlSl

e -

GETTIN VOU HOME (THE BLACK DRESS SONC

■ 1 ' 11 '.1. c B»nf<( « rnw*)

) Chds YoLing .

I M ALIVE Kenny Chesney With Dave Manhews

1'. ■ 11 .'i[> i> f tlEi'lEVO mUON V T^WBJR '(ilii

FIFTEEN

Taylor Switl

•

13 13

CONSIDER ME GONE

Reba

e ^I*.^,rM,l . ■■■

BONFIRE

Craig Moigan

1 WANNA MAKE VOU CLOSE YOUR EVES

Dierks BeniJev

IS U

RED LIGHT

■E.J S tClE'TO M niBCe 0 MiUKKYI

David Ha \

OUl;J^>.^^hu

SOUTHERN VOICE

Tim McGraw
@

ALL 1 ASK FOR ANYMORE

Trace Adhlns

HISTORY IN THE MAKING

Oanus Rucker

■ ■ . , MtL-.il

AIR

POWEB

WHITE LIAR

■ II itM M«i«UCiHi«t*WWI,NI«MB1f>

MlnndaLambwt

21 6

AIK

POWER

11 FHASCu.Hms (*»uyBLM.RiumEn

RucaJ Fittis

• tmiC STRICT

» 20

1 JUST CALL YOU MINE

Manina McBrido

0 ■>:<

HONKY TONK STOMP Bfoohs & C

lunn Featuring Bilty Gibbons

'.IIKUl \R UJh*t IMtBOIOt.U »INSUN|

e . .

THE TRUTH

■ ■. ■ ! .1:.: ~ J UOlrtL'tj

Jason Aldean

TWANG

George Strait

EIGHT SECOND RIDE

Jako Owon

THAT S HOW COUNTRY BOYS BOLL

Billy Curnngton

9 MLHU.-^v

HURRY HOME

Jason Michael Carroll

(hart V. ■
YoL' .1: : .1.
ho iw.tli ■
Don'ili.'^H

The lingk crms^s
lh« Airpower
thfesholtl In ttiHth
[fiafl wMt.matii-
mg Umliftt's
QUKl(eii(lir?it] into
Itw Iw ?0, Th« n#*
track ouipfltpi net
song "Kerosene,'"
wiiKh cradled lt>6
ton 20 tn Its 141h
wnh tn January

TITLE

^fiOOyCER iSMOWMTSfW IMP

ArliGt

nwi & HIMBER PROUOn;;'; ' j^e .

WHY OONT WE JUST DANCE

■- iP-n': i'{:tJ'j--v- 1 MVS' flM n fiPlI'AN)

Josh TiirniT
G v-:/. ■) .

TODAY

Gaiy Allan

e V. !

OUTSIDE MY WINDOW

' I'lrmaMRH)

Ssrah Buxlon

BEER ON THE TABLE

Josh TTlompson

• [-;.

A LITTLE MORE COUNTRY THAN THAT

Easton Cofbio

9 1

DIDN T YOU KNOW HOW MUCH 1 LOVED VOU

Kellie P rM p-
15

SARA SMILE Jimmy Wayne Featuring Daryl Hall & John Cm'^.

CRYIN FOR ME <WAYMAN'S SONG)

Ti-iify h.'i-l

©■■■.■

KEEP ON LOVIN VOU

Sieel Magnolia
0

3«

LONG AFTER I M GONE

!' ".'.-yju 1 SUP*) a .ui'l ■-■(

Big Kenny

BACKWOODS

Justin Moore

EVERYWHERE 1 GO

Phil Vassar

HILLBILLY BONE filahe Shellon Featuring Trace Adkm»

1 LWMJi .■..-.r.titf i'-;i:.

LOVE LIKE CRAZY

■ ■. ■ liM£Si

Lee Brice

HELL ON THE HEART

■ ■■■r: 1 S^ILLMMl

Eric Church
9 c«pitOL :

411

GIMMIE THAT GIRL

■■ ■ -■ ■-iLlII'i

Joe Nichols

G ivi«r.,:j/.. : : n.-

«1

19 AND CRAZY

■ f l,Wiih-jl. iW ■'iWU J t.i*R » ftSWUKSOfi H SHtPiflDi

Bomshel

STUCK

1 ■ MVEBi B MONHihli

Ash Bowers

0 iiC'iL' i.tii-

LOVE LIVES ON

Mallary Hope
• MCA ^ -

HOW FAR DO YOU WANNA 00?

GlL-.l..l'l..

WHISTLIN' DIXIE

.M'KRflCH IIMB HOlBEfm IBIBSlSt

RsfKly Houaer

©(•ilVFRS.!. M-.IT"

THE CALL

Matt Kennon

SKINNY DIPPtN'

Whitney Duncan

CHASIN GIRLS

1 I'lr;:-, iHtftiri.i Di»Ni

Rodney Alkins

0 ■ ■

4«

COUNTRY LIVIN

- : -1 JALLIAMSDGE0«MlOWtNS>

William!. (?iu.-y
®ClC'LUf^.^

TOP COUNTRY ALBUMS

> . 5,

ARTIST THIe

r ^IRiKltiWG iiBEl iimiCfs

□ CENT

poanWH

ARTIST Till.

^ J ', V '-■E.rR . aSnnBUTWG t4AEl iMiCEj
BRAD PAISLEY^^ ^ American Saturday N,gh,

Pllll^lVai TAYLOR SWIFT pearteas

Souln„n voice

JUSTIN MOORE Ju,,i„Moo,.

.^^O**; ?*'?°, ,„ , „, Tftef«««,i

■

BILLY CURRINGTON g,, E„^,„„g

•

L'f" ANTEBELLUM Anl.bellum

■

JAMEY JOHNSON Tn„ Lonesome Song

2
4

American R,de

SUGARLAND , ,„c th- i i-

■: .1 ■ « a im Uliium ,i<« UM. . LIVE On The InsKlo

'""*';°*.!^J?^^'!T ReveluMn

^°"f,"^):,..i Flgm bke A Girl

10
9

•""Of. fLDEAN Wide Open

•

GLORIANA rio,i,n.

vr^ v^T"*^"* Hannah Monlana; The Movie

■

•'E'-.'-'ET'?'":'!' . Kellie Pickle,

LUKEBRYAN DoinHyTWng

»AB0USART1STS TOtw.MaiaACa«,0™™

ROSANNECASH The List

COLT FORD „j^, IhroUBh The Country

TAYLOR SWIFT _ TaykxSrtlt

-SO

DIERKS BENTLEY p.rtThalFrr.

BROOKS S DUNN ,„ ^ jom.

ZAC BROWN BAND _ The Foundation

DARIUS RUCKER Lmmi To Li.c

■

35BiM..tH,l.

■

•

ERIC CHURCH r.,„iin»
riMio-i.jMl CKolina

5J
1

! lUVf il
13 16

, JOE NICHOLS OidThlf«.N^

TIMMCGRAW o,..,.., Hits 3

■A
P

"^^t. . w„™-.,*„^> ,>n« ♦ •^"P Oh Loving You

"Tl^f-?,"^!--!^*,,, Mountain Soul II

CHRIS YOUNG The Man 1 Warn To Be '

MARTINA MCMIDB , 1

R^A nHOrSUMilTMl """"^ ' 1

SUGARLAND Gold And Groon

JAKE OWEN ^ EuyDc.5 11

KEITH URBAN^^^ ^^^^^ D,rylngG,.v,ly

•

RANDY HOUSEH ^^ Anylhing Goei,

""^''"-''""T?,,, Un.lopp.bl.

■

LOVE AND THEFT^^^^^ Wo«dWideO„e.

KENNY CHESNEY Gr.alesl Hiw II

KENNY CHESNEY Lucky 01.1 Si.,.

SUGARLAND Love On Tne ln„de

GEORGE JONES _^ ^ AiaB,.0HI,6«R^.-»

PASCAL FLATTS <i,ea,„l H,1s Volume 1

"'^^'^ »-^«nCla3.,c

4
1

.,.,,„ Nalu.al Feces

4«

, : . GrealeslHil,

VABlOUSAmiStS N(»Il«w«lcaiC«nivW2

LORRIE MORGAN «„„„,„, |„ Time

TOP BLUEGRASS ALBUMS

ARTIST Till-

■ Ml|IUIWtiL*=.i.

PATTY LOVELESS Mc)dii-,i i II

STEVE MARTIN Tlv r.rrw 1^ Songs For The Fve-Stmo bsyo

THE ISAACS I rawalv Wfn:Bl A CJCOeta CotecKm

THE DEL fklCCOURV BAND faT% C'cIb

SAM BUSH Circles AroucO We

1 ^^>: IT- H& iKOK FVCS 9 ^ ^vst M, ItoB ite^^ on >

RICKY SKAGGS Solo: Songs My OiO LOved

STEVE IVEY Ultrmali! Biuugrass

■

STEEP CANYON RANGERS Deep In The Shade

OLD CROW MEDICINE SHOW Tenn^ss^e Pusher

BETWEEN THE BULLETS

REBA'S 57th TOP 10

Ri'hd Mt I jiiirt- tljiiiis Ik'i S7ili tareer
lop 10 on I lot Country Soii^as'Con-

sitlci IVlt- Gotw" f;aiiis 2.) itiillioii im-

pressions and rist*?; 13-10, cxtfiiding
tier record for iIk- most lop 10 singles
riumg solo ft'tiiak' artists. Dolly Par-
1! is IliL* runner-up. witli 55 top 10
M»n^>. "Clone" is MtEniire's first top
uii vsliidi she didn't sliare billing xvith
anotiicr artist. Tliat hasn't happened since " He GetsTlial From
Me" hit No. 7 in IVbniar> 2005. On Top Country Albums. Tay-
lor Swift's "Fearless" returns to the stunniii for a 26th week
(see Between thf Bullels, page 42). — Wadt Jessen

Jll^^TIRg

10 in .iliiiosl li\

:a for weeK of NOVEMBER 14, 2009 i For chart reprints call 646.654.4633

Gq to www.bitlboard.biz for complete chart data 45

Crt

TOP R&B/HIP-HOP
ALBUMS

JAYZ

IHI BlLfl'HIM J ■ "." '..-.T i:,'

I BRIAN MCKNIGHT

I ivmuTiM Of > mm hmd wmw 5i?7.ti »

BEBE & CECE WINANS

Mill 1 ■.

TRIPLE C S

CUiTCM CUa 1 CrtliSiUVEMLHOff JWOIKttCLIiG

WHITNEY HOUSTON

HOOK TO rCU -'SISI* '0O3;i.'BMC

TECH N9NE

hOii RBC

TREY SONGZ

n(»D< :■ ii ■ »li i'tlii: 'li^.M tij

MAXWELL

BlAMSUMMifiSMKlrt- , ■ i .

•

H 4

DRAKE

3
21

MARIO

THE BLACK EYED PEAS

im tuu ,i! . 1 ■ ■ ■:.)■• -.'i*

■

■ *

MARIAH CAREY

WMWRS Of *h MnmlC I AHGB. til Ml) Dt )?»«UUG

B::

KJON

CHRISETTE MICHELE

iflPHAMI > 1 .'.!■..-, 1,1 »

LIL BOOSIE

LETOVA

Kl a

EMINEM

Z-RO

IPP n

KEVON EDMONDS

FABOLOUS '

MDCUDI

Bi *

JOSS STONE

"raekwon

MS a

VARIOUS ARTISTS

BEYONCE

LE0I5I

MACK 10

SOFT WHITE HI ] niHuiK nsr-jDS

m M

ghostface KILLAH

■xsFTn miucit nmnaitnikDcnii ' i-<

CHARLIE WILSON

UNClECtlAi'UE

THE WHISPERS

JEREMIH

JtHEMIH I ' I:1MDI309S'

1^1 10

•

PITBULL

MBllUIIlIN ■' __!.___J

MARY MARY

IM SCLM/' ■ . '.i.H . ■ II,-- . ',. ■

KCRI HILSON

-ii'iuictwoHH wisinaiM iwuicon . '

•

NEW BOYZ

MMO JtWB IMI* MC UK—' li.P'.M UtCf^*'"'

THE-DREAH

LOVE H I MMET WW MaJlIXt JAU DA;b7/

BB "

LIL WAYNE

ANTHONY HAMILTON

1©

UiSSM JACKSON 5

RICK ROSS

IHI sa

PLAYAZ CIRCLE

i.iuiii ](■: I'll Twioif .111 tt' j*Mli;'j.-.'- ; J- .
TWISTA

i:ilUCi>Ht fi .Ml. '"Ml.

FAT JOE

'is

VARIOUS ARTISTS

now IT ■ ■ ■ ■■ ■ ""

19 «

KEYSMIA COLE

* pIlffMfMT Mf ■ .■■ ■ . ■ .

•

Hi X

SOUNDTRACK

MICHAEL JACKSON

iKF pfvix sDin ■' 1 ..v'l :'---.ti:

m«

PW^FT.^i .-.■i«IICilZJC7

LAURA IZI60R

lETTHt fKUTX S£ T::L3 >',':1i:Ai.

K'l^A'tli PAPERS 1
L^LlKim vinn (umCETMl 1

FOREVER

DAUE iKt^i.i. .-;,t.; 4 ;.-F.iAMintT(T£R;^C*^i

1 INVENTED SEX

rnEv Hi:<ii;j i£a- uoMt iSOMi MOk.*ilutic>

BREAK UP

HMNlfUI MCCI HUE i tEU CMWTT iJ RMfit

■t

RUN THIS TOWN

j»< ; FiiHiMhA t «Mir(«n warioHi

EMPIRE STATE OF MIND

NUMBER ONE

■ fl Mar lui «tHi Nas« jivlJLii

PAPARAZZI

HDY GAGA ■ ! ■- ■■THfEWTmSCOPf/

UNDER

■

THROW IT IN THE BAG

lAHammfiAT tk cmi.v ■ . iFMn^T ju(r.u:;i

BREAK UP

UAK'OltM GUCCI MUI(«Sf«l(e*MinuRIK>

SEXY CHICK

cj'i.:i cuf tiA KAi Anov ■i.^.winitiCAPiiC'ii

PRETTY WINGS

MAKWEU -' 1'

■

1 CAN TRANSFORM YA

1,1' 'HIS BIILA 't F{j: L . WATKE 4 SWIU ICnt IJIVLJlGt

t CAN TRANSFORM YA

tmi tAQVH (EAT III 1I«TII[ t tMR KAH l.lfVL ,-.G^

■

BE ON YOU

FIO RIDA FEAI Nf rQ ■ i .( bO' AliAHTici

•

SUCCESSFUL

MEET ME HALFWAY

itit Buci i'(D IAS ■.■.■■^s:;'ii

MONEY TO BLOW

OBSESSED

MlHIAh CAHE* .

BABY BY ME

VI CtHl HL 10 '.MlD' AfTfRMA-rMWIEftSCOPTl

IMMA STAR (EVERYWHERE WE ARE)

JfOEM.M ■■ • ■ '.<L-I

■

DOESNT MEAN ANYTHING

HOTEL ROOM SERVICE

Kiimiu 'i . '.1 -i.':.i

BAD HABITS

, BEST 1 EVER HAD

'-' L'-thH ..|. ML'lir U<l(.iJB*i MOIOwnt

1 M GOOD

CUPSl FEAT Pta^HElL WIltlAMS r- -1 ...'.liiiA.

1 GOTTA FEELING

' ' MIL mi:- ■•![: -LJi .■.■!^sCC*ti

5 STAR CHICK

TIE ME DOWN

WW 8013 FfAI HAVJ .■-■Hcnv, AsnyMnWARHIS HOS )

»•

GOD IN ME

MART turn fw uEHM tmr BiMO M< Biaxcaiiua*)

GANQSTA LUV

LOL >)

rntYttuUlbll lMCIWMI NUJI««*mL9i<HHB(ni>>l'-V«<in

ONE TIME

JOST>H BIEFEX HM'T-n .n.UGl

.©1

EVERYTHING, EVERYDAY EVERVWHERE
f Aiaous FEAT urn MiKH sTonnff imxuua

BABY BY ME

CENT Itn Ht n lJ.-t*aY.AftEliVAIKlNrtRStaMi

1 GET IT IN

UUMIUI UJC<iliWCi:-»iHtllMBCMWibTu&0>«t(i

1«

SUCCESSFUL

'ill "> -in uKiiaMni <iicww»>ii]tvjM«)u«nM

IT KILLS ME

MtLANIE rXINA 1' UmVEH^AL MDIOttNl

RFPIAY

■ 'f.^ siii-LGA wmnmxmmK wos >

DROP IT LOW

II " IT LOW

UmiUJnlU- LltDMCMtMHiOWISaUXMtinCMJCtfTBmH^

- mm mwgrMMMM wMmmnmK,

THINKIN ABOUT YOU

WASTED

maumtui njsM&ii*McaHMMb»vicrmwc«iNAi

SWEAT IT OUT

THE DREAM .■ ■ i .•iLli.Cil ,Al«lI>JI/;ii

PAPERS

UtNER 1 hFai'f 11 r,i

1 LOOK GOOD

CliAllE KOV II- .HILJIVtSAITfRU

RUSSIAN ROULETTE
MIIANHA l.i' ■■'■M ir>iur.i

FRESH

i IKE G " ■. ' ;ivi -H¥|

DOESNT MEAN ANYTHING

AllCIA HITS .

BODY

MAIOLfS MniJil&M .' ■• Tut!

EVERYTHING. EVERYDAY EVERYWHERE

FAaCt-OOS 'EAT KEn HIKW 1

GANGSTA LUV

ifiOCf aaaa feai m onEAH - > ,;.-.T>tx*ncnnVitfnDu

PARTY IN THE U S A

GOTTA GET IT

Iiri'EHILE . 1 - .■

00 YOU REMEMBER

5 VIDEO PHONE

gftifHir snAM uivljlGi

,r, OBSESSED

SHUT IT DOWN

SPOTLIGHT

CllCCI MAKE FEAT UJHEH 1 Uim.'ASTLUIVWAmiEn MDS )

YOU BELONG V/tTH ME

fAYLLlifSWII-

1 M GOING IN

Mi->' Liai-miLHiiT' .., iifwWIOnMaUKIDMt

OH YEAH

JAX<D lEAI DOCC

©)

so GOOD

;2t

LOL :■)

TIE ME DOWN

lid iOYZiLAi iUYj i...i.jlh AStLUICWMnERBflOS.)

GOOD MORNING

CHAHlutOMMI iCHAUILLlTARVUNIVIRSM RfPUBUC)

HEADBOARD

HjviLthioim lui MUM) 4- uiraiiGAajc&ijms)

1 M GOING IN

THIS IS IT

MKHAa iACUOM lUI THE iKUttU MUf I^COUWBtAi

MM MONEY TO BLOW

litan HtKnIghl ezttnik his slruk to eisM
coflSHullve lop (Ive debuts on lep Itt/
Hip-Hep AlMints (eutudtnq hs holidar
albums and Flits pa(lu9«s) a "EvDiutioa
ol a Han" lands al No. 1. It's also hts siitti
top ;o bow on ttw Billboaid 200 (Mo. 20),

BETWEEN THE BULLITTS

WEST NETS SEVENTH RAP NO. 1

10s by a woman. The track i
peaked al No. 2 in October.

Kanye West celebrates his seventh chart-topper as a guest on
Drake's "Forever" (2-1) and enters a lie with 50 Cent for the
most No. Is on Hot Rap Songs this decade. The track replaces
Jay-Z's "Run This Town' (on which West also guests), which
reigned for seven weeks. Eminem, who's also featured on
"Forever." notches his first No. I since 20tM). while Drake and
another "Forever" guest, Lil Wayne, score their second and
fourth chart-toppers, respectively.

On Aduh R&B. Whimey Houston notches her Uth lop 10
as "Million Dollar Bill" rises 1 3-9 and enters a four-way tie with
Mat)' |. Blige. Toni Braxton and Mariah Carey for the most top
her second consecutive top 10 following "I Look to You," which

— Raphael George

^1 19

IH *

^1 4

^9 16
^9-19

WHAT I VE BEEN WAITING FOR

BPIAN HCiMir.,n ■ i ■

DOESN'T MEAN ANYTHING

ADHAKEYt •■■ --- .

O YOU

MILLION DOLLAR BILL

I LOOK TO YOU

WlltTNET MOU-WOM - '

LAST CHANCE

YESTERDAY

TOHl BPJlTnNfEAT TFEY SCiej '^'IC)

GOIN THRU CHANGES

DON T STAY

lAUMiZIDUH

1 WANT TO KNOW WHAT LOVE IS

MARIAH CA>>Er . i; 'l.'u.

MY CHILD

ALIA ONE I'LJH.CMl^l

THIS TIME

RELIGIOUS

II HUI 1 >..! ..b,

CANT HARDLY WAIT

N'BAWW . .i-'j.

DONT MAKE EM LIKE U NO MOR

HUKU itUODARO ■ ■ i- Hfil|

TITLE

ARTIII Ml -,!IT . PftQUaiiaNt.A«C'.i

Rl FOREVER

HBa i.'-M. i'.'N-»,.-,rt i^rti*Ajt»r;=aa«

ll'J.V'jil EMPIRE STATE OF MIND

M 1 • AUtlAKCn iNi-IC HATIDN'i

RUN THIS TOWN

JATI MHAMIA ft ■.ANTE WEST i^-l'-' 'ii.' -Jflf

■A-
5

1«

WASTED

THROW IT IN THE BAG

■UiXSJS lUl IHE-OMMI SIDRMDCf MWM

SUCCESSFUL

BABY BY ME

MCIHIFEAI Nl-rO ..MmI.'- *fTEIIHATtt,1HIERSC0PI

MONEY TO BLOW

BEST 1 EVER HAD

DIIAIE 1 . . I- ■.IDNtV^IHWlflSAl MOTOT

GANGSTA LUV

noDPnUGFUi ntuptm r<<. ■ -n > h - k-j

EVERYTMNQ. EVERYDAY EVERYWHE

BE ON YOU

Fin i*in» FfAT Ht n bq' 'Tlint o

L_.

HOTEL ROOM SERVICE

PITBUIL i!IL Pyia CiBUUMaS J.HIAU.

ICE CREAM PAINT JOB

1 M GOING IN

TIE ME DOWN

VEti'tDVKEAT HATJ <. . ' ^(.'AmuyiWARHn M

5 STAR CHICK

VOMTII ■ . ■. . J HMG)

I M GOOD

tLii-K 'iiir 'nAiimu »iii.LUMt iW UP'UILIMIMI

1 LOOK GOOD

EVERY GIRL

TOLhCMCrtT ...J....(JillAtl'S<LIBI»

;

SPOTLIGHT

•sJll uiM.[luruMU.-UIM>.A£^MWAniC(IMa

FRESH

iTfllG I.' ..■,:Tai«,Jl«.BATn«n

WE BE STEADY MOBBIN*

UL mm Fut euca mm (HOT ligieoi

BETTER BEUEVE IT

Li fttf ■tuNs jnrr 4 lOH (rMu.ws>iuWMM<t •

BECKY

CUES 1 y^f n -.i x.AtLMHc^

46 ■ Go to www.blllboard.biz for complete chart data

Data for week of NOVEMBER 14, 2009 CHARTS LEGEND on Page

Cni

:lscn IVciscn

5 SourxIScan

BiiibKirai

g^HOT R&B/HIP-HOP SONGS

TITLE Arlltt

ii 1 :tR (SONGWRITER] IMMfllNl i PItOMOItON LABEL

IJI PRETTY WINGS Maxwell

* ii'iV''i U ill ilAi/ID.UUSJt) 94 COLUMBIA

EMPIRE STATE OF MIND Jay-Z + Atlcia Keys

^•''i*IE'iAi>H-Oi£U13Ul!WtULUPCAHWRAI<IVS5Kr'FSSfiOBI60Ki ©RCCtfflOK

FOREVER Drake Fealurtng Kanye West. Ul Wayne & Eminem
'.' ' 1 GRWIAM.KIWST.O CARTFR U MAIHESSi ® HARV'EV UASO'l jriWi 1 'ilHtW.i".- i'

PA PERS Usher

■1 ■ 1 : (U HAVMOHD.S GARHEII X DQISON A MiMMISi ® .H

M
■1

WASTED Gucci Mane Featuring Plies Or OJ Oa Julceman

1 " ' .. lnjU'LiL/^b K ClAVIS A VMbHIKGrorft # MUAV/SO ICfVjWARNER BROS

■

1 INVENTED SEX Trey Songz Featuring Drake

ii' I.I '■iCKISrjtY.ISCALt&.TNEVERSON.A GHAHAMi ©'h'^' ■:■ >^ .'iji'

■
■

BAD HABITS Maxwell

II .. .-. iH i'i.V'b MUSai © i.:.:\\f.'V.lA

■

EjnjQSBHI REGRET LeToya Featuring Ludacris
Lf:l];i4;il:li;iilfJi uMufWHwiVHuistmieauviiiiBnKLLi^^ eoma

NUMBER ONE R. Kelly Featuring Keri Hilson

1. • H . naMiaON.fl HAMIUOM (R KtLLV.R HAMIUON K HAMILTON K L HILSOM) G JIVE.'JLG

■

UNDER Pleasure P

I '.M- 1 ;;lJh A riMOfi L BE DEAL .R NEW.J FBAHKIIH.T JONES.K SIEPHCNSOII.M COOPED I O All ANnC

■

BREAK UP Mario Featuring Gucci Mane & Sean Garrett

'■■I ■ "IT , rriArtf HAD IS GARRETT S CRAWfORD.W OAVIS) © .I'ftMI.;

■

■1

GOD IN ME Mary Mary Featuring Klerra 'KiKI' Sheard

■

I'MPBIU E AfXINS CAMPBELL T ATKINS CAMPSFLt | 9 UV BLOCILCOIUMBIA

RUN THIS TOWN Jay-Z, Rlhanna & Kanye We«t

/.n-cn ti ViEf^Tf vniSON RrENTYA AlAIAS) <MM ROC NAIION

■

)

DOESN T MEAN ANYTHING Alicia Keys

; ■■: jR.) © MHt, jiftMG

■
■

■

MONEY TO BLOW Blrdman Featuring Ul Wayne S Drake

■ ■;■ .' -..■.[(i,).' u CARIER.C GmOI iii^'i' © CASH r/Uflt* Ufin*EHjAL t/OTOA-W

■
■

1 CAN TRANSFORM YA Chris Brown Featuring Ul Wayne S Swizz Beatz

■■■1 !■ -V. 1 n flEAK J A eEREAL Ii CM'iUMi © JiVb.'JLL

■

SUCCESSFUL Drake Featuring Trey Songz & Lil Wayne

■1 .' fi SMFHIB EMEVERSDN DCAfilEH, © v|ji|.S';, Ui.INt V C A-.ii J.'i id- y i iv ! li ,Ai f,':ii:)rt'rj

■
■

THROW IT IN THE BAG Fabolous Featuring The-Dream

■I-' ■■..'■ tnjACKSON,CASTEWART,rr(ASH| ©O 1 K ' idl -'I' I'-'MMt UAM IDJMIj

M
m

■
■

)

BABY BY ME 50 Cent Fealurtng Ne-Yo

' -.1' ! .AfKSOfi JR.JJOHES.SSHITMt © ii-Juv ai ItHMAIH'lNTERSCOPf

■
■

MILLION DOLLAR BILL Whitr>ey Houston

1 ■ ' ■ ^l^t^^^ hahhisa w feider.r moN) © ahisiahwg

■
■

■

CAN T LIVE WITHOUT YOU Charlie Wilson

■. -'iHii-i H J '.V.-'Uri jn ,D E THOMASJ EAUNILtROV It.S L RUSSELLI © P MUSIC,' .liVE.'JtG

■

LAST CHANCE Ginuwlne

' ■■ ■ : • !H M COK A SHflOPSMIRI.W WELLS) © flOIin ASVlllMiWARNEn BROS

■

THIS IS IT Michael Jackson Featuring The Jacksons

'• - I ■ :■<■' -Airt M WARREN IM JACKSON PAHnAt (/JJ/lht'CDlUMBIA

■
■

■

TRUST Keyshia Cole Duet With Monica

■1' - I.I 1 11 ) lAVlOR.D.L ALJORDI © IMANl'GEfFEN.INIERSCOPE

■
■

■

ON THE OCEAN K'Jon

' ir: r ,' IIP4UP,'0EH JVME-iUNIVERSAl REPUBLIC

■

5 STAR CHICK Yo GottI

M [ 11' iM M'MM, K lAlfc, jH 1 © PQtn GF1DUHDS.J.'RMG

■
■

■

CLOSE TO YOU BeBe & CeCe Winans

' III .'- . ' II '..-tr-.;. © BAC'AIALACO

■

WHAT 1 VE BEEN WAITING FOR Brian McKnigtit

■1 - ii r -Mti-'Ti ® (■(fli--D rtORK/EI

1
1

)

1 GET IT IN Omarion Featuring Gucci MAne

. ilifJ#ajHHWWI^0lW«IBO<f«JWLiNIK.Rimil © SI«tWMaMJSCy«l*STU(i.CAf1I0l

■

1 LOOK GOOD ChalieBoy

'-'.1 © 0;RI> '>RF1. .IIVFtlATTtHV

)

EVERYTHING. EVERYDAY EVERYWHERE Fabolous Featuring Kerl Hilson

■ ' '■ I ■ ■ ' ■ 1 M ■ iir.i © OESff<! ■ [ -1' II If.'

■

THE POINT OF IT ALL Anthony Hamilton

.■ ii AVII /. ,1 ARIGIU (A MAMILION.U AVllA.B R AVtlA.J 0 WRlGHTi © MlbTtfiL-. VUSIC. JlVtO.J'.b

..tI

■

1 M GOOD Cllpse Fealurtng Pharrell Williams

■II- If IVES iPL WILIIAMS.G IMORin(W,tTMDflKTQ*l| © FIF UP.'COl IIMBIA

■

IT KILLS ME Metafile Fiona

: 1 i > ^ '.i,inii>i la UARTIN.R LITTIEJQHN JR I CARR E SHULMANi © SRC .' UW VERS AL MOTOWN

■
■

SAY AAH Trey Songz

I I'.Vtffl iH M rEREBff JR FNEVFRSOU I SCALES NWAIKA O COREIL) © SONG BOOK AIIANTIC

BLAME IT ON ME Chrisette Mlctwle

. ■•it t; HAUMDN C H'LLYl © flff JAU1DJM&

■

GANGSTA LUV Snoop Dogg Featuring The Oroam

1 '. ' I .VASM,C A SIEWAfll.C C.8ROA0US JR 1 O in :i>i ''.I.'M .i'<i''.ni

SPOTLIGHT Gucci Mane Feauirmg Usher

||.J..J-.\ (.■- Li:>IJ If! DAVIS U RAYMOND J JONES* © M 7.V. l

LOL :-> Trey Songz Featuring Gucci Mane & SoljI|c1 Boy k ll lit-

f-i'j",V t l-'HICE ilMJVEHSOW.I lAYLOn ISCALEb IJ WAYR DAlft51 *•).■. ■ i,"

■10

ICE CREAM PAINT JOB Doiroug!

" ■ ■■ ■iiiiH H A fROClOW) © NU'.Iii

SOBEAUTIFUL Musiq SoulchC

H. ■ II. Hir .N IH 1 1 JOHNSON L HUISDH jH 1 ©..■

BEST 1 EVER HAD Dr.ikr.
■ ' ■ I- - ' .inIAIUON,NCCLEMiWUCARItfn © yOJNGMOHEVWSHMOIIEV.LIUvi' -.1 h.'.

■

DROP IT LOW Ester Dean Featuring Chris Brown

■■1 1 I.NEbtOEAJj.CBftOWNI © HAHVtVMS-^iJ'i ;L'tl! 1 i.Kt'.MLINt.lNILfiSCOPt:

id
m

■
■

1 M GOING IN Drake Featuring Lil Wayne & Young Jeezy

- H ' " t, \ A ^.RAHAH.O CARIER.J W JENKINSJ © VOUNfi MONEV CASH U(IKt i'..iJfilVEHSAl. MOTOWN

■

FRESH 6TreG

T il H\P (BHUGHES.K OPAnON 0 OAtflS.ft WALTERS) Q MOONSTOrtE JlVE.-'BATTEftY

■

BLAME IT Jamie Foxx Featuring TPaIn

rflUIOKChCMBemilLniUJCRJtBKIWBflMFUMOffl R inWSFKSCOTTITHLSHi OOW.

EGO Beyonce

' M.. H ',ti.;yi» KUOiVlES (t WILLIAMS.H LILLV. JR .8 HHOWLES) © MUSIC WORLDi'COluMBU

■

THINKfN' ABOUT YOU Mario

1' ' 1 1 i! l OVE A HARRJ JACKSON A DAVIDSON S OAVIUSOH K RAMSEY) © JiRHG

■

RUSSIAN ROULETTE Rlhanna

"■■.'I ■..■'.I' ^Mim C HARMON) © SRP.iDEF JAM.'IOJMG

OBSESSED Mariah Carey

' ■ ''1 " ' ■■ 1 ^ ILV.ftliT (M CVREVINASH C A.SIEWARIi <^90 iSlAIlft lDJHG

■

)

WE BE STEADY MOBBIN Ul Wayne Featuring Gucci Mane

■ :i ". ^ NOI llSTEf)

■

I'll! 11

■2121

, AINT LEAVIN WITHOUT YOU Mnlm ~|
r.m, omitMU/aiMn: «l

GOIN THRU CHANGES LaOISl

■ 1 VI], fjr, R RifiEOUll O VERVl fORtCAST VlflVF

■

VIDEO PHONE Boyoncc

■ r/.-LS<Bm«)«1.E!i,SC«AVW0Hn,SGARRniAMYIW:Ei ©M .■. ■. 'n ■ I,'' ■

BETTER BELIEVE IT Lil Boosie Featuring Young Jeezy & Webbie

M . j: i ijri 1 IH^i. - , 1 HAILH ft' GHAtHitY, JR J W JENKINS W WlltlAMSi O IHILL AbV.oM '/AHULH BHU^

■

NOV I

1 4
20091

LeToya b«(i>tTi« the
only 'eiMle !o icore
a pair of lop 105 lor
Capttol ^ords
since Nlboard
began ttstntHiebet)
SouRdSoHdataln
l>etembe(m2.Ke(
debut single,
"Tom." peaketf it
No. 2 In 2006.

, TITLE

:S i~ODUCER tSONGWRIlER)
I LOOK TO YOU

Artist

IHPRIKI / PROUOnON LAftEL

WhIlney Houston

SWEAT IT OUT

I NASH C STEWAFII )1 NASM C A STEWART |

The-Drf
> RADIO KILL* LIE!

OH Kevon Edmonds
1. f-LIRTiS, SR (G G CURTIS SH K EOMONDS J NEIILES8EY) © L'.UIl

GOTTA GET IT Juvenile

I'HttlSE (JUVENILE L eOWARDSl © ClP EI ATiANTiC

■

REUGIOUS R. Kelly

IHt PENTAGON iR KHlVE DAWKINS.A 01X(1N> .IIVE ,ILG

■

TIE ME DOWN New Boyz Featuring Ray J

I'- ■ . 1 ■ II . ■ ■, ' 'T. VO A TMOMASI © ^iHi-M'VA'.y, MM 7MH',ii; ■

6«

1 GET CRAZY Nicki Minaj Featuring Ul Wayne

■ :. mak;.i :i(jAflTEHi vii_\!, u m ■

■

BODY Marques Houston
"MOJiiN CflSHERC STOKESl © .'.nu -t: : .. h.

SWEET DREAMS Brynnrp

•

YESTERDAY Toni Braxton Featuring Trey S ■ ni.-

1 FRANKS.J ARMSTRONG.U WHITE.TRAITLE IHRAKIONi

■

1 WANT TO KNOW WHAT LOVE IS Mariah c::ire?y
''. 1 .!i' ■.' .jtitSi © r ;

l!L

TRY IT OUT Big Bank Black Featuring Kandi

;;.>-'i.i', ih : I ■ - .i M;ii , , . [KiTsoNi © nun lACi iruFif.

Slim Thug

:ai<mjBWailWS,i»ITTRSOMUM0NGACt«UiiWQflAva>Ci ©BOSSKXy: ' "

Hurricane Chris Featuring Mario • P

.'flremPJJIlOTJ-MCillCS LMaiHSACOSSai A L AI»«Gr[Hi © POUICP) I

LOVE COME DOWN

rtci ii..'l ; ■; i .1 ■<. :.

Dirty Money

BAO eOV INIEHSCOPE

WHAT YOU DO

C HAHV'i.i'i' ',: .1. «,MiMON.S.SMITH|

Chrlsetie MIchele Featuring Ne-Vto

0 OEf JAH/TOJMG

DJ Mr. Rogers Featuring The Party Boyz

ENNEPY J JONES J PtNNOCK.J KUGELL TM MCCAHTHy.K MABIIH>

AII-4-One

O PEAn cr^i'. .

.mil

Raheeni DeVuighn Featuring Ludacris

a '»'.'( II I.

g BIG GAlESTSUP'N-StlOE ''

PoiiKltd liv 20 lira
sUUoiB' akpliy
andSiniannin
MwRsttncf
biipi«snB,C(Kcl
Hint nukn the
(tiart's bigget leap
and his fastest (Umt)
Mo Uw lop 40.

Ttte )»d single
trom his (ortti-
(ominy album
propels the New
Jersey native to 3
careef debut and
the fourth best by a
male artist this year.

n
■

77
■

i
■

■

'•)'

FT'^
W

■

9-1

rOUNG UONEV.'CASH MDNEY.'UNIVERSAL K

HOLMES A P CLARKE B M COX)

DAY26

PRETTY BROWN

Amerie Featuring Trey Songz

M RliGtRS E SERRANO M LANDOH I. WAOOf U.S WLLIAMS,K.IEWS J ALLEHI

sex THERAPY

< lHO>EiD(AMJJCNES.nMiA£aiiJIWB«RSQ0rtUBjaiAXWCmii

Robin Thicke

MEDICINE

POlOA OA DON |A L WASHINGTON)

Plies Featuring Ken Hiist)n

aiGGAU . ■■- '. I

O LET S DO IT

Waka Ftocka Flame

so ICEV.ASVLUMWAHNb" gfl!.l5

CAN T HARDLY WAIT

I .1 II . -.1.' I I FmuriER JR RL BflEAUASMELMtHOAOUI lf SnvtHSIII)

BIG BOI STUNTIN

N'Dambi

Keri Hilson

l!:f:Yt,l11MBimA>>IiE{iV(/JIIArM}NKSlOGAIU09WR«) OM0StE>7I>l> HN'l I' .iiM

BUY YOU A ROUND (UP AND DOWN)

Verse Simmonds

DON T STAY

THIS TIME

- IJ'I PKU^tQ:. -K .)|.,irtriSDS|

K'Jon Fealurtng Lee England Jr. & Augustine Alvarez

LIL' FREAK (UGH UGH UGH)

i-AiJL JUiCV J ipeEAuRECARD J HOUSI&N.W GRisDNEV, JH i

Three 6 Mafia Featuring Wcbbic

BEDROCK

■. || LISTED [Ml LISTED)

Young Money

rOlING MONEV CASH MONEY DMtflFl^AL wniOiAIN ■

HELL OF A LIFE

FED UP DJ KlialL'c: Fr.-.-i ; i|.

TRY SLEEPING WITH A BROKEN liLAH;

Triple C's Featuring Rick Ross & Birdman

-1 I IIMUlAACJVWiMMSl ©M.v---.'.. :ii-

Drake Young Jeezy & Ric:k Ho-.

. -»£KSO»UIKMJl-«*i Ill

Alicia Keys

1. uliloinia rap
ovaulbtons
L^t weeklY
audieme inaease
(up 36%) after it
was announced as
theopenin^attfor
Chrh Brown's 18-
dty ItortbAnierlun
tour.

Candi Redd

DErviBE.HAi 1 t Fr.Vf

92
93

RAMPING SHOP

. iMU LISTED)
OH NO

Vybz Kartel & Sun

1 11OMA.S iC OEBARr>E J THOMAS A BEST)

Chico DebJirgi;-

0 RiA|.|V -.-liiK

WALK WIT A DIP

- I •,[ L. iSMOWGAN.I JONES)

Louisiana CaSh

ALL THE WAY TURNT UP

Roscoe Dasti Featuring Souija Boy Tell'em

I CANT MAKE YOU LOVE ME

HO .M K'.:iN ti <>l il Mt-N (M REIHA SMAMHLIN)

FAKIN IT K. Michelle Featuring Missy Elliott \

E WILLIAMS iKMICHELLE E WILLIAMS E DiAHl CRAWFOHD M ELLIDI h ® ml OHMP/H ItE .IV'. IG \

BETWEEN THE BULLETS

MAXWELL'S 'PRETTY' AMAZING FEAT

SiiKc Billboard published it.s first all-cncontpdssiiig H&B singles chart 011 OtI.
20, 1 958, " Pretty Wings" by Maxwell i)ei:oitics just the fifth song to spend at least
14 weeksat No. 1 on Hot R&B/Hip-Hop Songs. Ms also the second to do so this
year, following |aniie Foxx's "Blame II." Ofllie five tliat liave done at least 14
weeks at No. 1 . Mai>' [. Blige's "Be Without Yon" (2(K)6) leads with 1 5 weeks.

Maxwell also becomes the first male artist to log 50 career week.s at No. 1 on
Adult R&B. Currently at thesiimiiiil for a fifth week with his fomlii No. 1 "Bad
Habits. " the singer trails only Alicia Keys, who has 69 weeks. — Raphael Ccorgc

:a for week of NOVEI^BER 14, 2009 I For chart reprints call 646.654.4633

Go to www.billboard.biz for complete cha^ data 1 47

BillbMrd.

nicLscn nidsc

CHRISTIAN SONGS

TITLE

1 I 1^

KlctTY ON OUR KNEES

rnrtmi UKniTHEWHOlfWORLDWARS 1
BinniiH CASTING Cf)OWtSl.tAi>ISTFKI.«Uifn(lG 1

REVELATION SONG

PHIlllf'S CHJIli A UtAN -m

BORN AGAIN

IHIHD [1*Y HOI IAC(Y MOSlET f&S£»llAi nG

LEAD ME TO THE CROSS

CNfllS AND CONHAI] VSR

THE WORDS 1 WOULD SAY
SnCWAU M0PWT8 ■ . HVl M kvmt;) um

MORE BEAUTIFUL YOU
JOHMV OUi m

HOLD MY HEART

KKTH AVENUE ttDRTH "f DXIOS.PLG

I-

THE MOTIONS

MATTHEW WEST ■ ^ ',t CVEi

WHAT FAITH CAN DO

RUTLESS " !!■ Iti ■■ NAIL

1 WILL RISE

CHHIS rOML IN ' < • ' U i--s;SPAnRDW''EUI CMG

i«

LAV EM DOWN

MEfmOBRfATHE ■'I '■■Ml" VI' i^li r.'Ui

IT'S YOUR LIFE

fRANCtSKA BAIIISULLI ■ . 1 - , 1 ■. ! : H : i LihD

HE IS

HAflKSCHULTZ ' ..K-

SING, SING. SING

CHRIS TOHLIH ' ' I ~ . SPARdOW EUl CMG

HOW HE LOVES

DAVID CHOWDEH ■AM t ^lSIEPS SPARROW 'EMI CM6

ALIVE AGAIN

KATT MAHER : Mi'.- f'ltj

LET THE WATERS RISE

MINtSLHAIH .

I D NEED A SAVIOR

AMUNG 1ME IttlRSTI REV

FOLLOW YOU

LEELANO WITH BflAIIDON HEATH ISSEmiAL'PLG

1«

YOU'RE NOT SHAKEN

PHIL STACEIf f 1

HEAVEN IS THE FACE

STEVEN CUHIIS CHAPMAN ^,PAi^ROW.^UI CMti

GLORIOUS

NEWSBOYS

US)

HE IS WITH YOU

MANDISA ■ ■ .: [ '-U CMQ

E®

SALVATION IS HERE

LINCOLN BREmTEfl INTEGRITY

TO GOD ALONE

AARON SHUST BRAf.M

FORGIVEN

SANClUSREAl ■ -.'llH. a iWI CMG

SAFE

Ptia WICKHAM TEAT UHT MILLAflO IM.'

BEAUTIFUL ENDING

BARLDWGIRL II .-IjI 'AUftCJ CURB

130

THERE IS A WAY

NEWWORLDSOH M :if

FROM THE INSIDE OUT
SCVUTH DAT SLUMBtR BtC.'TOOIH & NAIL

i®

HEALER

URUMEi'^M ^1'

ON AND ON

CHASEN INO

HEARTBEAT

REMfOV DHiVE .'. : |' '...fif-

GOD-SHAPED HOLE <2010)
PIUMB '

GLORY TO GOD FOREVER

I*'

THE MEANING OF LIFE

HAWK NELSON TCOIM & MAIL

©-

YOUR HANDS

JiHELUA STONE TABLE

ALIVE

POCKH FULL or ROCKS VIV'RRH 'AORI) CllRK

FOR THE FIRST TIME AGAIN

JASON GHAT CENIRICnv

SING

JOSH WILSON SPARftnw EMI CMC.

FORGET AND NOT SLOW DOWN
KLIEVT K MONO VS ' 1' Kl : i.nnt

HOSANNA

SCLAH CURB

ONE REASON

CHYMHA « VAUGHAN "ibU^tlON.'PLG

1 AM LOVED

ABOVE IHI GOUIEN STATE SPARROW. fUl CUG

FORWARD MOTION
THOUSAND FOOT KRUTCH Ti^OIm t NAIL

AGAIN

FtvifAF rV^M HI uiniM.neF

1©

DONT YOU KNOW YOU'RE BEAUTIFUL

SfASIHD . ■ MM.'. ■ ■:\

WE WANT THE WORLD TO HEAR

BIS DAOOT WEAVE (ERVENI/WORD-CURB

1©

ADORATION
BRENTON BROWN KINGSWAV

darL KM FfanUh alvBnces HI Hot 6i>s|Kl
Songs oltli "Help He BeHm" (21-19). Itie
DM single fnm "Die FIgM o( Hy Life." Die
lead Indi, "Decbratiui (This Is It)," spent Oie
last ot seven twelcs at the summit on Hie April
l9,200t,dHit.

li ii

ARTIST

TITtE .vn iin lJUMBIH ,' DISintBUllNGlAlltl

Vn VARIOUS ARTISTS

cm.

—
s

SKILLET

*WAK[ All I.-,? r.iiaiiwtic i'tiWWMmfJIiinfGMIv

n-l.liVtU CHRIS TOMLIN
[irlirTTlH av«iiiHaai36i?ssiin)issieiix

KUTLESS

ins WELL II i ltLlu MU

DAVID CROWDER BAND

CHUflCHMUStL 1. Il l :,t'*BROW 6^1^ fUl tm

RELIENT K

K»«i*wifflrsiW[Kiiiif.'i.i ,■ ■,i...;Mi- li,

VARIOUS ARTISTS

SONGS 4 WORSHIP so 1MI lil^l' v .- U. I'W 1 1!

!•

THIRD DAY

RfVtlMlONi : .(HT\H iaH5i.PBC..inF»i Knr.RiT>

MARY MARY

r<iiuc"' ■ ' ■," " -1' '.rf.iN.~jt'' »

I'ENTH AVENUE NORTH

IMiiwouKflwnii ' 1 ,1. •.liilJ.MflrJiy

NEEDTOBREATHE

iKi uuisintRS 1 1 ' ■■.ii-il- . ■ !

MICHAEL W. SMITH

ANfWHWlELLIJAH U M l| KlUiFfiLTktlEMI INIEWHV

CHRIS TOMLIN

HtlLOlUVE . . '.'iltllOW ?3S(|;EUI CMG

BARLOWGIRL

LOVE » iwAfi III,.! '.1 mil wnR[>-cimB

SELAH

YOU OCUVIfl li[ CURB 791 3&'W(MD-CURB

VARIOUS ARTISTS

MIW m Mi EM CKCmmiWEimV SPTOMXHUB

K>
W

FflANCESCA BATTISTELLI

MY PAfER HEART .'iURO-CURfl

PHILLIPS. CRAIG & DEAN

FEARLESS ■. I ■ I i , 1 . '. ' lURIT*

THOUSAND FOOT KRUTCH
WllUMI TOTI« KIASQiJEKAUE ' 1" '. 'nVl 47A:L!).ICMG

BRITT NICOLE

IHI LOSE GET FOUND ■11 1, i,

KARI JOBE

AAHI JOBE 'Mih^ !■ Ml i'il.iillif M I^^ITi.^^i:v

MARK SCHULTZ

COfAE ALIVE .'. 'I I' 1 lin.ii B8T394

MAT KEARNEY

DTYOABlACKAWMin .1 . ' i .■ Tf<n«iEMCMC

HAWK NELSON

LIVE LIFE LOUD- -.i In III i L iiO* EILEI CliEG

TODD AGNEW

NEEO i I -, I IfiO >5SS PROVlPEMI INlE&ftlEY

MERCYME

GAITHER VOCAL BAND

flEOftllED ..-rut" MM:.i„ Li-MII.-' lUU

LEELAND

LOVE IS ON EFf WH ES.S04IW 1l»)51«a>nFII«If GRETY

PILLAR

CaNFESSlONSIIiiiENTIAL FEBOAIWMEXHT-linEGniY

RED

■MCETCEA■IST1MOF^.^HIIH l<BGyHMBlT«IEGHIV 4<

t*>j4

JEREMY CAMP

SJ-EAAING LOUDER IRAN HEFOM BErC B^BGIMI CMG fi
DECYFER DOWN

■

CRASH 'ii 1 ... IM-INIEGRIIV

SIDEWALK PROPHETS

THESE SIMPI E IHUIHS •! ■ V:^ EUVrtSO^UREJ

HILLSONG

FMIH . KPE . U»LMHLSl»NTBTfTY4Bimi»I4IIEGim

30 63

BRANDON HEATH

HMG crmiws BBLS i.t Fism WBwoi am foam

MATTHEW WEST

SIlMETHlliIi TO SAY . ■ i Kiirt AS?ft.(Ml CUG

MATT MAHER

AUVt AGAIN i.:I..iiiL IL^PHOVtOtNlJmGfWTV

fiFAQ van

BN) 1 OWES ..liFtl V5 SIBTmOIEB DUtM. EXWWWt EMEi

HILLSONG

XT. .1 Xii Lirw -M .iJ.KjWBiri«TOIBWIIiaiT'

DIAMOND RIO

THE REASON .■.ill. 1 Uriil 88^395

■

LINCOLN BREWSTER

TODAY IS THE DAY EITEEKPf 4.|M(flU.fe(E*JIlG(«TV +

ANBERLIN

WW SiUfFEKIf K 1 lUvI I^.Ai REPLaiC 01 1 nO*iEM 0M6

THE ISAACS

ic UQ wAic! u ur 1 una DUST* ... '.El MX nr SYtii K

ISRAEL HOUGHTON

TR( POl«R W 0N( I-. 1 . 1. -.1

ERNIE HAASE & SIGNATURE SOUND

fY(SYUBrTi(e9«SO0«BIIUJi.i -tii..H >|.i 4 ;■.» '.«,

JASON CRABB

JASON ClUBB i..'.IIIini MiLIC GHDI^ 1 UiSfM CMG

■9
Ok

THE DEVIL WEARS PRAOA

■1IR Fans wm nid HwicHf s now i^fhii i7MMF4ua $

TERCER CIELO

KHEcaAHFuni '. , ■ ' '.'.'.. v'cijatapsfMt

YOLANDA ADAMS

RAlUFITICtEJnKSlailUJUIUAIUCi ^OrmSJUlUt

mtli-scasai "ItiMrion MoT' linM Hnisa
trads Hk top 20 on Hot Oiistiaii K Songs.

js "He h Witti 1m" sdraiKes Ilie sin-
gle 6 Handisd's nindi diart appearance, a
liistiKY ttui includes coilaborations with
Hatttieii West, Mktuel W. Smilti, tolivMat
and Kirk FranUin.

H(
A<

(=5

ON CHI f

TITLE

AftTIST IMPRINT PnOVIQTION lABEl

1 1' Pn REVELATION SONG

BlSjS PMLIIPS CRAIG S OCJIM INO

CITY ON OUR KNEES

TDBYHAi: 1 .Mij

UNTIL THE WHOLE WORLD HEARS

CASTING CFIOWHS n ■ 1 M ■ I : : L 1 It, UUIH (>Llj

THE WORDS 1 WOULD SAY

SIQEWAIK PROPHETS 'iir.'EM ^Vnii:i UUHB

LEAD ME TO THE CROSS

CHRIS AND CGNRAD VSH

BORN AGAIN

THinO OAY FEAT lACET MOSLET tbStN1IAL>'PlQ

LAY EM DOWN

NEfUTOBflEATHE ' i'.'.i :. 'AORO-CUHB

2-1

HOLD MY HEART

rtNlH AVtNUE NOHIH -l .MOYPLG

MORE BEAUTIFUL YOU

JONNT Oia: ir.:<

HE IS

MARK SCHULT2 '.'.inri C. rui

SING. SING. SING

CHRIS TOMLIN ■ -11" n.VRROW,tMlCMG

IT'S YOUR LIFE

FRANCESCA BATTISTELLI 1 tXVENIi'WORD-CURB

THE MOTIONS

MAHHEW WEST i.CARRUW' EMI CMC

WHAT FAITH CAN DO

KUTLESS ! l . "1.iu;H & NAIl

GLORIOUS

HEWSBOI'S ■'! '1

YOU RE NOT SHAKEN

PHIL SfAttY ■' ■ ■. >

FOLLOW YOU

IIIIAHI) WIIH HRANDON HEATH I S^'UUXi PIG

11-J.tiVtll "<^^ HE LOVES

ALIVE AGAIN

MAn MAHER ibi'tMlfi: f^i.

HE IS WITH YOU

MANDISA I'^'-i'liUi'- tMI CMti

WHAT DO 1 KNOW OF HOLY

ADDISON ROAD M.i

HEAVEN IS THE FACE

STEVEN CURTIS CHAPMAN .h'A-. !■ i r,', 1 Ml CMG

GLORY TO GOD FOREVER

FEE r.LF

.©

SAFE

PHIL WKIHAM fUT BART MIILARD

LET THE WATERS RISE

MIKESCHAIR C.iRO

Atop gospel

W ALBUMS'

_- ARTIST

SfS TITLE IMPRINT A NUMBER . Di&IRif)UIIN6 LA8CL

gBEBE & CECE WINANS
STILL BfLC :niOiMALAC0

FRED HAMMOND

lOVt lIHSIOfPAIllE t HH1M[IN:>,V(Hily 4.i.>4' ,ll.G

I BYRON CAGE
FAITHFUL TO BEUEVE GOSPO COmiC/VHWY 43WJt6,
MARY MARY

iHi souMii.'. . 1 . 1 n HWii^ ?Bfle7'S0NyKnac *
THE whispers"

Wm-.M H

1 VICKIE WINANS
HOW I GOT OVER OESTINV J0Y»1»
HEZEKIAH WALKER & LFC

iiiaoil! .1

VARIOUS ARTISTS

WOW GOSrtl am .', I; l.iii.l

J MOSS

JUST JAMES I .'I .11 .1 I - I

BRIAN COURTNEY WILSON

JUST LOWE I . I . . '.. .1 I. .'...I

THE ANOINTED PACE SISTERS

ACCtSS liHANIlt) F .1 ' I 'I .'I '.' : 1.'. 'i I'.

VARIOUS ARTISTS
GllSPfl^ H(ST MENvrnMENCWIIBSi'

ALVIN DARLING & CELEBRATION

VOU CAN MAKE II I Ol ■. . ,ii .- ■ . i : .■ ■•. .i

THE CAJO FAMILY

ajjiiii*u:(HWi:x;iK-'!i6'«LiTw;:o(usitssc; -

ISRAEL HOUGHTON

; MARVIN SAPP

THIfBTf VERtTY 09433 .It G

nX/THFUL PRASE FEATURHG JJL HAIRSTON

RfSTHGOHHIS PnOMtSEl .. :j ■ ■iit-)t[ .71.iU*H

VARIOUS ARTISTS

j.\rxmi m^v r, I'.ii) '.t-r- .', i i

SMOKIE NORFUL

IIVI !■ ■'■■ I I

YOLANDA ADAMS

>J^^U•^^t^T^tfSltfrx^lC^MUMS -
DONNIE MCCLURKIN

WE AIL AK ONE llWt IWOnBOITK--K.h

LEE WILUAMS AND THE SPIRfTUALQCS
FALL ON MEUCGTOeS

IRIZEN
fflEE VERITY I

DONALD LAWRENCE & CO.

nx lAW Of cowfssKK F«flT I ■i.n^ i.w(KVENnY zunjib

KICITY ON OUR KNEES

B^SlOBYMAC ."RtlKONI'EMICMa i

■

HOLD MY HEART

TENTH AVENUE IIOFIIH I III 11 I'lU

ITOiVtll WHAT FAITH CAN DO I

^IjiiH KUTLESS litil lOOEH A NAIL |

BEAUTIFUL ENDING

eAKlOWGIHL ■ 1 -. . '.1 I'll ,.;JHB

HEARTBEAT

ILLMEUT UlliYE ,■. .' ■ i

THE MEANING OF LIFE

HAWK NELSON 'il HI 'il .'. llA.L

UNTIL THE WHOLE WORLD HEARS

CASTING CROWNS -i-illl i: IftEEI. RE UNION PLG

IT S YOUR LIFE

FRANCESCA BATIISTELU 1 EIU'ENE. WORD CURB

FORGIVEN

SANCTUS HEAL S'.ARRQVIltMl CUG

HERO

SKILLET ■■.I I.I IJI IND

ON AND ON

CHASEN 11

FROM THE INSIDE OUT

SEVENTH DAY SLUFABER BLC TOOTH & NAIL

MORE BEAUTIFUL YOU

JONNY OIAF .1

LAY EM DOWN

HEEDIOBREAIHE in .ifJI'I YI'liRH Ilinil

FORWARD MOTION

THOUSAND FODI KRUTCH HI. HI i H.vl

FORGET AND NOT SLOW DOWN

REIIEHI K ','..■' . LILMO GDIEE

HOW HE LOVES

DAVID CHOWDER BAND ^.K^IEF^S SPARROW.EMI CUG

OUR TIME

CHOUf 1 CREW liH'.'LM'lVOHO-CURB

HEAVEN

JARS OF ClAT I'llHY MATTERS ESSENEIAL-I'lC

MY SWEET ESCAPE

RUN KID RUN 1 ' ', '.11

LET THE WATERS RISE

AtlKESCHAm.ilH'i

THE WORDS 1 WOULD SAY

SIDEWALK PROI^m fERVtllT ViORD-CUFIB

DONT YOU KNOW YOUflE BEAiniFUL

SEABmO rRili^FlT Al fMI (f/f.

FOLLOW YOU

LEELAND WITH BRANDON HEATH FSSEIlTlAI PIG

BEST OF ME

THE LEHER BLACK irnnii .\ r,fl;|

TITLE

AHTtST iVrRINI PflOUOTION LABtL
Kl CLOSE TO YOU
tjSSi ' ^^'^ WWAMI B4C/MAUC0 _
THEY THAT WAIT

IFilU HAMMQhl) FEAT JOHN P KtE H HAMfAJMl 'VlHir

I WOULDN T KNOW YOU

GOD IN ME
MAHY MAHT FEAl KlERRA TUAP SHEAHO t/i a,ttiK.CCWJI

WAIT ON THE LORD

DONNIE MCCLURKIN FEAT KAflEN CLAW-StgABO VEWIY Jl

PRAISE HIM IN ADVANCE

MARVIN SAPP ,11-' If i' '>

GOD FAVORED ME

tCZELMH WALKER i LK FEAI MAmM SAPP 1 OJ K

RESTORED

J MOSS I ■. i.'l.' '.;i''

ALL I NEED

IRIAN COUHTNEY WILSON SPIRIT RISING UUSIC WOI

RAIN ON US

EARIiEST PUGH ■ : V !1 LACKSMOKLWOHlDlVIDE

HOW I GOT OVER

VICKIE WINAHS FEAT TIM BOWMAN. JR. DESTINY JQV

EVERYBODY DANCE

JAMES ROBERSON i: i

BACK II EDEN

DONAtP LAWfltHCt A CO. OlItET WAlta..VERITy' JLO

I LOOK TO YOU

WHITNEY HOUSTON 'I.'

BROKEN VESSEL

JEFF MAJOnS FEAT LASItELL GFUFFM UIISIC ONE

- KISINCi-'MUSIC WOI

ALREADY HERE

BRIAN CDDHTNEY Wit SON

FAITHFUL TO BELIEVE

BYRON CAGE Cn-^PO CFlJTRIt VERITY JLG

HELP UE BELIEVE

KIRK FRANKLIN FTi Yf) :;nill COSPH CENTRIC ,11 G

AWESOME GOD

THE DROWN SiSTCRS KtriGDOM

EVERY PRAYER

ISaAIi. WUGHTON FEAURING MAFIY MABY fmGRTTV.CMJJ

LORD DO IT FOR ME

ALVIN DARLING M v'! ir '-'^l

THIS JOY

ISV Mtl [ EVW NISni WFOWK FMS FLD niCT B* JaKAV I

NOBODY BUT JESUS

SHIRLEY CAESAR FEAT J MOSS :,HiJ-B'.L ll

GOOD NEWS

VANESSA HEll AltMSIHONC El.ll '^OSm

48 I Go to www.billboard.bi2 for complete chart data

Data for week of NOVEMBER 14, 2009 I CHARTS LEGEND on Page

Iscn nidscn

BillbMrd.

I^HOT DANCE CLUB SONGS

TITLE

*FniST lf.*l'«ll(l ■ I'ROMOtlON LABEL

TITLE

ARTIST fUPRlHT . f ROMOTILW LABEL

KM PAPARAZZI

HQs UIDYQUU : : ;L.V Lri:»j 'MM'^Eflnvne-wmscXK

i:uiL!;=..

BACKSTREET BOYS J Vb'JLC

DID VOU SEE ME COMING?

■w

OUTTA HERE

ESMfE DEMTERS lENNMAN.'INTERSCOPE

F'CK YOU

lILT ALltH 1" ■-'nGl

AAIC C Vf^l 1

Ml33 YUU

HON PfHKOV .^^?[f

S O S. (LET THE MUSIC PLAY)

JOflOIH SfAUS ILt.HVt JlLi

3«

oAU MAdI 1 a

MAIWEIL 1 II Mhl4

MILLION DOLLAR BILL

WHItNEV HOUSTON Alii :I'A HWli

FAME 2009

Ktlum NAUGHION LAKfci-UH-

DO WHAT U LIKE

GAD BOY am FEAIuniNG ALYSSt PKLMGR IIEITWEDK

EVERYBODY SHAKE IT

Wimi HOSAW fE*ILI« SttWN OWTORra BlUE^

SEXY BITCH

DAVID GUFTTA fCATUHMG MIOK GJIM ASTRklAlFIKS'CAPnOl

WISH U LOVE

CHAD JACK & TIM imEER VS. FAWN lADt^

LOVE SONGS

ANJUIIC nr-".fl TMfi

njl^^^l mi^u &i mill
UiLl^^ PUSH n PULL
f^HlT^ ><«m>i>uiMinnUHnaMUKiU9«S£AT0SUI

RELEASE ME

AGNES • M". .vNf M'.:"ky Slaii );FM

WOULD'VE BEEN THE ONE

SOLUK&E "I' . i' HI : ',i T'.cOPE

WE ARE GOLDEN

MIHA ; .'1 '.M.A UMVIHSAL MOIOWN

KEEP IT COIN' LOUDER

ma^ iMUi ni-Kpn^ nha nn i rdtt ilue uv< xaHf.oymMt

SAD SONG

BLAKE LEWIS i '^MUV GOV

SHE WOLF

SHAMRA '.'IJSICLAIIK EPIC'SONV MUSIC

HANG ON

ClUMB ! MH-

MISTAKE

MOBY L in- fl'lT MUTF

TURN IT OUT

AlTAfl rEATUniNfi JEAHJE tUCY MSMAHIIUSE

MANUb AL AlHc

NUlt FURTflDO NL.' lA" JMVERSAL WUSiC LATINO

1 WANT TO KNOW WHAT LOVE IS

MARIAbCARn l:-.L'.M"i m.\l/L,

YOU USED TO KNOW

ANDREACAKMELL r-W

SMOKE

JUS JACK WITH PHIL URAKT FEATURING HATIU PUBI MKU

1 DIDN'T KNOW MY OWN STRENGTH

WHiTNE» HOUSTON SfllSIC aMG

BODY LANGUAGE

JESSE MCCAnTNEV rEATURING T PUH im LYV/OOD

RIGHT HERE

CARMEN HEECt -i I M Mt

WAKE UP

SLHMY ;^n.:.-i [ .■.(.■!',r;i i:

THE REAL THING

VANESSA WILLIAMS '-L i)'il) CUG

PERFECT

DEPECHE MOOE MUT' 'jiRGmCAPIIOL

ANGEL ON THE DANCEFLOOR

DAVE MATTHIAS FEATUHmC KATALIA ELOHES CARRIl lO

FIGHT FOR YOU

MORGAN PAGE 'U r.VFH*

AIN'T NO STOPPIN' US NOW

TABORAK a DARItYL ITBDNNEAU T

THIS TIME BABY

EDDIE X PflESIHTS NIKI UAtE 3UP

DRAMA QUEEN (TEXTINQ U)
SIHONE OENHY • ftUflT HARMS aARflY HARRIS

SEXY PEOPLE

LOll-Nt ■ ■■■1 : 1

TONIGHT

CA/WEIL . .

BRAND NEW DAY

tEOnCIE POflCIE IIUSIC fLANl

WORKIN' GIRL

KELLY KINIi ■ ■ ^■.

•

FINE PRINT

NAOIA All :iVi. 1 irt tlEI)

KEW

HEAVY CROSS

nc GOSSIP' ' . 1.'.

LOSING MY MIND

ALI KING ■! . I

» 2

LOVE & HAPPINESS 2009

RfVEn OCEAN FEATURING IHOIA STRICTLY RHYTHM

SUPERSTAR

OAVIO MAY fUTUfllHG M0I8CS MODESTO AB<^CO

MAKE ME

JANET A&M UM:

TOP DANCE/
ELECTRONIC ALBUMS

25 ARTIST t

IbS TirH IWPftlHT 4 WUMBER f DIStRIBUTIfIG IMll S

I OWL CITY I

ioOUwrrEUWRSALREPUBUC 013141 '^JMIC |

LADY GAGA

)

VARIOUS ARTISTS

«Tw mAis wtA' 1 ULi aie UTS l^:; ..

'1. ^caasjtfi MLsc ;,

LMFAO

30HI3

WANT ^hjI

TIESTO

ULEIDOSCDFt l^!.'SIC*L FHtEDOM ;na2,'ULlHA

DAVID GUETTA

mf lOVI ■ . IHflLWERKS

IMOGEN HEAP

tlLIPSt yii^J/ .1UN L 'ii.A iwtojtmi

BEYONCE

FUCK BUTTONS

rAfiOT SPtlflT -T :'5-

LA ROUX

LA HOux , f nii R :.H;"FniitiTjnis£CPl rrtlay CA |
SOUNDTRACK

SLUMOOC MIlLIONAIHt INlEgSCOPt Dl?50MGft

AIR

lOVE 2 !■ .IIOGV fl639&'AiTHALWEHKS
DJ SKRI8BLE

rOlAL CUJB HITS 3 1K1f.^atfCtTHHVtJ4Ba)ei4T14Wt

LUIS MIGUEL

NO CUtnS A U NOOC OJje IBiXB IWHfl LATW l>?t3TS

CASCADA

DEADMAU5

FDfl LACK Of A aETTEH Ml

BASSHUNTER

BASS GENEHATION JlTHfl jWf,

NEON INDIAN

PSYCHIC CHASMS '.■ "■M

TONY OKUNGBOWA

TOTAL OANCt ?DM iiK y-OANCt 9OB07i' THRIVE
FAMILY F0"RCE~5
FMPH FOHCI ;3 DWiTWa w

ZERO 7

YEAH GHOST '.iL"\tt[: 520260 AG

BREATHE CAROLINA

HEUO FUSCIHATIOM FEARLESS iOi?.

BASEMENT JAXX

SCARS »- uirm.

MOBY

WAnHWMI LitfLt IDIUl 9>lt6*.MI

tMAlJ5TRAP?ir4'UlTHA

TTMG9,''3r;T00T>liMV. I

) HOT DANCE
AIRPLAY

li
o

1 10

TITLE

ARTISI IUI>RINI PROMOTION LUtL

RISEXY CHICK

Et^S w^io GUETTi FiATum MM awsnutevscMm.

1 WILL BE HERE

IIESTD A SNEAKY SOUND STSIEM ULTRA

THE SOUND OF MISSING YOU

AMEERAH H N:.

RELEASE ME

ACNES ■ , iTAR/NFM

SWEET DREAMS
BITONCE Mii^i': ;\'iHl1> LULUMSIft

EVACUATE THE DANCEFLOOR

CASCADA HHilRiNS

PAPARAZZI

LADYIUCU MlMArAirj[;IU)NLIVE'CHERRYTREE.WTERSCOfE

1 REMEMBER

DEAOMAIIS . KASKADE Vl'. l-ri- ^ ,-fiO PflESS UlTHA

PARTY IN THE U S A

I4IUY CYRUS '.

KISS ME BACK

AlMSOIil

1 GOTTA FEELING

THE BLACK EYED PEAS IIITERSCOPE

RIGHT HERE

CARMEN REECE M^l MF

1 BELIEVE

CTKBSUTHA EEAIinHS AJUE TTEDMPKH HEO STO, 5TTICTL> MTTHW

EVERY MORNING

BASSHUNTER T

READY FOR THE WEEKEND

CALVIN HARRIS : IRA

WHATCHA SAY

REPLAY

lYAi r Vf l^ ">liEY BtLUGA HEIGHTS REPRISE

FIGHT FOR YOU
MOflfiANPAGE /(■nwrPA

HANG ON

PLUMB 1 ii

EMPIRE STATE OF MINO

LAY E r ALICIA HEY] RUC NATION

SEXY PEOPLE

LOLENE ;a^;Ti;,

GHOSTS N STUFF

DEAOHAUS FEATURING ROB SWIRE MAU5TRAP.UL1RA

SHAME ON ME

ALEX SAYZ FEATlMiNS lAMTTBKE AtiXAMO PAiSH'Cn raTTAL

SAD SONG

BLAKE LEWIS T UF/Y BOY

DOWN

JAY SEAN FEAJIMBU U. WFtlK CA^ LONEY U#.EHSAL RETUFLJC

■■■mo

IF lJUVI

ifii

if.

1 1

>S T

m 7

Hi 6

IB "

3 •

« 4

^.4

Hi "

« illOEFtRY Pt i raaiE TO DOW Ml . ■

STIIL UNFORCEIIABIE OMI.'AICO &IZ3ga'/l

T m

,l1s H

i*Jt^^4«g3tM0MBWP_^H
llONCOHD ^1

Aico &iz3ga*fBHiN0

FRANK SINATRA

TOP CONTEMPORARY
JAZZ ALBUMS

ARTIST ti

TITLE iMFRIM 1 Hl(MBt« OlilRIULI'ING LABtL 5

IICHRIS BOTTI
3 0«S NTTI n RSTW ':\imkWSW»BC\i-,
EUGE GROOVE
SUNOAY MORNING : ■ -i- ■:\:»

GEORGE BENSON'

SONGS AND STORIES i.lOWSTf B 303IH/CONCQBD '*

PETER WHITE

GODD DAY -'LAH iliiOi, CONCORD

NAJEE

MIND OVER MATTER HEAPS UP

BONEY JAMES

SEhD ONE rOtiR lOVf i:

BRIAN BROMBERG

j IT IS WHAIITIS Mcrr. A'.'EMjr rQlO.ARTiSTR"

KENNY Q

SUHH mt sow MUST CLSTQM MAWeTTC GFlf).»' a

IEVERETTE HARP
FIRST LOVE - ■■■'-■^1 mb Si;9

IMPR0MP2

II IS WHAT (T IS I ■■ ^U'fl'i IRPHEUS

BERNIE WILLIAMS

MOVING FDRWAFID !■ l l.r,'

VANESSA WILLIAMS

THE PEAL THIHC .

RICHARD ELLIOT

HOCI STEADY ■■■■■ r. . uia.ARTISIRV

EtJS w

a.ARTisiRv mr

MARION MEADOWS

StCflETS't . M l

iHD

a s

AL JARREAU

SIS TITLE

S> »S ARTIST IWPRINT PROWOTFON LABEL

1 1

3 X

■51 BRIGHT 1
^BaPETHINHETEPEAACMG j

TALK OF THE TOWN

DARREN RAHN II I :'FiO:v[

t 1

TROPICAL RAIN

JESSY J .\F, -Ml,

m
m

5 1
4 1

BURNIN

PAUL TAYLOR i 1 I F/:.

LIVING IN HIGH DEFINITION

GEORGE BENSON . ' '.'

7 2

WHO WILL COMFORT ME

MtUlDT OAnDDI VI >lu|

8 21

GO FOR IT

KRMIE WILLUMS f^tf DRU ROCK RIOGE

9 li
8 2
12 1
18 3
11 4

SONGBIRD

CRAIG CHAQUICO :HANACHIE

TIJUANA DANCE

RICK BHAUH I.'.'. ' i.V[SL>E AHT STHV

SWEET SUMMER NIGHTS

NAJEE <■''■::.

ll'J'iViU CHASING PIRATES 1

fff^ilTTTlI^ HORAH iOMES dL ..I Ni 'l CAPITOL |

STEADY AS SHE GOES

WALTER BEASLEY i-i . ^

10 3<

MOVE ON UP

RICHARD ElllOT .■L"li,rHY

13 1

TOUCH

■ONEY JAMES COtlCQRO/CMG

14 2

JUST FRIENDS

HAHEtSA WIUIAMS CCNCOflO CMG

TOP TRADITIONAL
CLASSICAL ALBUMS

2 7

1 2

4 SO

S 34

3 10

23 4

8 4

6 2

7 6

11 61

14 SI

15 73
» 26

ARTIST

TITLE l'.'' iiiNT A "iUMBfH fft^.tHlBUHW LOBEI.

H CECILIA BARTOLI

RENEE FLEMING

Vf-iiSiWi'i . ■ ■■' A;s>".-F;Rf^,p

GUSTAVO DUDAMEL LOS U\GELlS PHILKU1U0MC
HHij iva- 1 1 ffy-i nuv* I'rr

the~pr1ests

THt PRIESTS H ■. vii

PLACIDO DOMINGO
Wlfl IHllTD m& KVnv

BEU PlfCKZAKtR HUSSAIN EDGAR MEYER

IH WLlHrr g HH-TW mECCIiaFITmMUSCH]BlHC£lllW|

SARAH CHANG

BHXH BHrtHUS HOLW tOHCEHTEB LM LLASaCS fifOHM

JOYCE DIDONATO

H0S5«( caiHRAH T1€MUSE ,T ijTj L^ASg591S;Ml6

LANG LANGVADIM REPIK MISCHA MAtSKY

PAAVO iARVI CINCINNATI SYMPHONY OflCK
■<uiMrjtTiiiTBT<iiic'aMnaiiiiHtiotrw:-i^:r:.'
JOSHUA BELL

JOSHUA BELL

nkii r-t FctiH sasjis r> luisxa, iioiismi

LUCIANO PAVAROTTI

THEOUnS I I - .M^UtfVtHSAL CLASSICS QBOUP

THE CtSTERCUM MOWtS OF STTT HBUGaMEUZ

own mscHBfttsoa nx.i(ttiwwieis«.ajS3Psaap
STILE ANTICO

SONG Of SONGS IIAHUCilA MLNDI eO74S0

□

TOP CLASSICAL 1
CROSSOVER ALBUMS

bES it ARTIST W:

fH^t SSISS TIKE 'i!->^'N1 & NUMBER DtSTRIfrUtlNOLABCL B-

IL DIVO ^

THE PROMISE bXnCUlUFAaA 39«a^0WY MIJSFL ♦

JOSHUA BELL alji
«TFF0N(WTIhHTe«Jf.\..Jii9AS?FlbWAASTHtA(»*S 3liZ

5
3

11
22

MORMON TABERNACLE CHOIR

RHGCYIFIISTIFUS BELLS F' ' FF '. '^l i fuai CHW SDZSn

DAVID GARRETT

DAVID GAREIETT ■ ■ . ; , l '.^M CLASSICSOttP

ANDREA BOCELLI

IKCANTD . , ' L li' DiCCA ♦

CHARLIE BAGGETT

1 ONLT DREAM DF VDD HKG KSf

■

THE CANADIAN TENORS

raiOUUmMTENOMOECCA lFFJbO»

GREGORIAN

MASTERS OF CHANT i infl TMISEK

SARAH BRIGHTMAN

SYMPFIONY LIVE IN VIENNA FM-iFFATTAN 31BB14ILG«|$

PAUL POTTS

PASSIOHE ■ .1 ■■- i SOWMIiSIC

MORMON TABERNACLE CHOHI

□At IMOJ RUIT IF Qerr IESIBK NCFIAW FlfVtCi OOF aUSB

p»

ESCALA

ESCALA j COLUMBIA 4rT23'50NY MUSIC

JOSH GROSAN

AWARE LIVE F A3 HEFFRISE 41 3G6tt WARNER BROS ®

A JOYFUL NOISE

MN&t HEM nSI RFTSITF TOf OASCJL SCU W NISEMEK

V^RLD ALBUMS

ARTIST B

TITLE VFPRiFiF 4 NUMBER UlSFRitl . Fl^u L ASifcL S

BflRODRIGO Y GABRIELA

BSfl 11 11 RUBYWORKS OOBO- AIO *<

CELTIC THUNDER

TAKE ME HOME rF.Ii: ■Flii-inrn TMDBr DfCCA

VARIOUS ARTISTS

PUYNL FOi CHAMf SQFFSS AROUFFa TFt RORLXARSFISlFSt

LOREENA MCKENNITT
AFFCDmRRANEAAGCYSSEY : L ' ' .VLL'.1jTtE0OiaM6

CELTIC WOMAN

1MB GRUrtr .OFfRf ESSEliWL laLECrOFF '■'MtKVH MFZBU

CELTIC THUNDER

Act l *[J 1 KCCA

THE VERY BEST

WARM HEART OF AFRICA ..Kef. OlVL 007

BEBEL GILBERTO

AIL IN ONE .1 ■ . ■ '.^I VG

DANIEL O DONNELL

PEACE IN THE VALLEY FHil^K/.fL, 6lF0f TV yEOIA

THE IRISH TENORS

CHRISTMAS u \ "if ttFOF^F

RODRIGO V GABRIELA

LIVE IFF JAPAN ■ ."' JIF ♦

JESSE COOK

TFAf RUMBA FOVNOAIION l FI^IFF HOUSE ;iXI2:FEt

HEW

RUPA 1 THE APRIL FISHES

KOLOHE KAI

THIS IS THE LIFE GC AiCffA llH I

TINARIWEN

•FfMM CBNMWIS . " ■'■ ~ '1H1 *

a for week of NOVEMBER 14. 2009 I For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 49

BillbMrd,

MRPUI S«l(S 0«1

MONITORED 8T COMPILED

niclscn P.i.Sl^V!
BDS Sou'ndSc

THIS 1

TITLE

HftTlST I'.'i RINI PROMOIIO'J LABetl

B^9UVI0 BtSliU '''.^1- <ifji.'!R:-Ai ' 1 '.11',!'

IflnwiMl LOOKING FOR PARADISE

Bfir

TE IRA MEJOR SIN Ml
JOAMSEUSTWM >Mi.' '^i-^l \->\bW

LOB A

SHAUU ! .< MUSIC lATih*

HAV n IITOQ
n«T u ji 1 WO

iNTOCABlf i '' 'U< MUSIC LAIINl

Ir S

AVtNTUH* '\-<.- ii'.' .AIIM)

I7
f

1 r\ lUTCMTAMnC

tSPINOZ* ■■ ^:.L|

1 8

UAIjr^C Al AIDE

NEILTFUHTUH .1 .'AK.'liHIVtRSAL MUSIC LAIINQl

It VC3 rAlAI.

EL TnONO OE MEIIICO HjsOV1SJk1rfUSnnSA|

' 10

Ml CAMA HUELE A Tl

HID EL BAMBINO- FEATtMM INM k LENMNC (SIENTE)

LOS OAltETES DE LA MEMU <Dl&A|

nnAriA^ A Tl

WISIN A (ANUtL 'I'.'i '.-Ar.HMh

VA UIIV TAOnC

LA AHnOLLADDIU BANDA U LWDN iDISA'f [HMONSA»

RECUERDAME

L» QUIKT* ESIACIOH .'.'JY MUSIC LAIINt

.^ipp

■lie i^iicTA Tnnn nP ti

•VIC kJU9iM l\JlJ\J L/C II
HANDA (1 RECOOO irONOVISAi

FELIZ

KAHTGAHCIA 'SriSV Ml.-r^lC lATISi

DERECHO OE ANTIGUEDAD

1 A ORiGiNAI ilANOA El LIMON iroriOvtSAi

EL AMOR

IITO-EI BUIBINO- < I'.Ui

KII L.lJnnr'LCMCri 1 W

tOS HLtHaCAtltS DEL HORIE iHiSAi

Ml nrt^A^ Ml lllf^llFTPQ

PAUIIKA HUBia 'Mil. LA?IN0)

1 A 0 A 1 AQ A 7A

LA ANflOtLADOfIA BAMOA El UMOM -ai^Ai

> 22

ADIOS

JtSiE ft JOY ;/;/,fl'Jf R , ,v:iJ(Ai

f©

CELOS

FANNY LU <urilvtK;>AL MUSIC lATlNO)

CI RnoDAf^un
CU DUnnALffrU

GAUPO HOPTTEZ DE OUfUMaO ri .al

cDcc Trinn Tnnn

mm ALVARC2 Y SU HORTENO BAWU 'ASLi

faa

COMO VOLVER A SER FELIZ

LUtS ENRIQUE

•

TU DEFECTO

1 GOTTA FEELING

THE MJUI CVED PEU riNTERSCOPEi

ENCONTRE

COMJUNTO AIAROECtfl 'IMSfcAStl

ME GUSTA ME QUSTA

f 31

DEJAME ENTRAR

UAKAW I.'.- Mi !■

NI CON OTRO CORAZON

PEDRO FERKANDfZ ' .

LLUEVE POR DENTRO

LblSFONSI Ml.i. : .'"irjOt

CAMINOS DIFEHENTES
ROIERTO TAPrA ■ , , "|

SENTIMIENTOS DE CARTON

DUEtO .M:\ ,■ ,

ESTUVE

ALEJAHOm FERNANDEZ ^FONOVISA)

nUTtL HUUM acnVICC

PIIBUIL iMK POLO GROUNDS. J,'RMG)

CUMBRE NORTENA i^DUV MUSIC LATIN)

CIAO BELLA

DOH OMAR .M;,Ctt[rEi

^Cl CDOATI/^U
IrftLtDHAI \\JTt

MAIHIHHA .■.■■■1 ■. '; 1 COS \

MP UA 1 A \ttV9
ALEJANDRO FERUNOC; 1 ..'WIVED.SAl MUSIC LAimO)

ROMPIENOO CAOENAS

ANA BARBARA h M IVIs;i, 1

Ml MUJER

T0ll*O ■il'-'if' ^E*HL|

^©

]

GRtTO MUNDIAL

DADDY YANKEE Ll : JK|(Li

3S 8

AL DIABLO CON TU AMISTAD

tl tHAPU PE SIMAICA l':.A>

I©

SOV TODO TUYO

LOS TUCAH(SI)t TIJUANA iM)NOV>SA|

if!,

MARIPOSA MIA

tflVAHAUVA ■:MF'hl'|.:, MUSIh.i

■

TENGO UNA AMANTE

nCEKTl FERHAMOeZ 1 <N r MUSIC L AT'lJ>

LOS PRIMOS

tos MOHROS oa wwn i dis^ asl >

FIRE BURNING

SEANKIN6ST0N ■ 1 .;--A HEiGHIS fPlCi

«M "H«r ajtos" Imping 4-1 w Higiiiiiil
PMin Miibir (ttJ laBn fekn kpskis,
W »S) tl Is taiA iMli en Ic iM, MDoMe
Ij (qoyiig Dk lislet list k Mo. I (Mi KK Kit
yon ms also lesgcnlilt kf I* iiMbI
sonni to Die km ii aoi ata s I1 Mb Md
iMukd illtaL 1 11 dc Mr n, 2001, tat.

ARTIST

IIILE Aini-.W . PHUUOIION lABELl
Kl EDNITA NAZAHIO

WEM SOT SOMY MUSIC LATIN

AVENTURA nn

ItlElAST ! M LiiriN ;OBOO,SOf(V MUSiC LATirf*?*

DAVID BISBAL

■
■

LOS TIGRES DEL NORTE

lA fiKAMJA ■ . Iia? UMLE +.

B
W

II&
r"

WISIN & YANDEL

lAflEVOLUCION ' ULlt 01!!I67.'UMLE

■

VARIOUS ARTISTS

UDKI EXtlDS El DISCD UH AMO nOB ::>^ Ti*mMUU

■

LARRY HERNANDEZ

16 NAHCOCORHIDOS '/!'.■ I! ".' T'-'V- 5-0037.UMU

UiUai DON CHETO

mil j:l EL KTME OE USTEDES '''LATINO 8B32

■

VARIOUS ARTISTS

f!tO

TITO EL BAMBINO"

ELPArnON ■■■ .riiuMLE

□

EL COMPA CHUY

GEHTE PELICfiOSA MJSIC LATIN 54719

■
■

EL TRONO OE MEXICO

AIMAS UFMUAS ' :'. i: n .'.<! -

ESPINOZA PAZ

TO NO CAKIQ PH» LO KltNTAMOS J^ll:-. ■ jEC'i' IMJ

JUAN GABRIEL

MS CAHOIMS MCS WKOS 1 J i.Mi9)!i77'A%(WUjtX IAIN

■t

EL TRONO DE MEXICO

DESOf lA MTRIA EH VrVO 1 UflOVIS* :}&40fl8.'UMlE

■

NELLY FURTADO

MIPUW'! '.ISi:LfllMDCi!33ia'JA£

m
w

GRUPO MONTEZ DE DURANGO

EL BOHHACHO !i ■ -.N IJWLE

LUIS MIGUEL

HO cuLPEs A u Hooc ouenara wmn lAivtA ui3ia

LUIS FONSI

PAiABvs :ci gii«ao I'j.: vusk LA-H>Di-.«iatwf

■
■

VICENTE FERNANDEZ

NECESIIO D£ Tl ■ ■. ■ '.'.Si: lAIIN 53283

■
■

MARISELA

■/a iXim INMOHTALES iM <XiM

■

YURIDIA

HADA ts D[ COLOR ROSA ntiv viii<,ic lATIN 57437

HECTOR ACOSTA

»jiKm fi-^fca "< lAKxusiuu

■

TERCER CIELO

■

TIERRA CALI

SI ni n Y*£ .1 'V.t.i-ii.-'jr^ji'M. msc mire tbyuci-Jiii

LAURA PAUSINI

PHIMAVEHA ANIICIPADA :.l.f\\ift LAIItiA

LOS BUfTRES DE CULiACAN SINALOA

HO lENGAS MItDO UVIISS.FONOVISA 154126 tJMJ
DADDY YANKEE

iWINiill!! U>lW(«MOnMOniL[>f(rtl.M<H7E2HO^lVU

liFJ

MAKANO

IE AMD 1 .■!.-r,'A.MACH(IE *eOO'JiyMLt

LA QUINTA ESTACION

SIN FRENtIS ■.:( 1 AH'; I Ki.U

m
m

CONJUNTO ATARDECER

CDNIICO PAHA SIEMPRE l.A 1 : . UMLE

■

VARIOUS ARTISTS

LOS SUPER UMD S li .1. .■.'■llftl. UUlE

KANY GARCIA

BOLETQ Dt tHTOADA ', V f/i r'- IC Ulfi

CONJUNTO PRIMAVERA

.^apimi»»s iA>*srcin>MiaiDnDS m.

VARIOUS ARTISTS

OURAKCUENSE Ait'S tfm T^UOV UMLE

ef\
w

NOEL SCHAJRIS

UNO NO ES UNO -'"rH' Ult'ilC i ATltl "lilin

tfi

MARIACHI HERMANOS BARGIAS

CANTOS T AlABAhZAS

LOS PRIMOS DE DURANGO

SOlO PAHA FANS llHIISAbL.D.iA .' JO;i(>;. UWLi

LUIS ENRIQUE

CltLOS Tl'' 'THP B91{l +

MANA

ARDE ELCIEIO '/MRNER LAIINA 46t7B2 *'

PEDRO FERNANDEZ

AMANTI A LA ANTIGUA illlKMSA 354l)«a.UUL>

RICARDO ARJONA

STOPISO .',A^',[-. 'lA 516669

LJ^[njUXnEZ[RPASm)3URWGlBGEDEilUIB)0RHnB

AUAN7AN0O EN LA VIDA .INIPOS ril^.A 7?I?B?.'UM1E

PATRULLA 81

SFRIE QIAMAMTt 30 SUPER EXTTOS "(ii '?1356 EXUUJ

■

PANCHO BARRAZA

■

BANDA LAMEhfTO SHOW DE DURANGO

EH VIVQi DtSOe ritnllA r.^liNO 38^1

GRUPO MANIA

SIPIGOLAMANIAM- M ■A.T.I", ^MH'MmWISt L«n

■

LOS MORROS DEL NORTE

ALLA HOS JUNTAMOS 1 1 . ^ , ..'-j'J.'UMtt

LOS INQUIETOS DEL NORTE

■0

VARIOUS ARTISTS

BANDA If IS ZD09 . i'..- . 1 : . . . ','.L

Nctnbo Smz (onllnKS Id doninito Ntf Ijlh ■

darts as ijwking for Panifse" junvB ^) on
libn Pop Akptav (9.8 mHon fcterar impres-
sions, up ZZ**;) and catapults KH on Tropkal
Alrpiav (U million, up SJ\). Ttw song's
six-wKk cfmb to ItK ammft on ttw fofma I
dnrt ttes Sh^s "Late" for tastest this ya.

TITLE

AFiTISI lIMi'iirit , PRCJMOIIOn UHEtl

4
1

^Slnmtv^U OJITOS

BRflLLUnilH INTOUBIE .IMSOHV MUSIC LAim |
TE IRA MEJOR SIN Ml
JOAN SEBASmM : 1 , i .ni..

LO INTENTAMOS

ESPIMO« P« ! ' A *Sl

TE VES FATAL

El inONO l)E MEXICO FGMjVISA UUSIVISA

SUFRE

LOS DAREVES DE U SIERRA U'bA

YA ES MUY TARDE

lA ARROLLADORA BANOA EL IIMON IHoA tOtUONSA

ME GUSTA TODO DE Tl

BANDA EL HECODO i .|', . . .V

Ml COMPLEMENTO

LOS HURACAItS DEL NDHTE HISA

DERECHO DE ANTIGUEDAD

LA DRIGINAL BANDA EL LIMON IONUVIL.A

LA CALABAZA

LA ARROLLADORA BANDA EL UMON DISA

EL BORRACHO

GRUPD MONTEZ DE DURANGO DISA

NO ME DEJES DE AMAR

LA APUtSTA -HI -

ERES TODO TODO

JULIDN ALVAREZ 1 SU NGRIENO BANDA ASL

COMPHENDEME

GERMAN HONTEItO ■ n\ ,i' ,1 MUSIVISA

TU DEFECTO

lIEiaOllCHi; Ua MkSnu iMtwftUMI aWWOWNPC KAfIMM>

COMO UN TATUAJE

H PA/ DE LA SIERRA (il:.A E'^lMOtlSA

ENCONTRE

CONJUNTO AIARDIUH DlSA ASL

NI CON OTRO CORAZON

PEDRO FERNANDEZ HJNUVISA

FUE SU AMOR

ALACHANES MUSICAL AL.UILAEON0VISA

CAMINOS OIFERENTES

ROBERTO TAPIA F'JNDVISA.MUSRflSA

TITLE

ARTIST ill.(P-llJ(I PROMOTION lAfltl i

KB[immal UK>KI»IGF0RHUU0ISE

HffiS r^O^i^l (.FjWMJIMIFUTIMUAKnMne.W 1

ESCLAVO DE SUS BESOS

DAVIOBISflAL ... . 1 , ■.ViiJ.,, laiitjn

Ml CAMA HUELE ATI

TITO -EL BAMBINO- FEATURIMfi ZMM 4 LENNOK SIENIE

SU VENENO

AWEHIURA I . r Ml ,U LATIN

ABUSADORA

WISIN A YANDEL n V MArMfH

ADKTTO A TU PIEL HOLDING ON TO LOME

FRANKtE Nf CHOH -

COMO VOLVER A SER FELIZ

LUISENRIOUE LI-

TU PRIMERA VEZ

HECTOR ACDSTA 'i M .:lj[ MUSIC

SI TE VAS QUE TENGO QUE HACER

OMEGA rLJsI.:T

1 1

LOBA

SHANIRA 1 1. i .11' MU^IC L*F.M

COMO SERIA

INDIO - - i r

DEJAME ENTRAR
MAKANO 1 .-r-Arj.-. MALtl- IL

CARITA LINDA

GRUPO MAMA FEATUHMC OLOA TAMON ZM<i".W< Must 1 AIM

HAGAMOSLO AUNOUE DUELA

MARION MACHETE

PEPE

DOBIE T Y EL CROK ILOS PEPEI MVR

RECUERDAME

U OUINIA ESTACION S-fiN' MUSIC LATIN

DILE AL AMOR

AVENTURA i -i'.'lUF,' lATlH

CIAO BELLA

DON OMAR '.l.-.i III T;

SABES BfEN QUE TE QUIERO

GRUPO RUSH M f I'. N , S S

CHINITA

Mun WIS lu nw Hw FMntM Guenv UNTt w« .TA^w MIX lAn

in EiSSSl LOOKING FOR >wwni

ESCLAVO DE SUS BESOS
DAVID BISBAL 'I'flit U'.i..l -I h-. Llir.;.'. [ATINO

LOBA

SHAKIRA EPIC.SOKY MUSIC LATIN

MANOS AL AIRE

NELLY FURTADO flE LSTAR'UtiWtRSAL MUStC LATIMO

FELIZ

KANY GARCIA f>|-IF.Y MUSIC LATIN

RECUERDAME 1

LA DUINTA ESTACION SONV MUSIC LAIIN

SU VENENO

AVENTURA PREUItIM LATIN

ADIOS

JESSE A JOY AA!<NEn lATINA

GRACIAS A Tl

WISIN A YAHDEL V/v MACHETE

NI ROSAS NI JUGUETES

PAULINA RUBIO lUlli'ERSAL MUSiC lATItlO

CELOS

FANNY lUll'. .'-H-.AL MUSIC LAIIMO

EL AMOR

TITO tL BAMBINO' . Ufl

Ml CAMA HUELE A Tl

TITO tl BAMBINO- fEAIURINfi HON A LENNOX 'ilEME

LLUEVE POR DENTRO

lUiS fONSI I'-.^-l-'-Ai i.'r' II ; .■.ir, ■

COMO VOLVER A SER FELIZ

LUIS ENRIQUE "lie HnF

CELEBRATION
MAaoHHA n-u bmt-

AOUl ESTOY YO

lUlS FONSI . MVL l-,:.At MUSIC lATIHQ

CAUSA Y EFECTO

PAULINA RUBIO 1 KilVERr.fll UlJ'ilC lATOlCl

1 GOTTA FEELING

THE BLACK EYtO PEAS iriTERSCOPi

SE ME VA LA VOZ

AlUANDflO flRHAH0C2 UIJlVER^.Ai Uiir^iC i ATl^O

li
O

2£ Si

4 4
1 16

TITLE

ARTIST .lUPRINI PFtOUQIION LABEL)

KM ESCLAVO DE SUS BESOS

■09 DAVID BISBAl. V'^Lt JtJIVtHSAL MUSIC LAfl
Ml CAMA HUELE A Tl

TITD 'EL flAMBIJtO- FEATURING ilOH A LEHMK Sir\Tl

LOOKING FOR PARADISE

ALEJANDRO SAN2 FEATURIHG AUCtA KEYS '/HRHfR LAT

GRACIAS A Tl

WISIN A YANDEL .'.) PJACKET[

SU VENENO

AUEKTUHA 1 < ! Ml M 1

DEJAME ENTRAR

MAKANO M.- ■ 1 1

NADIE TE AMARA COMO YO

OYLAHOYLENNY :.OHr VllifilC .Anil

ll'J.TiVtll dITO MUNDIAL

(irinTT^I^ DADDY VAHin EL CARTEL

WATAGATAPITUSBERRY

SENSAIO DEL PATID FEATURING BLACK POINT TIBUROI

DOWN

JAY SEAN FEATUniND LA. WAYNE CA^ MUftv Vnr.f f{M m

EL DOCTORADO

TONY out ■■

m MUJER

roMo 1 1 F. . .■!..■.:.,

BARTENDER

ALEXIS a MOO ' .'111 UliSIC LATIN

VI/HATCHA SAY

JASON DEHULO !A HEI&HT5,'WARH[n BROS

CIAO BELLA

DM OMAR «.IAi..Htlt

EL AMOR

mo 'EL BAHBIMO- '.lf?Jl!

FOREVER

Nil niiM UM Mill mi 1 am ^vff- w< >>.m v-;^ makwi

HOTEL ROOM SERVICE

PITBULL Ml! -.1 -III 1.- 'I'l. . .-v..

MOMENTO QUE TE VI

Ot U GHETTO .■.:.tr .... h [iN 1 l.i 1,11.. VI LATIN

MANOS AL AIRE

NEUV FUflTAOO IIELSIAR/UHtVERSAL MUSIC LATINO

BETWEEN THE BULLETS

NAZARIO IS THE LEADING LADY

Legendary Puerto Rican singer Ediilta Nazario finds herself atop th<

charts once again with the releasf of "Soy." Selling more than IG.OCX
copies, it's the biggest Latin debut for a female this year, passing Neil)
Furtado's "Mi Plan" (1 3,000). Nuz^irio's sales land her at No. 1 on To[
Utin Albums and Top Latin Pop Albums for a third time. Her album;
"Por Tr and "Real" bowed at the summit of both charts in the Dec. 6
2003, and Dec. 29. 2007, issues, respectively — Rauiy Ramire:

50 I Go to www.billboard.bi2 for complete chart data

Data for week of NOVEMBER 14, 2009 I CHARTS LEGEND on Page

BillbMr«l

^ JAPAN

ALBUMS

^UNITED KINGDOM

^ GERMANY

iHwfiKNsatfosuiiivwnjiniw mnmbiim

NEW

MICHAEL JACKSON

JIUSW^ T>BBIT|DEUJX£ EOnVNI'AUEFI^

HEW

THE GOSPELLERS

LOVE NOTES Z (ALBltM''OVO| KIDOH

AYAKA

ATAKA HISTORY ZOH ZOn AAflfdEfl

HEW

JAYED

MUSICATION TOYS FACTORY

NEW

THE CROMAGNONS
MCMOO FtOCCIA (BLU-SPEC) BUG

AQUA TIMEZ

THE BEST OF AOUA HMEZtr C

ARASHI

AIL m lESTt im-im j-stqrm

■

GLAY

THE GREAT VACAnOH VOL J- SMTR tOT C EMi

NEW

MICHAEL JACKSON

MICHAEL JACKSON S THIS tS IT MJ.I.'EPtC

NEW

JUNICHI INAGAKI
OTOKO TO OHHA 2 UNIVERSAL

(THE OFFICIAL
i% UN CHARTS CO I

N0VEM9ER 1. »a9

Hrw

1 FRANCE

O CANADA

§1

IMEP'IFOP tm IfVEl MOVEMiei 3. ION

fit

INiaSEN BOS'SDUNDSCAKI ttOVEMKR II. 2009

NEW

MICHAEL JACKSON

MICHAEL JACXSUN S THIS 18 IT MJJ.'tPiC

MM MICHAEL JACKSON

»yta.iOH)wr«a[Ti«Morwai'.L.'_!Y:'^.'fi K-y.

DAVID QUETTA

QUI LOVI U.;M".'IHiiiri

. MICHAEL BUBLE

' C«A:ir lOVE : Mtl-'Rt&t.WAHNtR

HEW

AUFRAV HUQUES
HEW YORKER HEftCUflY

y™, ROD STEWART

SOUIBOOK ; .■ -.v MUSIC

RENAN LUCE

LE CUUl OES HinOS BARCLAY

y» TEGAN AND SARA

SAIHTHOOO :IH SIHE V»A»if,t>t

MUSE

IHE KESISIAHCE HtLIUM i ft'ARHtR

U TAYLOR SWIFT

FEARLESS!.!:, ■• '-t ■ ROAD'll'dVLRSAL

BENJAMIN BIOLAV

LASUPEHBE -!

!•

e THE BLACK EYED PEAS

* THE E.N □ I'.l! -i-lJirl IJ-. ','!H:".AL

RAMMSTEIN

ULBE ISI FUn ALLE DA MOTOH.'UNIVERSAL

y SOUNDTRACK

NEW

STING

i> ON A WiraEX S hIGHI CHERRVTRELIK

^Mu CREED

FULL CIRCLE /r;:' ..P WARMR

(]

MIKA

THE BOY WHO CHEW TDD MUM EASABLANCAIEUVU}

JACK JOHNSON

EN COdCERT lii=lJ;-.HHfiE Ur( uEfliAL

DANY BRILLANT
PUERTO RICO WAflrttR

e MARC HERVIEUX

° APfiESHOUS ; 'i: .

I ITALY

t S£ IFMmELSENI

I NETHERLANDS^

C3I SPAIN

(fROMUSICAEHEOIAI NDVEHBER 4 ZDM

EL BARRIO
OUERMEVELA SENADOH

. S

. DAVID BISBAL
' SIN MIRAR ATRAS VALE

„^ MICHAEL JACKSON

MICHAH JACICBO*! E THIS IS ft MJAEPIC

q FITO & FITIPALDIS

' ANTES DE QUE CUtHH DICZ D R 0

Hcu, QUIQUE GONZALES
DAIQUIRI BLUES SONVMUSiC

MiLEY CYRUS

TMITIIIEOf OUBUVHHOtLVWOOO

. SHAKIRA

^ LOBAtPIC.Savv MJSIC LATIN

!•

LA OREJA DE VAN GOQH
MUeSTTWCAUALAIZaue«ADaTanSGWHJGC

(■ LUZ CASAL
^ UPASION EVI

™„ ROD STEWART

™^ THE QREAT AMERICAN SOULHHM J

IMEOH COMTMLt HOVEMtER 1 TOM

RAMMSTEIN

IIESE ISI FUR ALIE OA N^Q<OH.'UN>V:H^AL

DEW

WESTERN HAGEN

WIILIAMS8UHG /;;,FlMH

AAVItn nAILJV/ty

ALLES KArm BESSER WERDEH NAiDOO

MEW

MICHAEL JACKSON

MICHAEL JACKSON'S THIS IS IT WJJ.'EPIC

HEW

STING

If 0* A WINTIfl-S NIGHT CHE RRVldft nG

PINK

FUNHOUSElArADEJLG

HELENE FISCHER

SO WIE ICH MCI) IJ.

MICHAEL BUBLE

CRAZY LOVE .. 1 1

MICHAEL JACKSON
KING OF POPEPICLr'LEeACV

SOUNDTRACK

THE TWarr UfiA: I0f KOI SLJHITOCP EHP liTyNnc

AUSTRALIA

Al Dl IMC

§i

(ARIA! WVEMBERI, 2DH

MICHAEL BUBLE

CRAZTLDVE Mi REP«IS£

NEW

MICHAEL JACKSON
MICHAEL JACKSON S THIS tS IT

HEW

WOLFMOTHER

COSMIC EGG Mir;ULfi=l iS.),riD

SOUNDTRACK

THE TMLIGKT SICA NEW MOH ^MAl -jf.F iff CJf ITU

THE BLACK EYED PEAS

THE E.N.o irnn :)Pt

NEW

GUY SEBASTIAN

LIKE IT LIKE THAT uQM UuM

MUMFORD & SONS

SIGH NO MORE DEW:'ISLANO

MATT TILLEY

THE GOTCHA CALL THE RNU CAUS lOERTV

NEW

RAMMSTEIN

LIEBE 1ST FUR AUE OA MaTDR.LiMVERSAL

BEYONCE

1 AM SASHA FIERCE U-.;SIC AQALO.'CGLUMBIA

® PORTUGAL

THIS 1

IRIMI NIWEMER3 2m

HOJE

AMALIAKOJE LA FOLIE

NEW

MICHAEL JACKSON

MICHAEL JACKSON S THIS IS IT UJJ/EPIC

AHAUA
AMALIA IPLAY

ANA MOURA

lEVA-ME AOS FADOS MERCURY

MICHAEL BUBLE
CRAZY LOVE U3,'REPRISE

MARIZA
TIimAEMi

PANDA VAI A ESCOLA

PANDA VAI A ESCOU 1 POLVDOR

' a

SOUNDTRACK

HANNAH MMmUU 3 WALT OtSMEY

Q PAULO QONZO

^ PERFll COLUMBIA

' 10

RAMMSTEIN

UEH tST FUR ALLE M MOIUH. LMVIRSAl

EUROPEAN
HOT 100 SINGLES

INIEISEH BIlieOARDl NOVEMBER 1 7004

SEXY CHICK

DAVID GUEHA FT. Um GUM/ViHGm

BODIES

ROSilE WILLUUIS CHRYSAll^'VlftGIN

1 GOTTA FEELING

THE BLACK ETED PEAS IMEFlli^:DPE

FIGHT FOR THIS LOVE
CHCTYl COU POtVDOH

J AIMERAIS TELLEBAENT

J(HftLEt'.'iHi:,.,..v

HEAVY CROSS
THE 608$IP COLUMBIA

HEW

WHAT ABOUT NOW
vresTllEE SVCO

1 Anv Lici nnv
TOM FRAGEH. GWAYAV A2

HEW

JW SEM n Ul Wanf D£H UOKYiUMBISM. RBmc

EVACUATE THE DANCEFLOOR
CASCADA mOLANO/ZEBRALATIDN/AATW

PAPARAZZI

lAlff im SIYAWMKDMAtOemrRaWBtSCOFf

HAVEN'T MET YOU YET
MICHAEL BUBLE t43,'REPRISE

BAD BOYS

ALEXANDRA BURKE FT. FU (MM SYCO

CELEBRATION
MADONtlA .'.'.^rir<rn BROS

RELEASE ME

ACMCS CaPENHAQtN.'3 BEAT BLUL'AAIW

HEW

HELLO (TURN YOUR RADIO ON)

oueensberry I i"HiVJiCM :Ht<-t'.tfc

SHE WOLF

SKARIRA j'J'<v MUSIC lATIKlPK

MEET ME HALFWAY

THE BUCK EYED PEAS INTERSCOPE

HUSH HUSH

THE PUSSYCAT 00LL8 INTERSCOPE

HOTEL ROOM SERVICE
PITBULL MR SOS/Jl'POLO SROUNO

EURO DIGITAL
SONGS SPOTLIGHT

THIS 1
WEEK 1

III III ^^^^^^^^M

(NIELSEN SOUMDSCAH

INKRHATIONALI ROVEIMER U ZOOS

VIVA LA VlOA
OARIN EPIC

1 GOTTA FEELING

THE BUCK EYED PEAS iVIERSCOPE

NEW

BAD ROMANCE

UCtjKJ. ,'..J«WYrR£E.?*n«SCQK

SEXY BITCH

DAVID SUETIA FT. AKON OUM VIH r.iri

BRITNEY SPEARS ;<VE JIG

TONTARNA

KENT ' 1

NEW

TIK TOK

KESHA r.TiritV l\C'.

HAPPVLAND

AMANDA JENSSEHEf^iC

BODIES

ROBBIE WILLIAMS CHRVSALIS. VIRGi)!

S.O.S. (LET THE MUSIC PLAY)
JORDIN SPARKS 19'JIVE.-JLG

The popular rock artist
Weslemhagen debuts at No. 2 on
the GerRunvMbums chart, {
earning his seventh top three set. |

IHEGA CHARTS BV>

OCTOaER 34. lOM

STEREO LOVE

EDWAHO MAYA FT. W1KA JHMILIMA SPINHIN'

§1

(AUSTRIAN

AUsrauTOPM) Novoua 2. an

(VEROENS GANG NORWAY) HOVBIBIil 3. 20n

(IFPI'NIEISEN

HAfUCniNG HESUflCM) NOVEMBOl X 2tn

THE SPELL
ALPHABEAT COhlNHAGEN

SOMETIMES
OONKETBUT ■

BODIES

ROBBIE WILLIAMS CHRYSALIS.'VIRGIN

GLAD IQCN

RASMUS SEtBflCHJRIPEOPLE

AMOITIONS

OONKEYBOY .'-'.^NEfl

•jCXY CHICK

-JAVID GUETTA FT. WON GUU'VIAGIM

100 DAGE

THOMAS HElMICn HEOMAGENLYtt-SONVMiJSK

HEW

SUNN MORING

ALESUNQ AllSTAflS PHONOflLE

PAPARAZZI

MY WAV

k G jniU AHO RTMEESFHIENOS.'UMIVEflSAL

TIK TOK

KEJirft , . ■■ .'i;/,'RCA

KEW

SECRETS

0HEHEPU8LIC MOSIEY.INTERSCOPE

ENGEL

RASMUS SEEBACH ARIPE0P1.E

1 GOTTA FEELING

THE BLACK EYED PEAS iKItHiCOi't

HEAVY CROSS
THE GOSSIP CQLJMaiA

RASMUS SEEBACH
RASMUS SEEBACH ARTPEOPLE

DONKEYBOY

CAUGHT \h A LIFE r. ■ ', f --.

RAMMSTEIN

LIEBE 1ST FUR ALLE OA '.'niORi'UNIVERSAL

KEW

MICHAEL JACKSON

HICHACL JACKSON'S THIS IS IT MJJ.'EPti;

BJORN ElOSVAG

DE&ESTE ■■_li!-[.L..M

KEW

MICHAEL JACKSON

MICHAEL JACKSON'S THIS IS IT MJJ.'Ei>1C

DIVERSE

ll:e-P zoos USi'/EflSAL

MEW

MICHAEL JACKSON

MICHAEL JACKSON S THIS IS IT MJJ'EPIC

UDO JURGEN5

IMF BEST OF VV:: ."JHjf.i SC\Y MUStt

MEW

VARIOUS ARTISTS

EM HYLiKST IN. SEBASTUN CRUMCHY FROG'MBO

SIVERT MOYEM
MOON UNOIHG HtCTOR

HELENE FISCHER
SO WIE ICR BIN CAPITOL

RAMMSTEIN

LIEBE 1ST EUR AUE DA WOIOR'UNIVEftSAL

..' .

JONAS FJELO ft HENNINO KVITNE

DEN OAMIE VEIEN SONY MUSIC

MILEY CYRUS

THf TIME OF OUR LIVES HOLLYWOOD

EURO "i^:'.^'-"
DIGITAL SONGS

(NIELSEN SOUHDSCAN

INTERNATIONAL) MOVEMSEn Ii. ZOM

FIGHT FOR THIS LOVE
CHERYL COLE POIYDOR

JNY SaN FT L£ VUm CAEH WRmmBeALnBUUC

BAD BOYS

ALEXANDRA BURKE FT. FLO RTOA SYCO

IHE BUCK EYED PEAS INTERSCOPE

UfUAT At>f\HT Un%W

wnAi Aouu 1 nuw
WESUIFE S

HAVEN'T MET YOO YET
MICHAEL BUBLE Wl'^EPRISE

1 GOTTA FEELING

THE BLACK EYED PIA8 IHTERSCOPE

BODIES

flOBilE WILUAMS CHRYSAIIS'VIRGIN

SEXY BITCH

OAVn CUETIA FT. AKON GUM. VIRGIN

HEW

EVERYBODY IN LOVE

JLS !

HEW

PARTY IN THE U.S.A.
MtLET CYRUS HOLLYWOOD

MILLION DOLLAR BILL
WHITNEY HOUSTON AfllSTA

NEW

BAD ROMANCE

OOPSY DAISY

CHIPMUNK JIVE

SHE WOLF

SHAKIRA SONY MUSIC LAIlttEPIC

EUROPEAN
ALBUMS

THIS
WEEK

EAST
WEEK

(HIELSEN BILLBOARDI NOVEMBER 4. 2M9

NEW

MICHAEL JACKSON

MICHAEL JACKSON S THIS IS IT M i l E^i^

RAMMSTEIN

LUBE 1ST FUR ALLE DA MDtORi UNIVERSAL

MICHAEL BUBLE

CIlAiY LOVE t l.i F<;pRr,£

HEW

STING

IF ON A WINTER'S NIGHT CHERRYIREE. DG

MADONNA

CELEIRATNM WARNER BROS

MUSE

THE RESISTANCE A&E HELIUM SiWARNER

NEW

CHERYL COLE

3 WORDS r-ilvnCR

DAVID GUETTA

ONE LDVE ',' . " i;;

WHITNEY HOUSTON

I LOOK TO YOU ■■ ■ I.-

XAVIER NAIOOO

ALLES HAtiM HESHFH 'AIEROEN NAfDOO

THE BLACK EYED PEAS
nii f h 1)

NEW

WESTERNHAGEN

WIUIAMSBURG ■fli.HhiH

SHAKIRA

SHE VMHF 50Hy MUSIC LATilJ.'EPIC

PINK

fUHHDUSE ^AfACE.'JLG

NEW

SOLDIERS
COMING HOW RHINO

EUROPEAN =:„

NOVEMBER 4. 2D0B

1 GOTTA FEELING

THE BLACK nut PEAS INTERSCOPE

SEXY CHICK

DAVID GUETTA FT AMM G.,vrviRGIN

BODIES

ROBBIE WILLUUtt CHRYSAUSAflRGIH

PAPARAZZI

.AlI'MIiA -::;.V,ffcW,«NEWBYrfliEHnreCOFi

HOTEL ROOM SERVICE

t'lTBULl ■ GHCUHD.J

EVACUTE THE DANCEFLOOR

CAACADA !0:a '.■.ri .'EaBALAriON.'AATW

EMPIRE STATE Of MIND
JAY-Z * ALICIA KEYS -UC NATION

' f

RELEASE ME

ASNES :0PE^HAG£N.'3 BEAT BLUE-AATW

WHEN LOVE TAKES OVER

DAVID GtKTTA FT KELLY MUNO GUUATIRGIN

FUNHOUSE
PINK LAFACE,'JLG

SWEET DREAMS

BEYONCE MUSIC WORLO'COLUMBIA

AYO TECHNOLOGY
MILOW ■.'t-iUH'M.fNICH

MEET ME HALFWAY

THE iLACK EYED PEAS INTERSCOPE

SHE WOLF

SHAKIRA SONY 1.' . .'Jiri TF C

J AIMERAIS TELLEMENT
JENA LEE MERCURY

71 for week of NOVEMBER 14, 2009 I For chart reprints call 646.6S4.4633

Go to www.billboard.biz for complete chart data i 51

i^-Ssgt itKeSmm, i&fP»m Jxns Ca-

hLjM|,HLneH»
flMM ATI (inMnai Misca . <K . AStM'.wr Pub-

MniNinHi m [tm lt 44

Dm ¥0U LIVE FOR iHan 4H« MiQc FUieiina
SfSiVC-KG? ^V^c . SESAC.Nn Soros 01 Sea 6«lt
R«l«iii'it5(\rt>t Wok. BM| CS 57

OUW eitMfl : LnvBiii Mu3c IMGB Son^

□OtECHODEVniGUEIUD i- .,<,'.:. .-n--^
T YOU KNOW MOW MUCK I LOVED 10U i.

M. DIABLO CON HI UMISTM)

_ _ _ _ .-eFUii^tcCoTi.BNl'T-

xnj(Mm]Am«ica.lnc ASCtf'WiM^lne
;*p)hiod7t

iiwiJtWt HlD03iraHi
fc^ ^jjjTj jjj,

H10074.R8H7

~E aavm SWV lie, BMIWOnt
aMSBAnGamanaBoVauar

ion ON IM WUUWi SM M
tkacK

oimn.BMilwfiiiteUC mm&OMiaa

Ttett Cap . «SCAPSliny Jjtfl Mae

Mi VkeH. irclSJt'MmiisI VkSc. T^xoL

IftAlshnaBM) H-H10036,
..^ iK-OcwIitscASCAi-'AnnBliWinfl
' hcASCAP/tNi^SxtlMtfiic

aflMaFU)i<MiglK.,A9:
MffVWARUjDfllP*''

1 I'hflTirmFtnl BMNm

KtfTJenw

ULEBaAnONiWelxiGil

■■ av^'Wettki

K,ASI*ISC(L,.

Ztm >;-<fn$M ISW.fifciontjIlAiScalciHis-
■r In! HMtt Sorgi. JtSOVMw hWc

CLOSE TO fou ■ :;cvvw JMn w ?7

COME IN 'MTTM mt RAJN UnvATV »( ^Clinri)

.■."»Aii.BMfWATVnrrw

COMO VDLVEK A SEH FEIQ iSorvi'AWCkSCO&KfK

CONSIDER ME GONE .t:i, VdaM'SMlSt

■ACSIttHIOOfiJ
j«i.BMt«oS(aMS ,._

ii: m\ W?M.CS1I1H1(D63
cousfHi;' LMN* ;Witw.Gfi,flM%S(aMsMiBC,

iiCW'S**.

nDPITUMMCMSBrtiTDtTonw K.

_, — —-.—.-Cnn,

PiSf^rg h: . iMRC>f Siia (>« MiBC

H.W9WCS?3
STMTt 0^ MMd (EM Afrt Uiu:. n

^SWIRwMisc he
,■:/J4oM^s«.aS»C,Se»elft*-
<5.-l r.- V Lfiw PndibarB. JlSCAP,'1i»ifr Nre
^Uini: BlAi^drb Utcc BMt). HL. mOO i ran

ES^VDOESUSBCSOS -^svr.vMiElca nc

EnWE > )t ca.

BIttMn TVS DANCEFIOOR < -iiM ASCM>.^-
ittp "la BUMA,-.HlCll

, ::il-?;sic ASCA?.l

Arnaid. IV . ASW'Hm'j UxMn' M Vbu Kdd Wac
WVEWT METnU VET [T m The Mm Sun»«

lFS

ttEADBOAH] iCrMCtfa DooMf WiSMU. BMIM

HELL ON IW HEiWI ('VfttePUlisnnQCWt-

lu . t;.'w..r, i-. ..::T>;I<B¥5h^O»cfMlfc5lirei

lUiurini MljjLWeM CS «
HEX nU; Min^ L^rc. >SVf,m*at
lABiC kv. ASCV^tsSonp LU. BH> \L H100

MLLBIILVUNE . .iTJirl Vtaskic ASCAP'Uii

HIP ro MY HEART -■ :-^rr. 'i Uj!K, EMfle iaw

■ ""Pjbhrtfn^^WhaniGo
•■Ma.il.TOOiesliwlEaii

his"if:s rn[ vi,y.inG :'jrtinRJ)WKiQ

■1 iBCJ^tWiNrlMjit;

. = M«,ASOiP)C516
HOh/fYTUNK STOMP' ..iv^lVKsFUilslingCwn-
BWlmMtOnMsc

m.'Ai... ii|:i.^r irr EMteotty^SongAnJSN-

HOm im tews iPKUl s limn Plfalsrim
BHUrnni Hk - MGS ScroL AS&^^

!:-:T-ii_c 3>.f.\\;'r.?tiT^fiatief\jaia»mCiTp-,
u^.r,.. ., ,, eMrtAalcfflEwHthHm.

HOh fun DC YIXJ WAMNA 60t (MtUiC, ITK.
^.'..■j 1-, A:.. I ■liBTiASCAf'/jafcfaeeie

HURffr HOHI i>» CI ire Dog USK. ASCV.'MnJs &
ltoc.ASCAP|,*ewCS£S

I CNn MNE IT RM (Sengs 01 lOMl BWatni
Smtftf IAb>c WEM BtKtaood hlttcK.
16 ItUc Cod . ASCAP,C« A bal 01 Ihe MUX

MKWUUNEMElMnnUBKCvp.

ASCAP.Bno ekes Use A5Cft^1CG Alton MiEK
ASCUM^Mijil Hisc - MOe Scnv. ASCAP»

SbE««HtinTi«)UMm]U£.BMWiBC^^
PinttiMr&nc *SCM>>Unnri MjKCwpnMri

AECtfm.W«,REH100
nUW HM nU iCoainHW Misc. BUEM A|rl
Muse he . ASC^.4l^ IAbk. AEOih. HL HttO
29

FD IT lU KIBH RjObnin. EMIUwg HI Mlgk.
IHC . SUCSM Ml Mi»L ASCtf /<^^

SXM'MSnpie Sons tic. BZIUi-

RlHflffl Wi« a», ASCAPl II 16

fFrtBI :Sa>|'Ar/ ne PMtSvo Coriury MlAicr

S-llWiGc BM[i.tft.CS9.'<l»«
me BUnUMG '-xiym Stnsp LLC BUiWOif F^-
iiii.:(BLlC Bl^i'SwiKt^jawmHiftng Desire*.

-|F».ASCAi','UwenjlMusc

^lWtflR*t72

ASW/WlUHMDDn^

iC^, BMVSlnom SMy Miac, BMSormOf
L -^UflpDlfiBBHT

^. . . .... , ayW.^b^com.

Uflic, aS»P^^ l=\tis^
tAvniflnnMshnQDiqi.affVtCi^

CimmASCAtV^

r voi oity nnr ipnwn h hjk, SMifM

wg]MAC,lnc.BUKiCHl00»
I GncWZ<{lM UttL SESU^ung 1^

aWUtna Ml M^M. BkH^

ASCA^Hflv EttoitS. SMXMl. OMH. HIO0 15, LT
11. " * Yc^fne^'&f^<^Bn^

j_ iASCtfflW

C Gov . ASC'f'AS W(K Wam.
, , WM>WMl MixCornnKn. ASCAF.'Mtftw
Chi Mm- RJflWIRlHtKrrtllANC hc.tMj,

S/fty.' -■ >■'■: i^r-

ecrm' rou wme ithe black oREntONsi

{Bit;.' ■ ' ' CtilMise

he j;..-. i ■ . .:■<;: EM|,rLCS;,

GMME TH« M lEU dtowMt Uak, Irc .
MWrneck MielL BM^ra^EMm Uac,
- - • ■ B M« Cop . ASCV.'lStea s Mcn«
«». ASCAC.te A lom 01 Iti« NbwTscw
-cCs*i
n CorMKatNOi UsK nttsnno.
r GM FWiArg, BWSgnwAlV S&» tiC
yMKtMtflc»l%BOn£dNK^
if»%nBrbwHiiUiii3Ciiit.9H),

Odo m «E itMl ^1 HjSK^K. ASCtf.VM M FM
Mi}>:,iS:i»,*lBrs PUiiW ASCAP^Ti'ta T)ini,

ASCA/"HinCiH1 R8H12

DOM-TfnucHMnaiSki

00006nSOOIU{6li3Mffimeic AM^tM

taitfAse hc,ASC»'AJonArof\Wsfirei_
eUiVofna^UmecBrv awsftno Corp , S^^Sirsluv
torxe.BU^SMUiQe nc.EM'J l^ F^jMsltng.
WCATi K.lflU >i:iai7
eOOO Wniliw iCrerdiHv Crrc <Ais«:,

ff/m toll MuK K.»

-'.-I- -reMl.HLRBfl33
IMM A STUfl I Ffurr*imi m ME) (.>!«n»r Ftiw

. ■.-..tfd.HE.BMitWi
x-i.-; ■'.>.<■: > j fl'. .i-ritrs* WokCowraW-,
ASCW/aai IUniIng,ASCAP/»ij»iFKtoV

JHl?

ir TfnU CHMOES (Bke kes. ASCtfUU Bud-
^. iMrtK ASCAP.^torirgOitSOTBhr

h«f«l Mine Capw*OT. CCtfl. HLWM,

I MMtTD KMOW Vim LOVE IS .r^i Sorgs
Pi£WiiXLlrc.A£CAf,f&Hbt
Vni NOT BOW <>tn Fte Mm . ASCtf Mmg

Oara en IT I BiM Music. BUBI BiaclMM Use.

BeUBic ASOtfUrnn (mvais. S&C\ CS a

(AptMigcal LLCJM)ITZ1

iWMtscCap.ASCA^'.Simlnlhe

Itty a B f U IX SESlC'HmnwSiiir, SESACfMI
FciayUsc hc.SESAC'J3^AltonsMulSKFUlQ^
SSACOiiHon CoTte PWoKiX) StSAC'Aaic
T«*L *SCJfi (tBH22
IK FKAK [UGHUGH UGH1 iT>H<!eni}tolmg

Ay>-", ■ ■ ■ AMBSHae

ALmUMOFLCCCUHTRY THAN TIW jUWOSij

H:t]TnssSaxE.

OM C«rel Hon Use eU'ftoilHFsn Use
ASCAP.fU Airl Uhic. Ire . A^^Mons Ujs-

hlwbM.lt 4

■ -v.:3i«jUiK&WASCAP.™
:^BMn,HLWSr»l39
LOM AmFI I H DOiC Ag LiM Hole. M1)a Wile

t/iSL Li'. ^^^.'t^oh£es^^}^BK.,
■^SC^.CixaroSMuyc ASCAf TaroBTpoogK
lAsc ASCAF^JS
UMOHO FOR MfUDOE iGciii. ASCAPtVaia Ow
Mil Muse Sur SA. SMMtotihiaxtm.
AS&if .€WiVl MwctC. ASCAPAt "
StyCUwul Iires ST

LOVE OKMK lUrtfi JOtranUAK.lOAf'm
Mieic n. ASWiM mbntUsc
*SCV,5«t Chf Sffwiiholtt A^Wl Sorgj
ASCAT.EM BbCMolHjSle. IK. M
Muse BMi^ tt-WBH, HIOOK

UM UNE dMZr (Mif Cot) U«c MSMSt FM-

rfi ASCtf.MyGootfwiM "

ac.AscAp.iWaHSc

lUK AStAPiOmSongs.
SovBUMitaiViM

WmWM,CS44

w.ASWxH ^

..i^nttirinLA^,- ..

IJK FWi^ Cttp . BMlpVtns Owprt Mt.
WBM^Bff
MEET IK HUmW l»a.i«n UBC BWJHprcy
U^e IE . EM'U> noMc. BWOm Ftaei,
BMlMWiftpr JirmFlMwg ASCAP>EMA[r<
MtacKc A£CV.«DttSn*tMGmPuHi^.
ASCV'.fajF^UBC A^A^DuSinii.
aSCrf'.C^ 3 IS Mise SSCAP.B* GiSs ASCV)
aLlH.H;0bt2

K SSn m^KTj^Ut^^PlAb^

II CMH HUaE A II |No( LOM) IJ 1 0

M COmaiBITO <Vnw5ueK - MGB SoTQL

.ISClf .linna IArc BMJ LI 19
lUXM DOUM at! iMm Fftdjcnrfi

ASCVrf M A|nl (Ask. he . ASCAP/Ucna Ana.

SBCUMal Tins SESV^^^

MRC^jdV TNte Use FUMmOW
MIUBIlNclLiMJO

Use 8-^

MDE»c.AS£V/EUtoin&Kt«
Dan^^MfNiQ AXARiKdohi

«^ Songs. SESAOWi Fvar Use.

J Pe 0S| UlSt. AXVOffi Bui-

QASCAPlirj?

bis Nt JMUETES I rtfs Maha Muse.
" VATVSounlsliC.SES*COM*shiPit

nmfMfkaCm..
:..BMr)WBMieH76

— , ,-_j:.Bfiiii[WKm

m/Som Qn^i^nd^r^Wl^t<M^^al Uuk Ca-

foqiloi^si^mi\i*eit*M. ascap) hwm

Dff^S(n&BWSqnKaum«sl.nL..

BM70C HflK U&Nrg. ASOfVM Uk

KUjU:FUftnN),Sl ,

iDSw 01 UTMial^hcrSBUfMi
itoa DeM Atn eMi. W

MiK-:U)etUC

.mhEnU[ii:.eMn.H[.CSS.

ASCAP/fansL
mBIMlttibTQnMtSi

ASCAP'Slufo Bi^ 1^1)^ eWtarv^Twrtn F\i
^j^Dxp . BSSoiv'AIV Use LK FRSl. tT '

[rOFnilUIDNAcrilM

TBiaOUMAMIHTl S

:• .( ■■■■

nVESFATAO.

m IH V KUitma ASCAPlhwnl
MActllMsehc.

ru'AIV Tina LLC.
SrtjSi Muse &MJ 1149

; VlLaWiafi

■ '. ni mi»76
miHTitisraww ■ .iPAot hcAsyp.-cate

Ml FUltmj he
r.: BWftDlD.UK.
.-.■fl,ASWPy*ni«ifaK
' ."Wo1AMkBM)H..

RUSSIAN nOULEHE ,';.9alUUK-2Sav.

xJ)*'. VtTC >«tIs Uiie^^m^^^T
l{nHAK.ir<: ASCAP) ItyiftSU m0075 l«H4(i

WUH ^:iu.1M l(iit« .1 PuWWJXlDCJJifr
hV'i'ci i i itoiAini ewilteiwTanafine fuiw

■■ .i-.^fit.^rtfftASCAf'/l*

SEXTHBUPY

SEXY cm isiiiiOL Bmaon & Cojic. ASCV.f

■.Sonyi'Arv

souTHEFw ma

SDYTODO TUYO
SWTLJGHI ,>ui LLU.iMjyL ..

OorplWlT

sunnsTM iSm Anr im ntfshmCwTm

^.t -,[, V. Sm* Ait Winy ATOfirrfiT
2:i.lC-L!'l«nWI>w 5SiEl,HLt«077
SU VENEtn iPmnun PtiMVtrD ASCAPj IT 6
SWEAT (T OUT i?OK Mw: PlMfflM *SCtf W

i.-r^V^innjD Usc^MOl fibowm:
UiK,ht,""~— "-"—*— * '■

FaayMischc^:

BLiWATVScxviLLC.BM^HaMOrGS^ TEMM
ngnc.MWbtttaichc..BMl'Jumtu«llnr TEMM

52 I Go to www.billboard.bjz for complete chart data

[..BMl'Jumtupllnr

Data for wnk of NOVEMBER 14, 2009

THirS WW CdUKTRY BOrSMUllJMniiM

CotxB^i '^W.t)tU,fw»l*i9cA£CAm

BUftelJcnK HjsIc ASatf>.'Aa& UaK.
ASC/pi rtjmCS24
TWM • Aim (iirat CI Ciyrtpucbyi Uwc.
Asi>p ut» a wvi&«a ASCAPEu A(yi Mtf

IX . ASCAP/f<M Sa^ikUsc ASCV^ II- Cf

THNnir «ouT nu (Roi iM b Eul A flmv.

SEyCEM Fan Wise he SESACfM Cartm
Use, SESIC^ N FMd EnMarmen LJX,
ASCi^<Naltra[MSaiiBhe ASCAPAnwid
W« (knwfton ASCaP'IN; FnMmr Use Gn
BWHntm Dml Ut BU) rl.'MM RBH 41
nn ■ rr iMia Um BWVttwIvnWv FUi
r^Ccip BMi^tovcUschc.M.WBHn

TMt TIME Id Use BMi fBf er
TMflOW IT M TTC lU .m Aotl Uiut he.

ASCW. J Bi»(c ttflic, ASCW/SWB (ffiaio
i^.*p.V^if\ 9Ji ASCAR?(IK HtficPiMWia
KXfT.ya Uj'jrCm.ASCAF^(kalcnEt&

THUS f^ni ^im eutaiftaiPiciB

TIE K IXNW iM> aofi FUleWu li C. BUGen

nDiKk

OnmeH)Hl00 82,FeH61
TKmiDfivnIiCteUscBI'

HUOCl

U^^ForUjtBMpniio
iiiLSK, Lii^ iMMrfim unraN), BM) CS 2
Toa rWeiTetanl ltei^ Mlf (kb liWc,

HW'JvaiuHsic. nuHaw sn* tuAa

UiW. CcTsMmiide 05a. BMn CS 1 . H1CD3C
TMIIT (9« W» t ASCARUMOil Use - MQ
Sintk*SCAMJ»«WWBftBt^^ Ik. BM'

^^St^^JWCKJ UUiC- KSCAPf U Apil Us

lofl.HL W*o?
TUT timn Wm A nONSI HURT AI

Mr6.A9:V1tti((tiM.!Jr K ASCAPtopyn

i,u.(4 vu- uak. awsansni

3lttf.^no«aailwn,HL CS 2

nOrtnTGUscASCAPfteclFiuttnA

bhTB ASCAfi'AmnoDmi Miak ASCAP.fM
"■"■"■-SiatrScnBSht,

BH^hmwiuniiai FUMing. BMI, H

Um IT?cim4>« MiEK aWSirefn faim
M«mUaK,Hc.B*Hiinu

walUse-C

irii AXtf ilMQHluac UCARUsc Sma
AgjP),lt.H100 19

uraam jHgv^^ PiMnra cop . bu
UK idiaam MrtB sm, ascv/Sche on

iMtoi Use ASCAP!Misc n MrrisMpl
Use. he- . BMConec b w He FUWinj BU

MU WIT A Of {SM Uogr Ujm FUMM

WUT8) {Srrrera s Caah Uisc ASDV^ A(n

lUitlTirji Lot., MlJVIIWk HlOt » l»t S

WE K tnUf WaW fMra%wrtn PlU

' p.eMVDurgU]nqPil)lBmqtne,fiM).M

IHSI

IflOOSl

F^.WMCSZKlDOSl

liriJantfHnRHimUsc.BMS]n»

Sdnn Lie. MEm «M WftT Use
ASW .^ATVTinG LLC, ASCAP.'hwn Son
m (TCfAfioUst&ra^ASCAft'jBonCWpju
MHM^ p*BC he. BMfiibv Have Use
HlllOl

WHAT rVE « WAIIW FOR Ift VI McKnin I

UrASDfi«"?S
WWnNJIXl!EM^iiUj[Jc IK ASDV.aa
Co lie ASCtf.NcTTijTiriiVtocPieierinB,

A^ Usie. J^,njrM«rs|i Mjsc CmSn
A^cjp.f MoeliwiiQMsrirc

PM. K'rt^l "-1X196
WHtSTUWDOnE ^HKesPuUehnoDng

!:! lA^KfM Wme GraU)aSAC)CS46
WMTE IW (SoTv ATvlec fUttMrg Cotm.

SiAnt Dm FuSuiho. BM^ilMiil Use

SMbCamomac Omfi. BW«tjaaiv Use. I

H^CSI7Hi00 8*
WWrnWiEwirlcPWr-.M^f tSCOP-'^'V

T-iK -LI' ifr.:;- '-L

WfrOONTWEJUST MNCb ■ . .'.I. i'.'^^

a .ri: ■ H. 02

WDM HAAD PLAY HARDER .^-i^'AlVOmlll
Mjij;-\.:.,-,-. y .'. J,'. - ..-^nunaUfit
ASCAi-^'Mtidii CTiC : I^L BUf§g.Ltt«]fluclf

Cop . tStJPlMBL 101 niMwn Ooo^BMKt?
UflK. BMCoa Uc WSC.BHmnwWti
U^rw Cop . BH'm FUbWi^
ASCAP^g^ lUMtng DBsliKitt. ASU

H.H10Q14

■ " MtfMiQLLC.EWY
UscBH)H1IXIc

WMEfiMm.
CHARTS LEGEND on Page

Cor

=xi=n iTi\/i=

mRNTABLE

Send submissions to: exec o blllboard.com

ECORD COMPANIES: Sony Music Australia promotes Mark
ynn to GM of promotions, publicity and business enter-
ises. He was senior director.

Virgin Group names Peter Norns nonexecutive chair-
an of the board. He was CEO of the merchant bank
uayle Munro.

MASON I GLOVER

J6USHING: EMI Music Publishing names Barbara Sedun

»ad of Canadian operations. She was manager of music
ograms at Manitoba Film & Music.

BMI promotes Both Mason to director of writer/publisher
lations and names Jessica Roffc director of writer/pub-
her relations for Latin. Mason was associate director, and
Dffe was manager of music and talent for MTV Tr3s in
iami Beach.

IGITAL: TouchTunes Interactive Networks appoints Pamela

:hoenfcld VP/genoral counsel and names John McMenamtn
nior VP/GM of Barfly. Schoenfeld was counsel for Google,
id McMenamin was CEO at Ripple TV Networks.

LATEO FIELDS: Graphite Media names Matt Glover brand
'ector. He was commercial manager at AEG Europe.
The Italian collecting society SIAE appoints Gaetano Blan-
II director-general. He was director of cinema at the Mln-
:ry of Cultural Heritage and Activities.

—Edited by Mitchell Peters

EGGARS GROUP ASSISTS AIDS f=IGHT

e Red Hot Organization, a group dedicated to fighting Al DS
iiiiiih popcullure, marked its 20th anniversary earlier this
\ by ifuming with Beggars Group to release a t ompilalion
mm featuring some of today's most popular indie-rot k acts.
Dark Was the Night." released Peb. 17on4AD. is the 20th
ease in tlie Red Hot album series. The double-disc sel in-
des exclusive songs (many of which are collaborations) by
* Decernberists, Dirty Projectors and David Byrne. Feist and
n Gibbard. Sufjan Stevens. Grizzly Bear, the National. Ar-
l ire. My Morning jacket, the New Pornographers and
nor Oberst and Gillian Welch.
The National's Aaron and Bryce Dessner produced the
lum. which has sold 72.000copies in the United Stales, ac-
ding to Nielsen SoiuidStan. In September, Beggars Group
airman Marlin MiMs presented a check to the organization
more than $691 .000. TheainounI represents the album's
-'s for tlic first half of 200y and will benelil AlDSorganiza-
ns worldwide.

It exceeded our expectations, to be honest." Beggars Group
A Matt Harmon says. "We had a first-week scan of 13.000

(' wiTi- prt'My ocslalic abtmt thai."
Harmon says that a number of magazines and Web sites
red to discount or waive their advertising fees to help pro-
)ie the album. "We were able to reach out to a lot of media
llels and a gel a lot of support tliat way for not very much
)ney." he says, noting that artists on the set also chipped in
donating their songs.

n the month prior to the alburn's release. 4AD sel up a
t iai "Dark Was the Night" MySpacc page to stream some
the songs. The album was also promoted during a May
id-raising concert at New York's Radio City Music Hall I hat
tured acts on the set. including the National. Feist, Byrne
d Bon Iver. — Mitchell Peters

Z i<j "Music Supervision Tho Stat^of the Umon, " panelists discussed how the industry ts coping
.! : j:in economic times with shnnkmVmusic budgets From left Creative Control Entertainment
p- ucer/principal partner and music supervisor Joel C. High, music supftwtsors Franki* Pin*
("A- rny Wfvos ," Brothers and Sisters") and Richard Glassar ("What DoosfW Kill You." -Crash'").
Btllbcard editorial director Bill Ward*. Hunnypot Unl mitcd CEO/creative services/lifestyle John
Andarson ana music supervisor Thomai Golubk ( Breaking Bad. " "Six Feet Under").

LLBOARD/THE HOLLYWOOD REPORTER

FILM & TV MUSIC CONFIERIENCIE

The Billboard/Hollywood Reporter Film and TV Music conference was held
Oct. 29-30 at the Beverly Hilton in Los Angeles. Now in its eighth year, the
conference offers attendees the unique opportunity to learn from, network
and share their music directly with the top music supervisors, composers, di-
rectors, songwriters and producers in the business. Among the highlights were
a keynote panel with Mary J. Blige that included her co-writer Raphael Saadiq:
a keynote interview with actor Sacha Baron Cohen and his brother, com-
poser Erran Baron Cohen; and panels that focused on the music behind
"Fame." "Glee." "The Twilight Saga: New Moon" and "True Blood." The two-
day event was sponsored by founding sponsor ASCAP. podcast sponsor
APM Music. SESAC. BMI and 615 Music, photos courtesy of luisgarza/jowdy
PHOTOGRAPHY Continued on page 54

Maiy J. Bilge discussed her cartffef

artd contributions to film and TV
music. inciudiiSg a preview of the song
she wrote for Lionsgate's "Precious. .
Based on ttie Novei Push" by i^
Sapphire."in d special keynote parwi. I

1 I V As the New Radio," Disney-ABC executives shared ho.-, :n- y .i .inj t ,' piKijr.ir-iv
ming to showcase music from "Hannah Montana."' "Grey's Anatomy." " One Life to Live"
and "Greek, ■ From left: Disncy-ABC Television Group senior VP of business and legal
affairs music Peter DiCecco, ABC Entcrtrimrnpnt Group VP of TV music Dawn Sofer,
"One Life to Live" executive producer Frank Valentinf. ABC Family executive VP of origi-
nal programming and development Kate Juergens Disnpy ABC Netv^orks Group VP of
music and souiidtrf-icks Steven Vincent .m.-l Riii:i::..r. l senior editor Ann Donahue

^^^^^^^^^^^^^^

Attendees received a behind-the-scenes look at how " Glee" uses music for onscreen synchs and its soundtrack
in "Backbeat: The Anatomy of a TV Show— Fox's GJcc " From left Fox Television VP of music Ward Hake.
Columbia Records soundtrack consultant Glen Bninman. "Glee" cast member Lea Mkhete. 20th Century Fox
Television heaa of music Geoff Bywater. "Glee" music producer Adam Anders, Fox Broadcasiing senior VP of
marketing Laurel Bernard and music supervisor PJ. Bloom, who moderated.

-|-5^ J

In "Master Class: The Creatives." sponsored by Killer Tracks, composers J
ar>d songwriters shared their lips on breaking into thp Industry From left:
Fox Music president and panel moderator Robert Kraft; composer Brian
Tyter: songwriters Teddy Shapiro. Lamont Dozier anc: All Dee; and
songwriter/producer Xandy Barry J

NOVEMBER 14. 2009 www.blllboard.biz

tACKBEAl

EDITED BY KRISHNA TU^

Pcjrt Jam s Oct 31 perfo'rnance at the Wachovia Spectrum in
Philadelphia was the final concert to bo teM at ths stoned venue
before Its scheduled demolition early next year. Gathered backstage
before the final show were (from left) the band's Mrtt Canwron and
Jeff Amerrt Comcast- Spectacor president Peter Luukko former
Philadelphia Flyers player Btmte Parent. :he- bcind s Eddie VMldtr.
Live Nation Mtd-Atlantic president Geoff Gordon, tfr-Fiyors player
Dm* Sehultz. Global Spectrum regional VP Tim Murphy and the
: band's Mike McCready.

INSIDE TRACK

LX>VE RENEWAL MACHINE

The Cult has been spending the year on the road cele-
brating Its 25th anniversary and playing the 198S "Love"
album in its entirety. But vocalist Ian Astbury and guitarist
Billy Duffy have also made time for songwriting. with
an eye toward making a new album in 2010.

"We did two <;onqwritina sessions." Duffy says, "so
we'vebasir -^w materials. The stuff

we did is decent. I'n-
not one for over-
puffing, but we have
some good basic
ideas for new songs.
Me and Ian in a room
together can come
up with new music.
It's just a question
of what each of us
feels is quality, what
we really want to
try and say with
that new music. We
certainly don't want
to write 'Fire Wo-
man' again."
Duffy says he and

Astbury arc plan-
ning to convene for
more writing in De-
cember, and they're
starting to consider
producers. They're
also debating how
to release the new
music, which will
follow "Born Into
This." the currently
unsigned Cult's
2008 release.

"lan's a little re-
luctant to do the
full-album format."
Duffy says. "He's really excited about viral and portals
and all that stuff. He's very happy to make new music-
he just wants to do it in an interesting way to him. I'm
not bothered as long as it gets out there. I don't care
if it comes in a doggy bag. That's why we're a good lit-
tle team. I'm into it. but I allow him to get really passion-
ate about it."

s^cha Baron C40l and Hts brother, composer Enan Baron Coben discussed
i.^borations on T)a All G Show." "Borat " and ■Bruno in ^^ ln^noie intt-rview,
. a bv louricl rvy sponsor ASCAR From telt. Author/ioumalist and panel a
moderate Dan Kimpel E-ran and Sacha Saron Cohon and ASCAP sentor direclor
of film apiJ T V music Michael Todd.

BILLBOARD/THE HOLLYWOOD RIEPORTEI

FILM & TV MUSIC CONFIERENCI

continued from pjcie !

COapywglM a009 by mifci n Bvumt Hultt inc Att Kqiilmten^ No p.irt or tnii oubocntion in*y
4HN00a6-3SI0-.USKC»6-l00)iipubUfv(t inKtilviuCMKfDf lt«*ririi Mch n Jmao b> NIalwn
mtflfWl IBB 9EF. RaoKUnd at a nawipjper at tlw Bimsrx Poll Omcc Mftan 1[>9.000 i«rv PnnoacaH
ftMnKnu«Mkra«iM(T\ nouU 100. HUlmooAHy 10S4e ot tffOt Unlvsrifly M^roMim. P O. Bo* IMS,
BMn Rd «2. MtuluMjaa. ON L4T liz Vol 121 Hiuo PiintM « cne U S JL foi [youc iul>MilR*lon <

Tlie masterminds behind ll'w 2.1 mil lion- selling soundtrack to t ., ,
selected the bands and songs to appear on the soundtrack ic t.i'. - irii , i ... "
Saga. New Moon ~ From left: Chop Shop Music Supen/ision owner Alexandra Patsawas
Atlantic Records GM/executive VP of marketing and creative media LIvIa Tortella jnu
eye2ear Music founder/CEO ar>d Summit Entertainment music consultant Paul Katz

np'oduteo. itorM in anil rvineval iyil«ni oi tnnvTiinaa « any torm oi In any nwim iiliiili f inr. nwftWBril. nrnilltfiitliiliiu ni miiiiji" i
ninoK Mooia, inc.. 770 BioMlmav. Na*> VcM. NV 10003 9595. Sub«ilption lat* aimiMl rai«, Canlnanul U& UMAO. CDnttiwnU* tuotm
Doaaoa oaid at tMw vath. n y. and it AtMiMiui tnaimii amc«. PoilmaMer. Pisau wnd chanoai of addMM W BWiuiid. PO Boi ISQS,
II 48106. Foi rvormlj iimacl. Doug K\n BO •. tnsTGSgrouDciHn l-BIX>'290 54«0. bm. IU.U

eS4 5Sej Faf iUHcrvirantnlonnalion.ca«S0O^6Sa S372 loiibxJa U.S.:S47 S5» 75]))ot v-mMI I

■.■■3S'

■ ■ r-iu I,, r.. ■ '.-..r > . -"..^KlftStar

Oatactica' d"0 current protect
"Caprica.' the "Battlestar
Galacticd" prequL>i-with Bifibo
senior editor Aim Donahue

IL <00eS-J9M CtvwiT .in:- r

54 I BILLBOARD I NOVEMBER 14. 2009

Cni

I \

YEAR IN

MUSIC

WITH EXCLUSIVE DECADE-END

CHARTS AND ANALYSIS

The issue referenced year-round by the most

powerful people In the world of music

Covering: TOURING • PUBLISHING • TECHNOLOGY • and more!

On Sale: December 12 |
Issue Ad Close: December 4
Special Section Ad Close: November 25

ADVERTISE TODAY!

New York: 646.654.4759
Los Angeles: 323.525.2299
Nashville: 615.352.0265/615.376.7931
Latin America: 973.452 3528/305.864.7578
UK: 44.207420.6075
Australia: 0402.431.106

SPECIAL DOUBLE ISSUE 250* CHARTS

THE YEAR

IN MUSIC
&TOURING

. f

SOLID

LIVES FOR THE

ENCORE

Specialized Wealth Management for the Music Industry

At SunTrust, we've spent more than 20 years helping music industry professionals mal<e the most of their success. Our dedicated
financial advisors can help you manage your cash flow, monetize your assets, and create a plan designed to provide continued
financial stability. For more information, call Thomas Carroll, Senior Vice President, Sports and Entertainment Specialty Group,
SunTrust Investment Services, Inc., at 404.724.3477 or visit suntrust.com/talent.

SuimTrust

Royalty and Catalog Lending Financial Planning Retirement Planning Investment Management Live Solid. Bank Solid."

SecuWes and bisurance Products and Services: Are not FDIC or any other Goverrment Agency irsured • Are not Bank Guaranteed - May Lose \^lije

Thomas Carroll is Senior Vice President, SunTiust investment Services, Inc and Managing Dirocior of SunTruil's Sports and Entprlammont Specialty Group.

SunTrust Sports and Entertainment Specialty Group is a marKcting name used by SunTrust Banks. Inc , and the rollowing affiliates Banking and trust products and services are provl<led by SunTnjst Bank. Securlttes. bfOkei
sen/Ices. Insurance (including annuities and certain life insurance products) and other investmenl products and services are offered by SunTiust Investment Services, Inc , an SEC-fegistered Investment adviser and bfoker/c
and a member of FINRA arvd StPC Other insurance products and services are orTered by SunTrust insurance Services, Inc., a licensed lnsurar>ce agency

$)2009 SunTrust Banks, Inc. SunTrust is a federally registered service mark of SunTiust Banks. Inc. Live Solid. Bank Solid, is a service mark of SunTrust Banks. Inc.

THE -EMI TOPS NEWEU 19 WRITERS.

»lim ICUEDC PUBLISHERS LICENSING FIVE DAYS.

iBTnCMw CHART IN RULES CHANGE ONE GOAL:

UARTERLY three-peat europe'Smap write hits

UNIYERSAL'S

RENZER TALKS
ONLINE

opppRiyNmES

^ ^^^^i^^- ^^^^^^^^^

' 2009

JIMMY WAYNE

MAKES
'SARA SMILE-
DECK THE MALLS:

SPECIAL XMAS
ALBUM REVIEWS

ARTISTS
EMBRACE 3-D
CONCERT FILMS

www.billboard.com ■ ww.blllboard.blz • us S6.99 cANta99 ukesso

— *— ^>~-™ssjb:^/atv music publishing nashvili

ALL I WANT TO DO

Krlstlao Bash

Bobby Ploson

Bobby's &onc and Salvafe

Dirkplt Music

EMI -Blackwood Music, Idc.

Music of Stage Three

ALL SUMMER LONG

Kid Rock

Gary Rossin^on

Uncle Krscker

Ronnie VunZant

WuTcn Z«von

EMl-Loneitude Mumic

Qaje Music. Inc.

Robert James Ritchie Music

Soaga of Universal, Inc.

WBrner-Tamcrlanc PubUshing Corp.

ZevoD Music

ALREADY GONE

Krlstian Bush

Bobby Pinson

Bobby's Son^ and Salvafo

Dlrkpit Music

EMI-Blackwood Music, Inc.

Music of Stage Three

BACK WHEN I KNEW IT ALL
Gary Hannan
Phil O'DonneU
Chobe Music
Daphil Music

Gary Jamos Hannan Mn«lc
Immokaloe Music
Little Biscuit Music

BETTER AS A MEMORY
Lady Goodman
Midwest Midnight Music

CHICKEN FRIED

Z«c Brown

Wyatt Durretto

Angellka Music

Heart Above Your Head Music

Weimerhound Publlahlng

COUNTRY MAN
Luke Bryan
Jason Mattkewa
Bug Music

Murrah Music Corporation
Planet Peanut Music

DO TOU BELIEVE ME NOW
Dave Pabanish
Joe West

Songs For My Good Girl

Sony/ATV Tree

Totally Wrighteous Music

DONT
Jim Beavers
Benvertlme Tunes
Sony/ATV Ttcc

DON'T THINK I CANT LOVE
YOU

Keodoll Marvel
Jake Owen
Jimmy Ritchey
Jimbalaya Music
Marvel Man Music
Shiitake Maki PubUshing
Songs of Windswept Pacific
Univpiul Uuslf^-CHreers
Vfbe Room Music

EVERY DAY

Alissa Moreno

Jefb-ey Steele

Jef&ey Steele Music

My Own Parade Publishing

Songs of Universal, Inc.

EVERYBODY WANTS TO GO TO

HEAVEN

Jim Collins

Marty Dad son

Black to Black Songs

Hope N-Cal Music

Sexy Tractor Music

Song* That Sell

FEEL THAT FIRE

Brett Beavers

Brad Warren

Brett Warren

Bncky and Clyde Music

State One Music America

StyleSonic Music

GOD LOVE HER
Toby Keith
Vicky McOehee
EMI-Blackwood Music. Inc.
Franklin Road Music
Reservoir 416

COWGIRLS DONT CRY
Ronnie Dunn
Torry McBride
ShowbiUy Music
Sony/ATV Tree
Still Working Far The Man Music, Inc.
Turn Me On Music

GOD MUST BE BUSY
Clint Daniels
Michael Heeney
Sony/ATV Acufr Ro«e

GUNPOWDER & LEAD
Miranda Lambert
Heather Little
NashviUe Star Music
Sony/AT^ Tree
Tiltawhirl Music

HERE

Jeffrey Steele
Jeffrey Steele Music

HOLLER BACK
Tim James
Stokes Nielson
EMI-Btackwood Music, Inc.
Geoffrey Stokes Nielson

PubUstilng
T Bird's Music
War n ei - Tamerlane

Publishing Corp.

HOME

Alan ChsDC

Amy Foster

Almost October Sons*

Ihan Zhan Music

Songs of Universal, lac,

I SAW GOD TODAY
Rodney Clawson
Monty Criswell
Wade Kirby
Big Red Too Music
Blind Mule Music
Extremely Loud Music
Steel Wheels Music

I STILL MISS YOU
Tin Nichols
Contentment Music
Made For This Music
Warner -Tamerlane Publishing
Corp.

ITW STILL A GUY
Lee Thomas Miller
New Songs of Sea Gayle
Noah's LltUe Boat Music

IN COLOR
Jamey Johnson
Lee Thomas Miller
James Otto
Big Gassed Hittle*
Eldorotto Music Pnbllsliing
EMI-Bluckwood Music, Inc.
Lucky Thumb Music
New Songs of Sea Gayle
Noah's LitUe Boat Music
Wajner-Tamerbine PubUsbing
Covp.

JOHNNY AND JUNE

Heidi Newflcld

Stephony Smith

Big Hitmakers Music

Rainy Giaham Publishing LLC

Sou yet Music

JUST A DREAM
Steve McEwan |PRS)
Birds With Ears Music
EMI- Blackwood Music, Inc.

JUST GOT STARTED LOVIN'
YOU

James Otto
D. Vincent Williams
Eldorotto Music Publishing
Keith's Wild Bunch Music
Moon Maker Music
Warner -Tamerlane Publishing
Corp.

LAST NAME
Luke Laird
Carrie Underwood
Carrie Okie Music

LET IT GO

Tom Douglas

BiU Luther

Aimcc Mayo

Evansville Music

Little Blue Typewriter Music

Sony/ATV Tree

TomDouglasMusic

Universal Music-Careers

LOOKIN' FOR A GOOD TIME

Keith FoUese

Dave Haywood

Charles Kctlcy

DWHaywood Music

J am a nary e Music

Magic Midas

RADIOBULLETSPUBLISHING
Wamcr-Tamerlanc Publishing
Corp.

LOVE DONT LIVE HERB
Dave Haywood
Charles Kcllcy
DWHaywood Music
RADIOBULLETSPUBLISHING
Warner 'Tamerlane Publishing
Corp.

LOVE IS A BEAUTIFUL THING
Jeffrey Steele
My Life's Work Music
Songs of Windswept Pacific

LOVE REMEMBERS

Craig Morgan

PhU O'Donnell

Daphil Music

Immokalec Music

Magic Mustang Music, Inc.

Triple Shoes Music

LOVE STORY
Taylor Swift
Sony/ATV Ttee
Taylor Swift Music

PICTURE TO BURN
LU Rose
Taylor Swift
Cake Taker Music
Sony/ATV Tree
Taylor Swift Music

PUT A GIRL IN IT

Rhett AklDS

Dallas Davidson

Big Borassa Music LLC

EHl-Blackwood Music. Inc.

Rhettneck Music

RIVER OF LOVE

Billy Burnette

Shawn Camp

Dennis Morgan

All Mighty Dog Music

Burnctto A Billy Music

Little Shop of Morgansoogs

Sony/ATV Tree

StiU Wocking For The Man

Music, Inc.
Travelln' Arkansawyer Music

ROLL WITH ME
Clint Daniels
Sony/ATV Acufl* Rose

SHE NEVER CRIED IN FRONT

OF ME

Toby Keith

Bobby Pinson

Bobby's Song and Salvage

Music of Stage Three

Tokeco Tunes

SHE WOULDNT BE GONE
Jennifer Ad an
Cory Batten

I Want To Hold Your Songs
Tommy Jo Publishing

SHOULD'VE SAID NO
Taylor Swift
Sony/ATV Tree
Taylor Swift Music

START A BAND
Dallas Davidson
Big Borassa Music LLC

SWEET THING ^1
Keith Urban
Mary Rose Music
Songs of Universal, Inc.

TROUBADOUR
Leslie Satcher
Leslie Satcher Music

Sony/ATV Tree

TRYING TO STOP YOUR

LEAVING

Brett Beavers

Jim Beavers

Cake Taker Hnsie

Sony/ATV Tree

State One Music America

WAITIN' ON A WOMAN

Wynn Varblc

Waroer-Tamcrlane PubUahiii
Corp-

WE WERENT CRAZY
Josh Gracin
Tony Lopacinski
Bobby Pinson
Beautiful Monkey Publish]
Big Mouth Music
Bobby's Song and Salvage
Music of Stage Three

WHATKINDA GONE

Chip Davis
Foxxyboy Music

YOU LOOK GOOD IN MY 8
Tony Martin
Mark Neslcr
Tom Shapiro

EMI-Blackwood Music. Inc
N ashvistaviUc Songs
NEZ Music
Sony/ATV Tree

YOU'RE GONNA MISS THI
Lee Thomas Miller
Noah's Little Boat Music
Songs of Sea Gayle

BHI.C

VIRTUALLY INDISPEN

Cni

Billboard

ON THE CHARTS

THE BlUBOARD 200

CARRIE UNDERWOOD /

TOP HOUDAY

ANORA BOCBXI /

TOP DIGITAL

CARRIE UNDERWOOD /

TOP l^r^ERNET

ANDREA BOCEUI '

HEATSEEKERS ALBUMS

SERENA RYDER y

TOP COUMTRY

CARRIE UNDERWOOD/

TOP BLUEGRASS

PATTY LOVELESS '

yni -1 ■■

TOP RftB/HHMlOP

MICHAEL JACKSON.'

VII.-'- ■ -'iinsiTlSOUHDTfUCPI)

TOP CHRISTIAN

STVEN CURTIS CHAPMAN/

TOP GOSPEL

BEBE A CECE WINANS;

TOP DANCE/ELECTRONIC

otvLcmr/

OCWtEVfS

TOP TRADITIONAL JAZZ

MICHAEL BUILE /

)P CONTEMPORARY JAZZ

CHRIS BOTTI/

P TRADITIONAL CLASSICAL

CECHJA BARTOLI/

IP CLASSICAL CROSSOVER

ANDREA DOCELLI '

TOP WORLD

F400RIGO VCABRIELA/

TOP LATIN

HlHITANAZARn/

k SONGS

PlUSf

ARTIST / IITIE

THE BILLBOARD HOT 10O

OWL CITY /

HOT 100 AIRPLAY

LAOYQASA/

fWWUZS

HOT DIGITAL SONGS

HEATSEEKERS SONGS

mnwiuii unBcni /

muTELWR

MAINSTREAM TOP 40

UW* BAH/

PM>MWa

ADULT CONTEMPORARY

TAYLOR SWIFT /

ADULT TOP 40

KINGS OF LEON

ROCK SONGS

FOO FItiHTEHS

ALTERNATIVE

TRIPLE A

JOHN MAYER /

HOT COUNTRY SONGS

CARRIE UNDERWOOD /

UNSTREAM R&B/HIP-HOP

JAY-Z + ALICIA KEYS /

RHYTHMIC

JASON OERUlO/

ADULT R«B

42]

HAXWEU/

BAD HUTS

HOT RAP SONGS

JAY7 + ALICIA KEYS /

lOT H&B HIP-HOP SONGS

JAY : + ALICIA KEYS/

CHRISTIAN SONGS

TOBYMAC /

■■• -MUKPLNUS

)T CHRISTIAN AC SONGS

TOBYMAC /

CHRISTIAN CHR

TOBYMAC /

. !■■ . ■. .'..tJ >N((«

HOT GOSPEL SONQS

BEBE & CECE WINANS/

lOT DANCE CLUB SONGS

•pet SHOP BOYS

HOT DANCE AIRPLAY

IlESTD & SNEAKY SOUND SYSTEM/

SMOOTH JAZZ SONGS

PETER WHITE

HOT LATIN SONGS

ALEJANDRO SAN2 FEATURUK ALICIA KEYS /

lOT MASTER RINGTONES

JAY-Z * ALICIA KEVI/

. i LIAIE OFMWD

■lis WEEK ON .Mz

ARTIST / TITLE

> INDEPENDENT ALBUMS

THE SWELL SEASON/

roP MUSIC VIDEO SALES

»1

NIRVANA ;

HOT VIDEOCLIPS

FOO FIGHTERS

TOP DVD SALES

ICE AGE. DAWN OF THE DINOSAURS

CONTENTS

I PFKONT

5 COMING ATTRACTIONS

A new crop of concert
films is headed to U.S.

8 On The Road
10 Latin

FEATl RES

COVER STORY

"11 COME TOGETHER Billboard s Publishers Quarterly
focuses on the power of collaboration— be it two stars from
disparate genres working together or a group of songwriters
H heading off to "song camp" to write the next hit.

12 THE IMPORTANCE OF BEING EARNEST When Rivers Cuomo
dons his Snuggie and writes songs for Weezer. he does it out
of love for his fans. Really.
15 THE BILLBOARD Q&A After writing two songs for Weezer's
"Raditude. ■ Jermaine Dupri wants to keep rolling with rock.
J 16 EMI STAYS ON TOP For the third straight quarter, publisher

snares most U.S. airplay for top songs,
, , 18 CONTINENTAL DRIFT Pan-European licensing inches closer.
I 20 10 SONGWRITERS. FIVE DAYS. THREE RECORDING STUDIOS.

\ ONE TATTOO OF AN MPC SAMPLER How EMI Music

Publishing uses its talent to brainstorm the next hit song,

23 HYBRID THEORY In search of songs, peermusic nurtures
cross-cultural collaborations.

24 THE BILLBOARD Q&A Universal Music Publishing Group's
' David Renzer hails new digital opportunities but warns of

challenges for mechanical and performance income.

\irsic

25 SURVIVAL OF THE

FITTEST Jimmy Wayne
pulls himself up by his
(cowboy) bootstraps.

27 6 Questions: Rakim

28 Reviews

30 Happening Now

IN i:\ Kin

ISSl K

4 Opinion

32 Marketplace

33 Over The Counter

33 Market Watch

34 Charts

49 Backbeat. Inside Track

ON THE COVER: Rivers Cuomo and Jormstno Dupn pholO(|r.iphL<d lor Billbo.lrd by En
Patrice O'Brien, c.hoomiw.hv c.«Ji.;nNr MFI?5rLK/hii 1 1 Kn(>(>-.( (.M

Online

NEW BILLBOARD.COM

Check out the new exclusive
content on Billboard.com,
including behind-the-
scenes video from the
Billt>oard cover shoot with
Weezer's Rivers Cuomo and
Jermaine Dupri. Plus, John
Mayer talks about his new
album and tour.

PHOTO GALLERY

Take a look at Billboard's
online photo gallery for
shots of Monsters of Folk
performing live in New York,
with M. Ward, Mike Mogis,
My Morning Jacket's Jim
James and Bright Eyes'
Conor Oberst showing off
their acoustic moves.

Events

MUSIC AND MONEY

Join members of the music,
legal and financial
communities March 4, 2010,
at the St. Regis in New York
to explore challenges and
key opportunities shaping
the future of the music
business. More: billboard
musicandmoney.com.

NOVEMBER 21, 2009 I www.blllboard.blz

Billbo«rd

OPINION

EDITORIALS COMMENTARY LETTERS

The Deals Of The Future

360 Contracts Could Point The Way Forward-
But The Business Needs To Do More

BY AL BRANCH

As a result of the significant decline in
album sales, record labels are exploring
new and drastically different business
models. The model du jour is called a 360
deal, which allows labels to get income
from live performances, merchandise
sales and other revenue streams. Al-
though none of my clients are signed to
such a deal, this model could help revo-
lutionize the label as we know it by giv-
ing it a way to make up for the loss of
revenue from sales of recorded music.

Some industry executives believe these
deals go too far. But it's also possible they
don't go far enough — that ultimately la-
bels will need to evolve into full-service
entertainment firms that use music as an
entry point — and sometimes a founda-
tion— to an artist's career. On the surface,
this might sound like the work of a well-
connected manager. But the majority of
managers wouldn't be able to provide the
same level of finances or staff. In con-
trast, one of these full-service entertain-
ment firms could work like a well-oiled
machine to discover, shape, nurture and
position artists into superstars while max-
imizing their earning potential — and
turning a profit at the same time.

It's no secret that labels have plenty of
qualified, passionate, influential execu-
tives. Many of them can see an artist's po-
tential before others. Most can also
develop an artist's sound, voice and image.

So what happens then? These days,
once an artist develops a rabid fan base —
and fans can't get enough of his sound
and style — his management works with
agents to find lucrative, fulfilling oppor-
tunities. If the system works, they make
deals with major companies to sponsor
existing products — or make new ones —
in a way that makes the artist money and
brings in new fans at the same time.
Meanwhile, the label is stuck with a
recorded-music project that doesn't have
the same kind of revenue potential.

This isn't a cry -me-a -river story. If la-
bels had stepped in with their own staff
to fund and create these opportunities,
they would reap the benefits and get the
chance to cash in on their multimillion-
dollar investments.

Now more than ever, artists are brands
waiting to be discovered and defined. Su-
perstars can go on to sell movies, cloth-
ing and just about anything else, often
while the label waits at the door. Often,
these outside endeavors are funded by
other entities that haven't made similar
sacrifices in terms of time and dollars.

4 1 BILLBOARD I NOVEMBER 21, 2009

Superstars can go on to sell movies,
clothi ng and jiisl about anythi ng
else, often while the label wails
at the door.

The full-service entertainment firm of
the ftiture will not only bankroll the ideas
of superstars, it will hire qualified exec-
utives to maximize the resulting profits.

Labels can no longer sit by and operate

in uncertainty. They must convince artists
and managers that they see them as part-
ners and are willing to put their money
where their mouth is.

This is certainly possible. Already, man-
agers and other organizations realize that
artists can sell jeans and other consumer
products. Recent research from Pricewa-
terhouseCoopers shows that consumers
have a propensity to buy products endorsed
by musicians more than other celebrities.
Labels have always known that, but they
haven't been able to take advantage of it.
They should focus more on triple-threat
artists who are talented at performing
(whether that's singing or rapping) , creat-
ing (whether that's writing or producing)
and acting. Labels that sign these types of

talents won't have to depend solely on

record sales to make a profit. Instead, they
can guide the careers of artists in the ways
that will matter most to their bottom lines.

Artists are more viable now than ever.
Whether it's Facebook, MySpace or Twit-
ter, people can't leave home without their
music. From Barbra Streisand and
Madonna to Will Smith and Jay-Z, music
has always been the gateway to larger ca-
reers— a way to create superstars. These
days, these talents aren't always evident
from album sales. So it's up to labels —
or. rather, the full-service entertainment
firms of the fiiture they will evolve into—
to harness their brands and use them to
create new businesses. • • • •

Al Branch is CM for the management
jxrm Hip Hop Since 1978, whose roster
includes Kanye West. Lit Wayne. Drake.
Youngjeezyand theproducers Noah "40'
Shebiband Just Blaze.

WRITE US. Share your feedback with Billboard readers
around the world. Send correspondence to ltttt«rsg blllboard.com.

Include name, title, address and phone number for verification.

SUBSCRIBE ■ Go to bill board, biz/subscrl be or call
800-658-8372 (U S. toll free) or 847-559-7531 (International).

EDITORIAL

EXECUTIVE EDITOR: ROBERT LEVINE 646-6S4-4707

DEPUTY EDITOR: Louli Hau '>-l&6Sd-470e

SENIOR EDITOR Am Dorahu* S25-2292

SPECIAL FEATURES EDITOR; Thom DuTTy 646-e54-47ie

INTERNATIONAL BUREAU CHiEf : Hwk Suthtrtind 0I1-44-207-420-61SS

MUSIC EDITOR: Cortnvy H«rdtng ( -i'.. 6S4 5592

BILLBOARD.BIZ EDITOR: Chrl« M. Wsllh f.4f.-6ri4-4904

EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR LATIN MUSIC AND ENTERTAINMCNT: L*H« CobO (Mi#ni> lOS-U
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOURING AND UVE ENTERTAINMENT: Ray Wdddl (Nuhvlll*) 61!
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR DIGITAL/MOBILE: Antony Bruno ttJ^nwr) 303-771. 1542
SENIOR CORRESPONDENTS: Ed Chrlstman [~, vfi r>4S-6Sd-4723
Gall Mltclwll . ■ Tom F«gu»on i Deputy Gtobal EtJilor) 011-44-207-42

SENIOR EDITORIAL ANALYST: Glcnn P»Opl«» i ■■.iples.flOilltXJard Ctyn
CORRESPONDENTS; Ayala B«»-Y«ho{t» ^L.j: i: _v 5-S25-2295: HHcImI Pitm 323-52S-Z
INTERNATIONAL L*n Brandt* .A«i-;c>dl^) WotTBino IpMr (Garrrwny), nebartThOMPM
GLOBAL NEWS EDrTOR: Andr* Pain* 011-44-2OT-420-6O68
COPY CHIEF: Chrft Woodi
COPY EDITOR: Cttrlita Titua

ASSOCIATE EDITOR. SPECIAL FEATURES: Evta NaQV 641:. 05-1 -ITC'.
CONTRIBUTORS: Jim Bauman. Larry Btumanfakl, Julana KoranMng, Korrl Mason,
Deborah Ivan* Prtca, Paul Saito«i, IMwa Trakman, AnaalMla TUoulcaa, Kan Tuchar
SPECIAL PROJECTS MANAGER: KrlcUna Tunzi

BILLBOARO.COH
BILLBOAR0.COM EDITOR: JESSICA LrTKEMANN 64&-6M
BILLBOARD.COM NEWS EDrrOR: DavM J. Princ* 646 6S4 -5582

niAOARaCOM ASSOCIATE EDITORS: HarM Conoapdon 646^94-4780. Monka Hmn 64)

DESIGN A PHOTOGRAPHY
CREATIVE DIRECTOR: CHRISTINE BOWER-WRIGHT

PHOTO EDITOR: Amalla Harvanon SENIOR DESIGNER: Orag Orabowy

CHARTS A RESEARCH
DIRECTOR OF CHARTS: SILVIO PICTROLUOHGO
ASSOCIATE DIRECTOR OF CHARTS: Raphaal Goorg*

SENIOR CHART MANAGERS: Katth Cwlftald i T Me Billboard 200, C^L Conip>lat«or>s. Dl

Aiiiiij" . i'--r Mii-i .,■11 i.-r-i, inieme!, Pop Catalog. SoufKliracki, L.A.),

WadaJatMn ' . <- : Govo«l. hUtrvmllfl}

CHART MANAGERS: Bob Allan . r ■ .<e Nashvilie), MpllMl OMtV* (Blues. R&B/Hlp-
■ 1 !■ Gordon Murray ''i<-dy Dor>c«/Elac1ronlC. JAZZ. N«w A0«. RingtM

! Silvio PlatroluonBO The B-llboard Hot ICO D<grfalSor>os>.nwlM
ss>cai. Kid Audio. Video]

INTERIM CHART MANAGER: Rauly Ramlraz (Ldlir»
CHART PRODUCTION MANAGER: Michaal CttSSOn
ASSOCIATE CHART PRODUCTION MANAGER: Alaii VHouHs
BILLBOARD RESEARCH MANAGER: Gordon Murray 646 6S4-46.S}
DiorTAL

VICE PRESIDENT. DIGITAL: JOSHUA ENGROFF
DIRECTOR. MARKET DEVELOPMENT: Eric Ward
MANAGER, MARKET DEVELOPMENT: JuMtn Harris

ADVERTISING SALES

VICE PRESIDENT, SALES/ASSOCIATE PUBLISHER: JEREMY LEVINS b46 6b4 4627
NATIONAL SALES DIRECTOR/DIGITAL < CONSUMER: Daroli S«ntr»ar f-lb 654 46--G
EAST COAST SALES DIRECTORS. PRINT: Chrinophor Robbint i .-i' :',--< Ondy Htta 6

DIRECTOR. BUSINESS DEVELOPMENT S EAST COAST SALES: b-lb bb-i
EAST COAST SALES DIRECTORS. DIGITAL: Antonio Amato ' 44^ 6&4 4688. ftywi BWctl 64
DIRECTOR. SPECIAL FEATURES A WEST COAST SALES: Akl KanMe 32}'525-2299
MIDWEST SALES DIRECTOR. DIGITAL: Alana ScMHka itj S83-S5M
WEST COAST SALES DIRECTOR. DIGITAL: Caiay Dannalry (323) 525-2237
NASHVILLE: L«« Ann Phologlo ti^b i 7c iLdiH^si Cynthia Mallew ei5-SS2-026S (To
ADVERTISING DIRECTOR DETROIT: Kathy Vargo ,'4m lia? 9108
ADVERTISING DIRECTOR EUROPEA>.K-: FradMlc FWIUCd 011-44*207-420-6075
INSIDE ACCOUNT REP: Jaff SarratM i -iG G54-4697
MANAGING DIRECTOR/LATIN: Oana Smith 973-746-2S20
LATIN AMERlCA/MIAMf: Marcla Ollval i05«4-757a Fax- 30S*64-S227
ASIA-PACIFIC/AUSTRALIA; Unda Matlch 612 9440-7777. Fax: 612-9440-7788
JAPAN: Akl Kanako

MANAGER OF SALES ANALYTICS: Mima Oomaz &46-654-4e9S
ADVERTISING COORDINATOR: AlaR*r>dra Haru G4&-654-558)
MARKETING

SENIOR MARKETING DIRECTOR: LILA GERSON &46-654-4629
EVENT MARKETING MANAGER: Nkoia CartMma 646-654-4634
SENIOR MARKETING MANAGER: Jamai Crati 646-6&4-S4B9
MARKETING MANAGER: Karri Bargman t>46 654. 4617
SALES/MARKETING ART DIRECTOR: HaUsaa Subalch
SALES/MARKETING DESIGN MANAGER: Kim Gfsilng

AUDIENCE MARKETING
AUDIENCE MARKETING DIRECTOR: NEIL EISENBCRG
ASSOCIATE AUDIENCE MARKETING DIRECTOR: Unda Lam
MiBSCRIPDONS: BOO-65B-fl.sr? t.jII fl47-55?t-7531 (mtamatiorial) or nbOigK

LICENSING. EVENTS ft REPRINTS
VK:E president, business development a licensing: ANDflCW MIN
EXECUTIVE DIRECTOR. CONFERENCES i SPECIAL EVENTS: MICHELE JACANGELO
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabala Marquai <
SPONSORSHIP SALES MANAGERS: Matthaw Carona o.lb bS4o '5 Kim Orlfflttis
SPECIAL EVENTS DIRECTOR: Margaret O'Shaa
SPECIAL EVENTS MANAGER: Usa DfAntonlo
EVENT CLIENT SERVICES MANAGER: Courtrwy Marfcs
DIRECTOR, LICENSING « CUSTOM MEDIA: Diana DrhcoH 6-tb-&S4'4677
MANAGER. INTERNATKTNAL UCENSMG • SALES: AngaMna Blashauval ar^r% t>«t>ein«t
MAGAZINE REPRINTS: Angla VaivGordar i-Bra-^O 5460 Exl 176 of BagitiwYGSgr

PRODUCTION
PRODUCTION DIRECTOR: TERRCNCC C SANDERS
ASSOCIATE PRODUCTION DIRECTOR: Anthony T. StalNf>BS
ASSOCIATE PRODUCTION MANAGER: Rodgar Laorurd
OPERATIONS

GROUP FINANCIAL DIRECTOR: BARBARA GRIENINOIR 646-654-467S
HUMAN RESOURCES DIRECTOR: BILL PINTON
LEGAL COUNSEL: MARK MILLER
DISTRIBUTION DIRECTOR: Lou BradBald
PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: Dana Parra 646-654 -1696
VICE PRESIDENT. MANUFACTURING AND DISTRIBUTION: Jannlfar Orago
VICE PRESIDENT. AUDIENCE MARKETING: Joanna Whaatlay

BILLBOARD OFFICES
LOS AHOCLES: tObS \\' isf '6
B -.-). LO-. An.jcle^ CA ■.'OOifj

[■a. 3^'i-'b2S-'2394,'i-595

MIAMI: 101 Crarxlon Blvd..
Suit« 466. Kay Biscayrw. FL
33149 Ptione. 30S- 361-5279
Fan 305-361-5299

SENIOR VICE PRESIDENT, THE ENTERTAINMENT GROUP
OERRY BYRNE

The Mollywooa ReoorU-t * Bi' UjhU ■ Rark • Film Jo*jiri*i internatonal

TheSookseiler • KirVi.-s Revie^vs - 5.rii->VVe'.I • r.'u>.vfM'-l • C ifir^A F.[vi lrMPfrv»tioial

PRESIDENT: Gr«g Famr SENIOR VICE PRESIDENT. HUMAN RES
Mkhaal AHcaa; SENIOR VICE PRESIDENT. BRAND MEDIA: An«
Bilbao; SENIOR VICE PRESIDENT, MEDIA & ENTERTAINMENT:
Nwlsen Butir>eSS Media Bym*; SENIOR VICE PRESIDENT, FINANCE Sloan* Ooogln. SE
VICE PRESIDENT. RETAIL: DavW Lo«iw>ar; SENIOR VICE PREI
CONTENT; Scott McKanzia; SENIOR VICE PRESIDENT BUILDING A DESIGN: Joa Randall;
VICE PRESIDENT, CENTRAL SERVICES: Mary Kay Suitak; CHIEF OPERATING OFFICER.
ENTERTAINMENT: Howard Appalbaum; VICE PRESIDENT, MANUFACTURING ft DISTRIBt
JannHar Grago; VICE PRESIDENT LICENSING: Andraw MIn; VICE PRESIDENT. CUENT MA
StM T>aml>lay; VICE PRESIDENT. AUDIENCE MARKETING: Joanna Whaatlay

NEW YORK; B'c^u.s
New. ••r.'^ MV -.'njCl

pfoccr G4t:-t:r-.;-4{ioo
Edil Fa. fa4b-bb4-4b8'i
Adv fax 646-654-4799

nielsen

BY AYALA BEN-YEHUDA

Love you live: Stills from new
concert films featuring (from left)
DAVE MATTHEWS BAND, KENNY
CHESNEY and THIRD EYE BLIND.

COMING ATTRACTIONS

A New Crop Of Concert Films Is Headed To U.S. Cinemas

After playing a handful of sup-
porting roles in movies like "Be-
cause of Winn-Dixie" and "You
Don't Mess With the Zohan,"
Dave Matthews will soon ap-
pear on the big screen in a star-
ring role as himself.

Coming to a movie theater
near you: the Dave Matthews
Band in concert, brought to you
by AEG.

The film is part of a new crop
of concert movies featuring
Kenny Chesney. Qeed and other
acts that are headed to U.S. cin-
emas, fueled by demand from
theater owners looking to fill
seats and artists, managers and
promoters seeking new ways to
reach fans and monetize their
touring business.

AEG 's Network Live division
has teamed with Action 3D to
shoot artist performances at its
own festivals, such as All Points
West, and some it doesn't pro-
mote, like C3'$ Lollapalooza and
Austin City Limits. With 56 per-
formances so far in its library,
AEG will release the first of its
feature-length movies in the-
aters Dec. 11-17. The movie
compiles performance footage
from Dave Matthews Band. Ben

Harper & Relentless? and Gogol
Bordello on 300-400 screens.

Network Live president |ohn
Rubey — whose division was
already shooting 2-D footage
for webcasting, mobile video,
cinema and on-demand TV
release — .says the company got
onboard with 3-D when Action
3D's technology brought the
cost down significantly. Also,
"the owners of C3, AEG Live
and Goldenvoice bought into
the strategy that the only way
to scale this is to put it all in
one bucket." Until now, 3-D
concert films have been "a one-
off business."

With the exception of the
Hannah Montana/Miley Cyrus
"Best of Both Worlds Concert
Tour" movie, which grossed
S70.6 million worldwide, ac
cording to Box Office Mojo, the-
atrically released 3-D concert
movies have yet to show a con
sistent track record of success
The |onas Brothers" "SD Con
cert Experience," released in
February, pulled in $23 million
worldwide, while last year's " U2
3D" grossed S16.6 million.
Both were considered relative
box-ofBce disappointments.

AEG/Action 3D's concert
films will have more limited
runs and lower production
costs than those movies, or
other major releases like the
Rolling Stones' 2008 IMAX fUm
"Shine a Light," which was di-
rected by Martin Scorsese, or
the recent Michael Jackson doc-
umentary "This Is It."

"We are many, many times
smaller than the production
budget for U2,'' Action 3D
chairman Jeff Lewis says, not-
ing that the footage comes from
single performances — without
cobbling together different
dates by the artist or adding spe-
cial effects in the studio.

Fueling demand for more 3-D
content are movie studios and
theater owners, who are look-
ing to fill seats midweek or dur-
ing non-summer months when
there aren't as many block-
busters to draw people in. Ex-
hibitor Relations analyst Jeff
Bock says. Theater ovmers also
want to offset declining atten-
dance by charging a few dollars
more per ticket for a 3-D expe-
rience that DVDs can't offer.

Sony Worldwide Distribu-
tion president Rory Bruer ex-

pects high pet-screen averages

for Chesney's limited-engage-
ment concert movie. "Summer
in 3D." filmed during the
artist's Sun City Carnival tour
Bruer expects the film to be
shown on at least 750 screens
in April, with seven or eight
showings per screen.

Chesney's is the first artist
concert film released by Hot
Ticket, the Sony division cre-
ated to release theater, sports
and other live entertainment
at multiplexes. In a com-
pletely separate initiative,
Sony Electronics has launched
a "Sony Club Dates" series of
high-definition concert films,
which debuted in theaters last
month with Third Eye Blind.
Creed is next in line for the se-
ries, with a one-night-only
showing on about 50 screens
in early December of a recent
concert in Houston.

Mike Fidler, senior VP of
digital cinema solutions and
services for Sony Electronics,
said there would be six "Club
Dates" by March in the pro-

gram's initial pilot run. The
idea is for each release to also
be available for a limited win-
dow as an exclusive on-demand
product on Sony's Bravia In-
ternet video platform for Blu-
ray players and Bravia TVs.

Sweetening the deal for par-
ticipating artists on concert
films is the ability to release
them on DVD, as Creed plans
to do. Creed manager Paul
Geary says the band received
a $250,000 advance for "Creed
Live" against royalties for sales
and licenses associated with
DVD sales. "The theater (run]
was a by-product of the initial
idea" for a concert DVD,
Geary says.

"[Creed] can make more in
one concert date than they can
from producing and releasing
a film like this." Geary says,
adding, however, that "only a
small fraction of the people who
will ever hear your music or buy
your album will see you live.
TTiis is a way to get out there far
beyond the reach the band will
ever have." • ■■

■1^

MOBILE: For 24/7 news and analysis on your cell phone
or mobile device, go to: mobilv.blllboard.biz.

NOVEMBER 21, 2009 1 www.btllboard biz I 5

THE
LATEST
NEWS
FROM

iT> ■
S|«^|a«

www.billboard.biz

>>>JONAS
BROTHERS BACK
TO DISNEY

The Disnoy Channel
ordered a second season
of the Jonas Brothers'
comedy series "Jonas."
Production on season two
is slated to begin in
February for a midyear
premiere. It will follow
Kevin, Joe and Nick Jonas
as they set out on a
summer vacation in Los
Angeles that leads to them
landing gigs in show
business. In real life, the
brothers are in Italy as part
of the European leg of a
world concert tour.

>>-IBIZA ROCKS
EXPANDS INTO
MALLORCA

Ibiza Rocks, an annual
music event on the island
of Ibiza, will expand to the
Spanish island of Mallorca
in 2010 with the opening
of the 330-room Mallorca
Rocks Hotel in Magaluf. It
will be based on the same
model as the Ibiza Rocks
Hotel, which launched in
2008 to offer
accommodations and live
music in one location as
part of a travel package.
Formerly known as Club
Paraiso, the hotel was
reopened as Ibiza Rocks
Hotel in May 2008 with an
open-air stage at the
center of the building.

>>>BEST BUY
CLEARS SPACE
FORDR. DRE

Best Buy partnered with
Monster Cable and Beats
by Dr. Dre headphones to
launch its new in-store
"Club Beats" area. The
retailer is creating a new
section in all its stores
where consumers can
sample the latest audio,
music, entertainment and
technology products
including OJ equipment,
mixing software,
turntables, headphones
and laptops. To help
promote Club Beats. Best
Buy will host a series of
events featuring
appearances from artists
like Dr. Dre, Lady Gaga and
Will.i.am.

Compiled by Chris M.
Walsh. Reporting by
Nellie Andreeva. Ayata
Ben-Yehuda, Alex Palmer.
Glenn Peoples. Mike
Shields and Reuters.

Rank
And File

Billboard 200, Top R&B/Hip-Hop
Albums Charts To Implement
Changes

starting next month, the Billboard 200 will shift from
a ranking of the top-selling current albums in the
United States to an all-inclusive list of the top-sell-
ing altHjms In the country, regardless of release date.
The change will take effect with the 2010 chart year,
which starts with the Dec. 5 issue.

The Billboard 200 will be based on Nielsen Sound-
Scan sales data that has been used to compile the Top
Comprehensive Albums chart, which has appeared
in the magazine periodically this year and has been
available on billboard.biz for the past three years.

Replacing the Top Comprehensive Albums chart
online will be Top Current Albums, which will use the
same current/catalog criteria applied to the Billt>oard
200 since 1991. Under those criteria, the chart ex-
cludes any album that ranks below No. 100 on the
chart, is more than 18 rmnths old and doesn't have a
current charting single at radio. While those rules will
no longer apply to the Billboard 200, they will remain
in effect for all other current-based album charts.

"The events of 2009 and the continuing creativ-
ity In the repackaging of catalog titles have led us
to conclude that the Billboard 200 would be best-

i
i

served presenting
the true best sellers in the coun-
try, without any catalog-related
rules or stipulations, to our read-
ers, the media and music fans," says Billboard direc-
tor of charts Silvio Pietroluongo. "The ability of con-
sumers to impulsively purchase new or catalog titles
electronically has changed music sales behavior.
There is a nK>re immediate cause and effect between
artist exposure and album sales in this day and age,
and the Billboard 20O should reflect this activity, re-
gardless of an album's release date."

If last week's Billboard 200 had been based on
overall sales, catalog titles would have accounted for
11 entries in the top 100 and 35 on the entire chart.

"The comprehensive chart that Billboard is pub-
lishing provides an extensive overview of all sales
and popular taste and culture," says Nielsen Enter-
tainment president Eric Weinberg. "Nielsen Music
and SoundScan remain committed to developing
methodologies that accurately reflect our industry
and its ongoing changes and evolution to the bene-
fit of our clients."

Billboard is also implementing changes in charts
that have been based on sales data from the R&B
Core Store Panel, a select group of retailers that spe-

cialize in urtian music. Effective wti
the Dec. 5 issue, the Top R&B/Hip-Hop A
bums chart will no longer be based on store pan
sales and will Instead reflect album sales of current I
ties at all U.S. retailers. As a result, the chart will t
compiled In the same manner as Billboard's countr
Latin and jazz album charts. Other charts that ha\
been based on R&B Core Store Panel sales— inclui
ing Rap Albums, R&B/Hip-Hop Catalog Albums ar
R&B/Hip-Hop Singles Sales— will also be rankc
based on sales at all retailers.

Lastly, Billboard is launching a new Folk Atbun
chart that will track SoundScan sales data for ne
releases from acts like Joan Baez, Ani DiFranco ar
Monsters of Folk, as well as appropriate titles t
acoustic-based singer/songwriters like Carly Simo
Rosanne Cash and Joshua Radin. The 15-positlc
chart, which will be managed by Gary Trust, will n
periodically in print and appear weekly on blllboai
.biz and bl liboard.com.

'The Folk Albums chart will reflect retail activity
a niche genre with a rich history," Trust says. "Fo
artists are among the most insightful songwrite
and intimate storytellers in music and we're proi
to offer a chart highlighting their sales achievement!
Trust can be reached at gtrust a billboard.com.

.biz

For 24/7 newi and
arotysis on your
mobile devkv, go to:
m^UJilllbeanlbls

BILLBOARD PARTNERS WITH
FOX FOR NEW YEAR'S EVE
SPECIAL

Billboard and Fox will ring in 2010 with
"Billboard's New Year's Eve Live," a spe-
cial broadcast of musical performances
from the Las Vegas Strip by hot acts on
the Billboard charts. The live 90-minute
broadcast will air at 11 p.m. ET (and on
tape delay in other time zones) and in-
clude archival footage of the most
memorable performances from the Bill-
board Music Awards, as well as a top
10 countdown of the year in music,
movies and TV. The special will also
broadcast from New York, where it will
cover the ball drop in Times Square.

Hosts and musical guests will be an-
nounced shortly. The broadcast will be
executive-produced by Bob Bain, pro-

duced by Paul Flattery and dir
Michael Dempsey.

BILLBOARD'S LEILA
COBO PUBLISHES
DEBUT NOVEL
Leila Cobo, Billboard's ex- <
ecutive director of con- |
tent and programming
for Latin music and enter-
tainment, recently pub-
lished her first novel, 'Tell
He Something True." Pub-
lished by the Grand Central
imprint of Hachette Book
Group, the novel explores
the experience of a young
Colombian woman named
Gabrlella who discovers the
diary of her deceased mother

BILLBOARD I NOVEMBER 21. 2009

and learns that she had been secretly
involved in a passionate love affair. As
Gabriella's own romance with an allur-
ing mobster heats up, she seeks
the truth about the night her
mother died: Was she plan-
iting to end the affair or leave
, her family forever?

The novel has been
praised by Booklist, Pub-
lisher's Weekly and Exam-
iner.com and was named a
New Voices Pick in October
by the book distributor In-
gram Book Group. To pro-
mote the book, Cobo re-
cently took part in a panel
at the 24th annual Hispanic
Women's Conference in
Phoenix and will be

signing books Nov. 15 at the Miami Bo<
Fair International.

'Tell Me Something True" is availat
at bookstores everywhere, includir
Amazon and BN.com. For more infc
mation, go to leilacobo.com.

BILLBOARD TO LAUNCH
JAPAN MUSIC AWARDS
The first Billboard Japan Music Awar
will be held Jan. 31 in Tokyo and broa
cast live on Next Fuji, a cable channel
Fuji Television.

The inaugural event will hon
Japan's top recording artists in 20(
based on the Billboard Japan char
and votes from music fans. The chat
include the Billboard Japan Hot 10
which ranks songs based on retail at
airplay data. The chart was launch)
by Japan-based Hanshin Contents Ui
(HCL) and Billboard in 2008.

Chart-based awards will be pr
sented in a variety of categories, i
eluding Hot 100 song. Billboard 2C
album and new artist of the ye.
Awards to be determined by fan vot
include best artist of the year and se
arate hormrs for the best artists in pc
classical, jazz and indies.

The Billboard Japan Music Awar
and the Billboard Japan charts are p<
of a master licensing agreement th
Billboard publisher Nielsen Busine
Media and HCL entered in 2006. •

SOL

PIflHNEXT BIG THI

Specialized Wealth Management for the Music Industry

After 20 years of serving the music industry, our financial advisors know exactly what it takes to get and stay on solid
ground. We can help you streamline your cash flow, manage your assets, and most importantly, create a plan designed to
provide financial stability on the road ahead. For more information, call Thomas Carroll, Senior Vice President, Sports and
Entertainment Specialty Group, SunTrust Investment Services, Inc., at 404.724.3477 or visit suntrust.com/talent.

Royalty and Catalog Lending Financial Planning Retirement Planning Investment Management

SunTrust

Live Solid. Bank Solid.

trities and Insurance Products and Services: Are not FDIC or any other Government Agency Insured - Are not Bank Guaranteed ■ May Lx^se V^lue

las Carroll is Senior Vice President SunTrust Investment Services, Inc , and Managing Director of SunTrust s Sports and Entertainment Specialty Group.

rust Sports and Entertainment Specialty Group is a marketing name used by SunTrust Banks, Inc , and ttie followir>g affiliates: Banking and trust products and services are provided by SunTrust Bank. Securities, brokerage
;»s, insurance (inciudtng annuities and certain life insurance products) and other investment products and services are offered by SunTrust Inves^ent Services, Inc.. an SEC-registered investment adviser and broker/dealer
) member of FINRA and SIPC Other insurance products and services are offered by SunTrust Insurance Services, Inc a licensed insurance agency

>9 SunTrust Banks Inc SunTaist is a federally registered sen/ice mark of SunTrust Banks. Inc. Live Solid. Bank Solid is a sen/Ice mark of SunTrust Banks. Inc.

IIPFROMT

BY KEN TUCKER |

Country Comfort

The CMA Awards Honor Taylor Swift Amid
Strong Overall Country Sales

Taylor Swift wasn't the only country artist with something lo cel-
ebrate at the the 43rd annual Country Music Assn. (CMA) Awards.

While Swift went home with the biggest awards haul, includ-
ing entertainer of the year honors (billboard. biz, Nov. 11), coun-
try music executives had good reason to pause and give thanks
for what has been a remarkably stable year in terms of sales.

Year to date, country album sales in the United States have to-
taled 35.2 million, down just 0.9% from the same period last year,
according to Nielsen SoundScan. That compares with a 13.2%
year-to-date plunge in overall album sales.

Country sales have been buoyed not only by the blockbuster
success of Swift's "Fearless." which has sold 4.2 million copies
in the States since its November 2008 relea.se. but also by hit al-
bums from the Zac Brown Band. Lady Antebellum, Jason Aldean.
Sugarland and other acts.

Weekly sales are now poised to experience their customary
post-CMAs boost, although it's highly unlikely the gain will ap-
proach the 47% surge that country album sales enjoyed during
the week of last year's CM As, which coincided with the release
of "Fearless."

By becoming the CMA's youngest winner of its entertainer of
the year award, the 19-year-old Swift further cemented her status
as a mainstream media star who transcends her genre.

After serving as an opening act in 2008 for most of her fel-
low entertainer of the year nominees. Swift stepped up to arena
headliner status this year. She raked in nearly $23.7 million in
grosses from attendance of 501,999 to 43 shows reported lo

Billboard Boxscore, and Swift
was a finalist for the break-
through act honor at the 2009
Billboard Touring Awards,
along with Kings of Leon, Lil
Wayne and winner II Divo. ^

Swift's tour, produced by
Chesney promoter Louis
Messina, presidentofTMC/AEG ^
Live, sparked a box-ofBce frenzy and
robust secondary-market sales, and in-
cluded sellouts at the Staples Center in Los
Angeles and New York's Madison Square Garden. Swift is booked
by William Morris Endeavor Entertainment.

The entertainer of the year award was as much a tribute to her
success as an album and ticket seller as it was to her pop culture
appeal. Her Nov. 7 appearance as host/musical guest on NBC's
"Saturday Night Live" brought the show its best ratings of the
season. Next year she'll appear in the movie "Valentine's Day."
which follows on the heels of her cameo in "Hannah Montana:
The Movie."

"I never imagined that the unattainable thing that I'd held
in my mind, my imagination, would happen to meat 19," Swift
said backstage at the CMAs. "1 couldn't be more grateful. But
I love a challenge, and right now the challenge is to find the
next challenge."

Swift also won album of the year for "Fearless," which she

co-produced with Nathan Chapman; female vocalist, bestiz
three-time winner and the show's co-host Carrie Underwoo
and music video of the year for "Love Story."

Meanwhile, Lady Antebellum, the CMA's 2008 new artist
the year, won single of the year for "I Run to You." The act all
won top vocal group, unseating Rascal Flatts. which had won tl
award every year since 2003. Lady A's self-titled debut has so
935.000 copies and "I Run to You" sold 805,000 digital tracks, a
cording to SoundScan.

Meanwhile. Hootie & the Blowfish frontman Darius Ruck
was named new artist of the year. His album "Learn to Live'
sold 1 million copies, crossing that threshold last \\ t ok when
sold another 1 3,000. according to SoundScan.

Rucker wasn't the only country convert at the CMAs. Kid Roi
performed wath Jamey Johnson. Daughtry played with Vince Gi
Dave Matthews duetted with Chesney. and ZZ Top's Billy Gi
bons appeared with Brooks & Dunn, who were making their la
appearance on the show as a duo before splitting in 2010.

Additional reportingby Keith Cauljield and Ray Waddell.

Punching Tickets

Resellers, Paperless Initiatives Spur Heated Exchanges At
Billboard Touring Conference

Few topics in the touring busi-
ness generate as much impas-
sioned debate as the humble
concert ticket.

That much was clear during
the sbcth annual Billboard Tour-

iiit" Confcicntc

Nov. 4-5 at the
Roosevelt Hotel
in New York,
where talk about
ticketing threw
off plenty of
sparks.

Holding back
concert tickets
from public on-
sale to feed the secondary market
"is a disgusting bottom-feeder
practice and I 'd like to see it elim-
inated— it's unacceptable." said
Mik« Martinovich, manager at
Flatiron Management, which
manages My Morning Jacket
and other acts.

Allen Kovac, president of
10th Street Entertainment,
called out Ticketmaster En-
tertainment for what he said
was its practice of withhold-

^ For 24/7 touring n*WK
^■12 *nd analysis, s««

blllbMrd.btz/tourinB-

On The
Road

RAY
WADDELL

ing data on ticket buyers from
management. David Butler.

North American president of
Ticketmaster. responded
from the audience by clarify-
ing the ownership of the
consumer data
collected.

"It's the venue
and promoters'
data," Butler
said. "And if they
agree to share
that with you.
we will give it
to you."

Paperless tick-
eting, which is primarily aimed
at squashing the secondary
market, was another hot-
button topic.

"The issue we have right now
is that [paperless ticketing]
takes away fans' rights and it
essentially allows the primary
ticketing company to become
monopolists when it comes to
the secondary." said Chris
Tsakaiakis, CEO of the lead-
ing reseller StubHub. "It
eliminates competition . . .
Consumers are losing rights
with paperless ticketing."

Similarly, Don Vaccaro, CEO

of the secondary vendor Ticket-
Network, warned that paperless
ticketing will hurt sales because
it limits consumer options.

"There is a cost to having
your patrutiN liavtr tickets nun-
transferable," Vaccaro said.
"They're going to buy less; the
sales process is going to slow
dowm because they know they
can't resell them."

But primary-ticketing stake-
holders shot back that paperless
ticketing has been a success.
" Fan response has been fantas-
ticandlogisticalissues did not
exist," Butler said, noting that
Ticketmaster has moved
some 600,000 paperless tickets
so far this year on tours by
AC/DC, Miley Cyrus and
Bruce Springsteen.

The Verizon Arena in North
Little Rock, Ark., has been of-
fering paperless ticketing at all
its events, amounting to about
3,500-4.000 premium seats per
show, said the venue's CM
Michael Marion, who quipped
that "the only people who have
complained are the scalpers."

If paperless ticketing incon-

^ ^^^^^^k , i/^ Secondary

^■^^^^ ' modern:

^^^^k TicketNetwork
^^^^ CEO DON

VACCARO

veniences consumers as much
as resellers claim, "where is the
outrage right now.^" asked
Nathan i^ubbard, president
of Live Nation Ticketing. "The
right to resell a ticket is about
105 on their list of issues with
the live experience. We have
much deeper and important is-
sues to solve."

Whose ticket is it anyway.^
Butter said the artists, the ven-
ues and the promoters own the
tickets. "Content is king and it's
their ticket." he contended.

But Vaccaro countered that
"once you spend $200 on a
ticket, you deserve the right to
do what you want with it."

Other takeaways from the
touring conference:

Ticket discounting: While
marking down hckets may have
been necessary during the past
year because of the economy,
it's a strategy that could

eventually hurt artists if it con-
tinues, according to Brian Man*
ning, an agent at Creative
Artists Agency.

"While the discounts help
bring people in, it's harmful
for us to train audiences to wait
to buy instead of rewarding
them when tickets hit the
market," Manning said. "I
would like to be more proactive
in trying to force those dis-
counts early on and rewarding
those fans who come to the
table in the beginning."

Digital marketing: C3 Pre-
sents partner Charles Attai

recalled he had told the tour-
ing conference last year that
75% of C3's marketing
budget was spent on digital
campaigns. Now, he said, his
company spends close to
90% of its festival marketing
on digital initiatives. Mean-
while, Rob Beckham, an

agent with William Morr
Endeavor Entertainment, sa
that digital niarkt-ting doesr
play nearly as big a role
marketing performances
country acts.

"I don't know how niai
people who go to a Geor^
Strait show are looking at tli
ital advertising online," Bt*c
ham said. "They're listening
the radio station and they'
looking at the arts section
their newspapers."

Label downsizing: As labc
downsize, artist manage:
agreed on the importau'
of bringing more servic
in-house.

"There used to be a lot mo
people at the labels, a lot mo
depth in the departments, ai
the labels were able to mo'
the meter more regularly
said Bill Botwin.CEOofRi
Light Management, whic
manages Dave Matthev
Band and Tim McGra\
among others. "It's importa
for management to take a le
in the process. You need
know about strategic partnci
you need to be talking to tlic
regularly."

Additional reporting by Chris
M. Walsh.

8 I BILLBOARD I NOVEMBER 21, 2009

Ccv

midemrni

The world's music community ^LJJiS

David Renzer,
Chairman & CEO,
Universal Music
Publishing Croup

Owen Van Natta,^

CEO,

MySpace

30XSC0RE

Concert Grosses

GROSS/

ARTIST<S) Attendance
Venue. Date

Promoter

■ $10,160,146

n (C7,i2r,er.

H $-99 7S $/) iS

ANDRE RIEU 1

Amsterdam Araiw, Amsterdam, 55.502

Sept. 5-€ '-■-:-.c.oo i*vci iiiov.--

Andr* RIeu Productions

■ $7,235,000

2STH ANNIVERSARY ROCK ft ROLL HALL OF FAME CONCERTS ^

Madtson Square Garden, 25,850
New York, Oct. 29-30 i;sr, M ikjut-.

Rock & Roll Hall of Fame Foundation

H <^ TRT RSI

ANDRE RIEU

1 $2JKv'S>B0 78

Rod Laver Arena. Melbourne, 30,179
Australia. Oct. 29-Nov. 1 OOO foi,f six?.-.

Andr4 Rlou Producttoni

■ $4,449,852

CLIFF RICHARD & THE SHADOWS

!■ (€2.741,880)
1 $97.^

02 Arena, London, Sept. 25-26. 28 ^^^f®®.

Live Nallon-U.K.

$3,4S9,026
$3,336,668

$3,325,991

t22717'Sat2G

$3,227,078

$!141I.'S7845
$2,884,671

$9/'J'J

$2,764,408

5264 73.'$74 88
$2,689,672

5230-66/562-45

$2,557,957

(£1,554.650)

tnsie

$2,506,375 I

5146 liJEi/551 41

$2,376,835 I

(tl-CCl vo>
571S4/5;;CO;i

$2,171,690

(£1-316 040;
5990-

$2,126,877

(£1-3-14 ;8C1
594 89

$2,093,208

(27646,320 pt-os'
566t5-t2'0S

$2,090,972

579^" 5^^sr,,^

$1,998,840 I

(i22S?:.30Au;tfjir J
196127572-09

$1,894,705 I

(9595670 kKKWi)
42l720/$88es

$1,882,290 I

15Z039,S!t VsMB-J
$229 76/582 1:>

$1,738,120

'■£10859C<1)
$96 21

$1,713,273 I

(£1(^44.696)
519676/573 78

$1,708,601 j

($l86i2,f 4irtrrtlrfO
522H3'1/56161

$1,649,086 I

(£t.01(J 940 1
511419

$1,613,969

(874,78Q2COpey?i--
58503/52583

$1,373,013

iitSl&45GA'-alr2J.ri
599 46/5 ,'4 60

$1,342,634

(£818,440)
$114 95

$1,287,536

(£665,530)
511185/56711

$1,209,364

S.'9 50,'5(9f,0

BRUCE SPRINGSTEEN S THE E STREET BAND

CLIFF RICHARD & THE SHADOWS

ANDRE RIEU

ANDRg RIEU

Acer Arena. Sydney. Oct, 1S-t6 ^'-'^^

CLIFF RICHARD S THE SHADOWS

ANDRg RIEU

ANDR^ RIEU

FLEETWOOD MAC

DEPECHE MODE

Stadio Friull. Udlne. Itaty. Aug. 31

CLIFF RICHARD S THE SHADOWS

CLIFF RICHARD 8 THE SHADOWS

MSG Entertainment

Live Naiton-U.K.

Andr6 RIeu Productions

Andre Rteu Productions

Live NBtlon-U.K.

Andre Rieu Productions

Live Natlon-U.K.

T4F-Tlme For Fun

Live Nation International

THE KILLERS, HELLO SEAHORSE

MILEY CYRUS, METRO STATION

THE BLACK EYED PEAS, LMFAO

FLEETWOOD MAC

ANDRE RIEU

CLIFF RICHARD & THE SHADOWS

ANDREA BOCELLi

ANDR6 RIEU

02 Arena. London. Sept. 24

FLEETWOOD MAC

LOS FABULOSOS CADILLACS

THE BLACK EYED PEAS, LMFAO

FLEETWOOD MAC

Uve Natlon-U.K.

Uve Nation-U.K.

OCESA/CIE-Mesico

Frontier Touring

Live Nation International

Andre Riou Productions

Live Natlon-U.K.

Kilimanjaro Live

Andre Rieu Productions

Uve Natlon-U.K.

T4F-Time For Fun

ELTON JOHN

PalauSantJon«.Baccelani.O«, 20 '^'f^^y

MIUEY CYRUS, METRO STATION

Frontier Touring

Live Nation-U.K.

Live Nation International

H $1,183,332

FLEETWOOD MAC

■1 (£719390) ills 14

Sheffield Arena. Sheffield. 10.277
England. Nov. 2

Live Nation-U.K.

H $1,148,500

MILEY CYRUS, METRO STATION

U 579vO 5 59:- '

Un««<l Onler. Chicago. Oct. 27 '6.600

AEG Live

H $1,111,590

mm $*79 50.'?,?9so

MILEY CYRUS, METRO STATION

TO Garden, Boston. Nov. 9 '^i'*^'

AEG Live

■ $1,104,080

(€745,7.1 5>

FLEETWOOD MAC

H 51066C S592:

Sportpaleii, Antwerp, Belgium. 12,589
Oct. 14 i.'.i'

Live Nation International

H $1,079,851

RASCAL FLATTS, DARIUS RUCKER

Ed SI49/S/C

KonoctI Field Amphitheater. 9,214
Kelseyvtlte. Calif.. Oct 17-18 >.vo «elloul:.

Live Nation, Konoctr Hart>or

e soun
of opportunities

Make connections Source business
Find solutions Gain knowledge

FREE! MidemNet is now included
in MIDEM registration.
One price. One place. More value.
To accelerate your music business.

3ge j

■I

MlDEM: 24 - 27 January 2010 1
MiidemNet: 23 - 27 January 2010
Cannes, France 4

Hot Salsa

Under New Ownership, Iconic Label
Fania Seeks To Exploit Its Catalog

Latin
Notas

Following the acquisition of
all its assets by Codigo Group
last May. Fania. the most
recognizable name in tropi-
cal music, is poised for a new
phase. The label has re>
vamped its logo,
launched a re-
newed market-
ing push and
remastered and
digitized much
ofils catalog.

Codigo. an
entertainment
company fund-
ed by New York-
based private equity group
Signo Equity, also purchased
the Westside Latino catalog
last December, which includes
the Discuba. Seecoand United
Artists Latino catalogs.

All told, the combined as-
sets of Codigo Music, which
will now fall under the iconic
Fania brand, include more
than 20.000 tracks. 2.400 al-
bums and 200 artists, includ-

ing Tito Puente, Cella Cruz.
Bany More. Ruben Blades.
Willie Colon. Johnny Pa-
ct>eco. Ray Barreto and Hec-
tor Lavoe. with recordings
going back to the '40s.

It's a jaw-
dropping span
of music his-
tory now under
one roof. It's
one thing that
Fania is em-
blematic of
salsa, but quite
another to walk
into Codigo's
Miami offices and physically
see the database of recordings,
meticulously archived by for-
mat, from LPs to master CDs.
The walls of Codigo's offices
lei! the story in countless
album covers — the records
that generations grew up on —
featuring an enormous,
breathtaking supply of artistry
that appears impossible to c%'cr
emulate again.

"Our objfttivc is to leverage
the brand and build long-term
relationships with Fania fans."
Codigo Group chief market-
ing officer Michael Rucker
says, noting that Fania's Face-
book page has nearly 20.000
fans. "With a brand like Fania,
people want everything: CDs,
books, pictures, vinyl, every-
thing. And we want to be the
ones to facilitate that."

One of the first things
Rucker did after Codigo ac-
quired Fania was to archive the
label's assets and store all the
master tapes at a New jersey
facility owned by Iron Moun-
tain, the information manage-
ment services company.

The first Fania set to come
out under Codigo is "Tito
Rodriguez: A Man and His

Princely Sums

El Trono De Mexico Reigns Under The Radar

El TrofK} de Mexico's latest stu-
dio album has spent the last
52 weeks on Billboard's re-
gional Mexican albums chart,
with only two of those weeks
outside the top 10. The band
has sold 350,000 copies of Its
albums in two years, accord-
ing to Nielsen SoundScan, and
a collection of previously re-
leased and brand-new songs,
"Hasta Mi Final," debuts at No.

2 on the chart this week.

But don't feel too bad if you
have never heard of the group.
The sextet Itas had consistently
strong sales amid a relatively
low profile north of the txirder.
(The group made its first ex-
tended trip to the United States
this year to promote its album
and play shows.)

With a somewhat delicate,
low-fi sound. El Trono de

Mexico also differs from its
counterparts In the duran-
guense genre in that its mem-
bers hail not h^om Chicago or
Durango, Mexico, but from
Santo Tomas de los Pldtanos,
outside Mexico City.

The band put out its first al-
Ixjm five years ago on its man-
ager Arturo Torres Fiores' indie
label Skaiona Records, lareak-
ing big enough to eventually se-

Music — El Inolvidable," due
Nov. 17. The two-CD. 30- track
set is part of the "A Man and
His Music" series launched
last year under Fania's previ-
ous owner. Tlie sets boast 32-
page liner notes and typically
retail for S18.99-S19.99— an
acceptable price for Fania
fans, who tend to buy the
expensive sets instead of the
single CD releases.

Last year. Fania sold
400.000 albums, including
boxed sets, according to
Rucker. The label does put out
mid-line price sets, including
"Historia de la Salsa' and
"Greatest Hits." both single
ID-track CDs without liner
notes that retail for 512,99. But
the top-selling scries is 'A
Man." with the bulk of sales

coming from retailers like
Best Buy and one-stops like
Distribuidora Nacional in
Puerto Rico as opposed to
mass merchants.

Early this month. Fania
launched its Web site.
Fania.com. from which it di-
rectly sells physical and digi-
tal music, with close to 500
albums available digitally.
Fania's physical and digital dis-
tribuior, the Orchard, is also
handling worldwide synchs
and licensing, a major source
of revenue for the company.

Next month. Fania.com
will begin selling other mer-
chandise, for which Rucker
has "big, big expectations."
He adds that there arc also
plans for vinyl sales in the
near future.

For 201 0, Rucker says, "our
goal is to evaluate success not
b>' ■ Did we sell 400,000 copies.'"
but by Did we reach 200.000
fans?' " he says. "Our goal is
to evaluate success by how
much our consumer spends a
month as opposed to 'Did we
sell them one CD?' " ••••

biz

For 24/7 Latin news
.ind tinstytii,
blllbo«rd.biz/latln.

cure distribution Ikenses wth
Universal MexKO. In the States,
Universal Latino initialty distrib-
uted ttie tiand's albums before
the regional Mexican market
leader, Univision Music Group,
was acquired by Universal. El
Trooo's current album. "Almas
Gemetas," was its first as a di-
rect signing to FonovisaAJni-
versal and has sold 100,000
copies, according to Nielsen
SoundScan, (El Trono also
released some of its earlier
recordings vxJependently in ttw
States through DBC last year.)

In years past. El Trono had
sold well at U.S. mom-and-
pop stores, but by the time
Fonovisa secured priority po-
sitioning for "Almas Genwlas"
at major retailers, there was
still pent-up demand, Fono-
visa/Oisa president Gustavo
Lopez says. "People nwy have
t>een looking for it before and
couldn't find it," Lopez says,
adding that the band did Its
first stateside promotional
tour close to the album's re-
lease, not months later.

Though Fonovisa convinc-
ed music buyers to position
"Almas Gemelas" near bigger

acts, in endcaps and In circu-
lars, its success "has a lot to do
with the group starting to work
in the U.S. and people seeing
them. They started to have bet-
ter rotation on radio," Fono-
visa Mexico GM Toi^o Silva
says. CTTie single 'Te Ves Fatal,"
one of many written for the
barvd by prolific Mexican song-
writer Fato, is No. 8 on Bill-
board's Hot Latin Songs chart)
Lopez says the band's suc-
cess in Mexico was a help and
a hindrance in breaking it
stateside. "They were so busy
in Mexico and having so much
success that they didn't want
to sacrifice shows to break a
new market," Lopez says.
Then there's the cost of trans-
porting a group with many
members to the States for pro-
motion; El Trono has six, but
another band that Fonovisa
expects to break bigger in the
States, La Original Banda el
Umdo, has ctose to 20. "There
has to be a maior financial
commitment from the band.
There's no way we could move
them around in this economic
environment," Lopez says.

—Ayaia Ben-Yehuda

EN ESPANOL: All the great Latin music coverage
jOOm you've come to expect from Billboard— In SpanlsliI
Billboardene5panol.com.

BILLBOARD I NOVEMBER 21, 2009

BRIEVE

LATIN GRAMMYS SBBh
& HEARD

Several acts including Davl
Bisbal, Gilberto Santa Rosa, Ti
canes de Tijuana and Laur
Pausini spontaneously sang ft
reporters in the media rooi
during the Latin Gramm
Awards, which were teleca:
live Nov. 5 from the Mandatf
Bay Hotel in Las Vegas.

The conversation was als
lively, beginning with Enriqt
Iglesias, who was there to it
troduce Person of the Ye«
Juan Gabriel.

"If s my first time at the Lat
Grammys," Iglesias said,
ddn^ even know I was a membi
[of the Latin Recording Acac
emy]. I guess I'll have to starti
vote and see if I can win one

Later, Italian artist Pausii
said that come January she w
take a leave from the stage 1
spend time with her mothc
She also said she wants t
record an album of songs t:
songwriters from differei
Latin countries and an altxjt
of duets with female Lati
singers including Gloria Esti
fan and Julieta Venegas.

ArKl perhaps trying to ator
for his acerbic comment
during the MTV Latin Ame
ica Music Awards, where h
lambasted the presidents i
Colombia and Argentln
Rene Perez of Calle 13 ded
cated his wins to both cour
tries. However, he reiterate
his stance on the recent ma:
firing of government emplo;
ees in his native Puerto Ric
"I hope the government r*
considers." he said.

On the other end of th
spectrum, Colombia's Pet
Manjarres dedicated his Lat
Grammy win tor best vallenal
album to. anwng others, Cc
ombtan president Atvaro Urib
"He's a great supporter, ar
he's improved security in tt
country's roads so now we'i
able to travel and promote oi
music," Manjarres said.

Jorge Villamizar, who wH
Jorge Luis Plloto wrote "Yo K
Se Mariana," which won be
tropical song and was n
corded by Luis Enrique, sa
the track is based on the rc
mantle experiences he's he
since his divorce four yea
ago. Villamizar praised Enriqi
as a "great musician" and "ve
handsome." "For some reaso
pec^le think handsome dudi
are bad musicians," he sa
with a laugh. —Leila Cot

"Musicmakes the peoplecometogether"a wise womanoncesaid.Thatalso goes forthose who write it, notall
of whom do their best work alone. Think Carole King and Gerry Goff in, Barry Mann and Cynthia Weil or Rivers
Cuomo and . . . Jermaine Dupri?! Yes, really. For his new album, "Raditude," the Weezer frontman worked with
several songwriting pros, including Dupri, Butch Walkerand Lukasz "Dr. Luke" Gottwald. This isn't as unusual
as it might seem. At an EMI "song camp," writers from different genres searched fortheelusive chemistry that
creates hits (page 20). And the indie publisher peermusic has already enjoyed some success encouraging
cross-genre collaboration (page 23). The right song, they all hope, will unite fans as well.

Air force: RIVERS CUOMO
worked with Jermaine Dupri and
Ul Wayne on 'Raditude.'

"helrriportanc

■PiiglgliMjlgSliiTgg

When Rivers Cuomo Dons His Snuggie And Writes Songs For Weezer,
He Does it Out Off Love For His Fans. Reaily. • By Cortney Harding

PHOTOGRAPHS BY ERIN PATRICE O'BRIEN

Cni

TNi PUBLISHER!

QUARTERLY Q3 '09

CONTRARY TO WHAT SEEMS LIKE POPULAR opinion,
Rivers Cuomo is not screwing with his fans. At first, it might be a little
hard to believe. After all, Weezer tends to do things like play late-night
shows in Snuggles emblazoned with the band's name and make music
videos featuring a cast of YouTube stars in hopes of creating the ultimate
viral clip. But on Weezer's new album, "Raditude," Cuomo is nothing if
not sincere in trying to appeal to listeners: It features a number of tracks
that adhere to the band's tried-and-true pop rock formula as well as
collaborations with Jermaine Dupri, Lil Wayne and songwriter Dr. Luke.
Released Nov. 3, the set sold 66,000 copies in its first week, according to
Nielsen SoundScan. "My goal is to make music that I love and that my
fans love," Cuomo says, sitting on a sofa at a hotel in midtown
Manhattan. "The thing that bothers me most is people think I am
intentionally trying to piss off the audience." Cuomo adds, "It's been
the case since our first album that people thought we were just being
sarcastic and ironic. When I wrote The Sweater Song,' to me it was a very
sad song about depression, and people heard it on the radio and thought
it was hysterical. Then I wrote 'Beverly Hills,' a very sincere song about
my cravings for notoriety and celebrity, and everyone thought I was
making fun of the Beverly Hills lifestyle." Cuomo says that one of the
biggest inspirations for the collaborative nature of the new album came
from Weezer fans themselves and their response to the Hootenanny tour,
formally dubbed the Troublemaker tour, where fans were asked to come
onstage and play songs with the band. "It was so fun I wanted to keep the
collaborative process going, and I started calling other musicians up and
asking them to jam," he says. Butch Walker was one of those musicians,
and he just so happened to live down the street from the Weezer frontman
in Los Angeles. "I walked over to his house and we started talking about
high school reunions," Walker says. "We looped the idea back and forth
on the guitar for a few hours and came up with 'The Girl Got Hot.' "

Walker sjv'i lhat on another occasion he
brought sonie old Meatloaf albums to
Cuomo's lioiisi". "Rivers wasn't familiar with
Meatloaf, and \k- loved the idea of coming up
with soMuitiin^ that had a crazy, long, paren-
thetical title." he says. "The end result of that
was (If You're Wondering If I Want You To}
I Want You To.- "

Dupri mi^ht not have lived as close to
Cuomo, but he's been following Weezer's ca-
reer since the '90s. 'I wrote the song 'Can't
Stop Partying' nnc night, and in my mind, I
had always lieen a big Weezer fan. from the
Buddy Holly' sont; they did with that video and
Happy Days.' ' he says. "The things Rivers
was saying in tliat record caught me — "What's
with these hornii"^ dissing my girl' — he was
talking my type of language on a rock record.

It was something that always stayed with me."

Dupri says Cuomo's ability to write across
genres was what convinced him to work with
Weezer. "One night I was messing around writ-
ing songs, and this idea came and I was like,
'It'll be perfect for Weezer because they talk
that language, they speak like I do, but to a dif-
ferent crowd,' " he says. "It doesn't come off
exactly the same but basically ihey are the same
words. I immediately asked ifsomeone can get
the song to Weezer."

Until "Raditude," Cuomo had written all of
Weezer's songs either by himself or with his
bandmates. He usually didn't write while tour-
ing; instead he waited until he got off the road
before working on new material.

"As a songwriter, 1 usually have lo do a lot of
revision to get the exact right tone," he says.

"The first draft can sound too cliche or ironic
or just be off, and I have to keep moving things
around. I struggled with that on the first sin-
gle, -(If You're Wondering If 1 Want You To) I
Want You To,' because the lyrics are very sweet,
but I wanted to give it some edge'

Cuomo's songwriting process has changed
throughout his career. "When I was starting
out, 1 wrote morestuffin just one shot," Cuomo
says. "Now I'm able to walk away for a week or
two and then come back and pick it up and re-
work it."

But despite the fact that Cuomo had written
so many hits on his own, he shied away from
writing with others until fairly recently. "The
first time I co-wrote with someone was about
two years ago,' he says. "Shirley Manson [from
Garbage] said she was calling up her favorite

NOVEMBER 21, 2009 I www.billboard.biz

'When Weezer finished our first album,
the best offer we got from publishers was

$150,000. Even though i didn't have a dime
to my name, I said, 'That's not enough—

Weezer is going to sell millions of records." '

-RIVERS CUOMO

artists and getting together with them to write songs. It was
really fun for me, and I started to get into it."

Cuomo then decided to try writing with the teen pop duo
Aly & AI. describing the sessions as a "great learning expe-
rience." After those two projects — and the inspiration of the
hootenannies — he decided to reach out to other writers for
the new Weezer album.

" I remember going to Dr. Luke's house, thinking that we
were going to write a song for someone else, but a few of
them started to sound hke good songs for Weezer." he says.
"The way it has aiways worked is that I play all the songs I
write for the other members of Weezer, and the band decides
which songs they want to move forward wiih."

Not all the collaborations made the cut for "Raditude."
Cuomo says he wrote a song with Greg Wells that wound up
on the forthcoming Adam Lambert album, and a song writ-
ten with Brendon Uric of Panic! at the Disco is still in limbo.
"If Panic wants it, they have first dibs, but if not. it could
work for Weezer.' he says. And he's been working with Katy
Perry on some tracks for her forthcoming album, although
he's unsure which, if any. she'll use.

ALL BY HIMSELF

While Cuomo was willing to hand over the reins when it
came to songwriting on "Radiiude." there's another place he
has kept all the control in-hou.se: publishing. Cuomo and
Weezer have never signed a deal with an indie or major, in-
stead hiring Wixen Music president Randall Wixen to ad-
minister their publishing agreements. Cuomo adds that BMl
pays him directly for performance royalties and ihe label pays
him for mechanicals.

"When Weezer finished our first album in 1994, our man-
ager passed it around todifferent publishers, and I think the
best offer we got at the time was something like $150,000."
Cuomo says. "Even though 1 didn't have a dime to my name.
I said. 'That's not enough; Weezer is going to sell millions
of records.' My manager was pretty upset with me because
that was his first chance to make any real commission."

Even though Weezer's catalog would fetch far more than
$150,000 now. Cuomo says he prefers not to sign any deals.

14 BILLBOARD I NOVEMBER 21. 2009

"It just came up again, actually,' he says. "A whole different
type of corporation is getting interested in buying catalogs,
and a couple made offers. They were two figures greater than
what I was getting offered in 1994. but I still feel like Weezer
is worth more."

Wixen says acts like Weezer that don't need to use their
publishing to secure advances or loans are smart to hold on
to their own rights. "I have 1.700 clients, including Cheap
Trick and Neil Young, that have gotten off the advance cycle,'
he says. "Rivers is in the same mold. They want greater con-
trol and to be more involved in the decision-making processes
when it comes to their songs."

Wixen adds that Cuomo takes his publishing business very
seriously. " 1 took Rivers to lunch a while back to explain how
some things work, and he took notes the entire time." he
says. " He makes very cautious. ver>- well-reasoned decisions."

But beingcautious doesn't mean Cuomo is reticent about
licensing. "I have a few guidelines, like no alcohol, no fast
food, that sort of thing," he says. " But we license stuff about
once a month."

Cuomo adds thai the mosl-licensed track in the Weezer
catalog is "Islands in the Sun," from its self-titled 2001
album. "The funny thing is, the song wasn't a real radio
hit," he says. "1 can only speculate that it's because the song
has a cleaner guitar sound, which makes it easier for a more
mainstream audience."

Weezer had more success with "Beverly Hills," a track from
"Make Believe," which was released in 2005. While the album
received a critical drubbing, the single took off, peaking at
No. 10 on the Billboard Hot 100.

Weezer's sales have varied widely during its career. Both
of the band's self-tilled albums, one released in 1994 and the
other in 2001 , are its top sellers, with the earlier album sell-
ing 3.3 million copies and the later selling 1.6 million, ac-
cording to Nielsen SoundScan. "Make Believe" sold 1.2
million. "Pinkerton" (1996) sold 850.000. and "Maladroit"
(2002) sold 614,000. "The Red Album." which was released
just last year, sold 450.000.

But even with a strong sales record. Cuomo says Weezer
didn't always feel secure in its relationship with its label. "We

were waiting for a call telling us we were going to be droppt
in 1998 and 1999." he says. " 'Pinkerton' came out in 19*
and did nothing, and Gcffen got bought by Interscopc. V
were expecting the call to tell us it was game over, but the c;
never came."

Cuomo says the band's strong fan base revived it from tl

dead after the commercial disappointment of "Pinkerton
"We just started playing shows again, and everything w
selling out." he says. "We jumped on the Warped tour in 200
which was not something a lot of people expected. I think tl
main thing for us is that we don't get caught in playing a rol
acting how a band like us is supposed to act."

WEEZER-IZING

"l don't think we're doing anything radically different wi
the campaign for 'Raditude.* " says Steve Sherr. head of re-
marketing at Interscope. "What we do have is a plan that
*Weezer-ized.' For instance, we would normally do a TV cai
paign. but Rivers came up with the idea of creating a Weez
Snuggie and an informercial about the Snuggie to run on T
So he reinvented it within the parameters of the idea.'

Sherr says that, despite conventional wisdom, the fact th
Weezer put out another album so recently is an asset, no'
liability. "A lot of artists who go away have trouble," he sa)
"With Weezer's last album, they had been gone for a bit,
there was an elemeni of them needing to reintroduce thei
selves. This is a better strategy, and 1 wish more artists wou
do it. 1 certainly think Weezer will benefit from it.

■The great thing about Rivers Is that he's not concern-
with genres and he wants to reach a lot of people." Sherr sa;
For example. Cuomo and his bandmates recently taped .
interview for the teen site Alloy.com — not a traditional mec
outlet for a band of men in their late 30s and early 40s.

Reaching people can sometimes mean absurd perfon
ances; at KROQ Los Angeles' Weenie Roast, the band mei
bers not only performed in their Snuggies but also cover
Lady Gaga's "Poker Face." At a series of intimate shows
New York, Weezer covered Coldplay's "Viva La Vida' and t
Killers' "Human"; for the former. Cuomo read the lyrics t
a printed sheet, to the delight of the crowd.

Cuomo says the band's live set is usually a mix of old a
new tracks. "We're really trying to create as much joy in t
room as we can," he says. "So we have to factor in our o\
interests, as well as the interests of the other 15,000 peoj
in the room."

He adds that the atmosphere of joy is a departure from e
lier Weezer sets. "I was a real shocgazer upuntil 2005, and th
1 started to break out of my shell a bit," he says. 'Last yea
started to go a little bit crazier, and now I 'm totally off the wal

"Hie band is also playing shows for Hot Topic and MySpa
and is planning to tour in December and |anuary, then agf
in the summer. Weezer hosted an album signing on thed
of release at a Los Angeles Best Buy. and an AOL session,
eluding a duet with Sara Bareilles, aired before the albt
was released.

The video for "(IfYou're Wondering If I Want You To) I W;
You To" recently began making the rounds on the Intern
and keeping with the band's tradition of making quirky, hif
quality videos, depicts an over-lhe-lop, comically violent sm:
town scene. "We really like to do videos and interact with mu
video directors,' guitarist Brian Bell says. "We've neverwork
on the technical side of the videos, but we think it's good to
involved with their creation on some level."

"We feel that videos are still super important for Weeze
Cuomo says. "When we put out "The Red Album' last ye
the video for "Pork and Beans' [which featured stars of oil
viral videos] did such a great job for us in terms of getting I
song out there and getting the word out about the albu
Something like 1 5 million people saw it in a short period
time, so 1 feel like it was worth the investment."

Cuomo is well aware that he has invested plenty in "Ra
tude" and that the gamble might not pay off But. as his c
laborator Walker notes, even if he stumbles, he's still movi
forward. "I think Rivers sees this as a social experiment
try and push himself creatively." he says. "He's willing toe
brace the weird, because he thinks he owes it to his fans i
to repeat himself." •

THE PUBLISHERS
QUARTERLY Q3 '09

The Billboard Q&A:^

Jfirmainfi Dijpn

e Songwriter/Producer/Label Chief Wants
tolling With Rock By Marlel Concepcion

/HEN RIVERS CUOMO penned the

Weezer's "Buddy lloily. " lie probably never imagined he'd

making a fan out of R&B/iiip-hop producer/songwriter |cr-

aine Dupri.

When 1 heard Rivers saying. 'What's with the homiesdissin'
y girl /Why do they got to front.' I became a big fan." says the
ianla-bascd music mogul, who has crafted tunes for major
lists Hkc Usher. Mariah Carey and janel )ackson. "He was
king my t>'pe of language in a rock record and it always stayed
th me. They talk like 1 do. but to a different crowd — we're ba-
:ally speaking the same words."

Tlie admiration has now turned into collaboration, with Dupri

getting a songwriter's credit on Weezer's latest album. "Radi-
tude," released Nov. 3 on Geffen Records. Dupri talked to Bill-
board about jumping genres in his songwriting — and how his
label. So So Def, is expanding into branding.

This Is the first time you ventured outside of hip-hop and
R&B and wrote for a rock act. How did "I Can't Stop Par-
tying" come about?

I was in the studio one night and I was on my wild shit, like. "I
can't stop partying" — that's exactly how I fell lliat night. Like,
"This is my life. This is what's going on." So. 1 recorded myself
playing the drutns and singing, freestyling. and then I liad my
engineer put some guitar licks on
there. I immediately got into it and
1 asked someone to get it to Weezer.

Were you just trying your luck?
Or did you really thinic Weezer
would go for it?

I didn't think they'd do the song at
all. This is the first time someone's
taken a song I wrote from a differ-
ent genre — it was a shot in the dark.

Plus. I'd done this a hundred
times before — ! go in the studio, I
write what I'm feeling, and some-
times I just throw that stuff away.
That's actually what happened with
I Usher's] "Confessions" — that's
what I was going through at the
time: I had to confess to my girl 1
had a baby by someone else. I write
songs all the time and don't give
them to others, but this time I talked
to [producer] Dallas Austin and 1
toid him 1 had rock songs that I
wanted to get placed.

Have you always been a rock fan?
I've been a big rock fan all my life
and Nirvana is probably one of my
favorite groups. But I also pay at-
tention to lyrics. If you listen to "Let
It All Hang Out' — the other song I
wrote for Weezer — I have Rivers
quote a )ay-Z line ["I feel like )ay-
Z/This can't be life"]. I thought
about it for a minute and I won-
dered how people were goi ng to take

it. But. I kopl ixTcTcnttng tin.-

"Buddy Holly" record and I knew
we spoke the satne language. 1 1 was
a perfect marriage.

How did Lll Wayne end up on the
track? And how did Polow Da
Don become the producer on It?

I don't know how they got Polow to
do the beat. 1 think the label had il
remixed to make it a bit more dance
and rock, and that's how it came
about. It's kind of funny because I

was in the studio with Usher and Polow was working with
him and he was like, "Did you hear the song you wrote for
Weezer.^ I produced it." It was weird. It was the first project
where I didn't have my hands all over it, but, this is how it
feels to be a songwriter and it's something I definitely want
to do more of. Now I hope I ve opened the door for other pro-
ducers to ask me to write songs for them.

Universal is also responsible for getting Lil Wayne on
the track. I think with Wayne wanting to do rock, it is a
smart move.

How does it feel to get songwriting credit apart from your
production work, especially on a rock project?

It just feels like I personally went somewhere else in my life.
I'm always watching what people say and speak about me.
and I'm always known as a producer. Even with Mariah and
Usher's records — I wrote all of those and they never talk about
me as the writer. But this time Polow did the beat and I wrote
it, and it just puts me in a different place. That's what longevity
is about in this business. I've written millions of records, but
this is my first time experiencing this feeling. It's like |er-
maine Dupri coming from a whole different place. It's defi-
nitely one of the most proud moments of my career because
I get to do something that hasn't been done in my era. it's a
beautiful thing (hat 1 can be a part of something I believe will
turn into something big.

Now that you've attained this feat, what's next for you
and So So Def?

So So Def is independent now. The brand is worldwide and
for the things I want to do and the places I want to take my
artists, I don't have to have major-label backing anymore.
Right now I want to help introduce my first female artist in
a long time: Dondria. I found her on YouTube and on Nov.
23 I'm putting her first single out titled "You're the One." I'm
very excited about her project. We also have [producer/song-
writer] Johnta Austin's album coming soon after.

I have a new watch, Nu Pop Movement, available now. I
started this company with Pascal Mouawad and it's inspired
by pop music. Mouawad came to me with the idea. He already
had a luxury line of watches with diamonds, and although
people always used to think of me as the flashy money guy,
I felt like I wanted to do something else. So. we're starting
with a digital watch with a big face and loud colors thai runs
for about $150. It's in the same neighborhood of G-Shock
and Swatch watches.

How about your own songwriting and producing?

Aside from my weekly DJ'ing residency in Vegas, I'm also on

upcoming projects by Usher. Monica and Nflly. But. for right

now, i want to go back and focus on finding and creating my
own artists — that's the So So Def mentality moving forward.

I just want to find ways to continue to make it excitingor else
1 won't be around anymore. I've been doing it tliesamefor the
past 20 years, but now I want to promote Dondria and figure
her out. I want to reach people and have them see something
I've created.

If you don't have this social networking and blogging game
figured out, then you're dead in the water. Labels aren't taking
care of artists like they used to. People have to get with the new
way of promoting artists and music and I , for one. am definitely
not trying to be left out. • • • •

NOVEMBER 21, 2009 I www.foillboard.biz

Publishers
Place

tFMLSfavsOnTop

EMI MUSIC PUBLISHING GROUP captured the largest
share of the 100 most popular U.S. radio airplay songs in
the third quarter, outdistancing its rivals for the third con-
secutive three-month period.

The company snared a 19.5% share of the quarter's top
lOOairplay songs, with a share in 45 songs in the rankings,
up from 39 in the second quarter when it had
a 17.3% share. EMTs third-quarter showing
this year exceeded the 18.3% share it had dur-
ing the same period a year earHer and repre-
sented its best performance since first-quarter
2008. when it lopped the publisher rankings
with a 21.4% share.

EMCs top tracks in the third quarter in-
cluded the No. 2 song "I Gotta Feeling" by the
Black Eyed Peas, the No. 3 "Knock Yuu
Down' by Kerl Hllson featuring Kanye West
and Ne-Yo. and the No. 4 "Best 1 Ever Had" by Drake.

Radio airplay is calculated based on the overall lop 100 de-
tecting songs from the 1,630 radio stations monitored elec-
tronically by Nielsen BDS for the three months that ended
Sept. 30. The Harry Fox Agency researches the publishers'
split for each track to calculate their share of those songs.

Sony/ATV Music Publishing ranked second for the third
quarter in a row with a 17.1% share, up from 14.2% in the
second quarter and 1 5.5% in the same period last year, when
the company ranked third. In the most recent quarter,
Sony/ATV had a share in 35 of the top lOOairplay songs,
improving on the 25 songs it had a piece of during the sec-
ond quarter of this year. Its top songs included shares in

ED CHRISTMAN

Taylor Swift's "You Belong
With Me,' the quarter's No.
1 airplay song: "Best I Kver
Had"; and Lady Gaga's
"LoveGanie" (No. 7).

Universal Music Publish-
ing Group ranked third in
the quarter with a 12.5%
share, up from 1 1 .9% in the
second quarter and hailing a continuous decline in the com-
pany's market share since third-quarter 2008. when it had
a 20.6% share. Universal had a share in 24 of the quarter's
top 100 airplay songs, matching its tally from the previous
quarter. Songs it had a share in included " Knock You Down."
"Best I Ever Had" and Pitbull's "I Know You Want Me (Calle
Ocho)" (No. 8).

Coming in fourth place was Wamer/Chap-
pell Music, which scored an 11.9% share of the
third quarter's top songs, down from 14.1% in
the second quarter when the company ranked
third, but up from 11.7% in the third quarter
of lastyear. Warner/Chappell hada share in 34
of the top 100 songs, down from 35 in the sec-
ond quarter. In addition to "Knock You Down"
and "Best I Ever Had," it had a share in Katy
Perry's "Waking Up in Vegas" (No. 6).
Kobalt Music Group came in fifth place for the sixth con-
secutive quarter, with a 6. 1% share in the third quarter,
down from 7.4% in the second quarter but up from 3.8%
in the third quarter of last year. Kobalt had a share in 12 top
airplay songs, including 'Knock You Down," "Waking Up
in Vegas" and Pink's "Please Don't Leave Me" (No. 10).

Bug Music/Windswept Holdings ranked sixth with a 4%
market share, slipping from 4.2% in the second quarter but
marking a slight improvement from 3.8% during the same
period last year. Bug had a share in eight of the top songs,
including Kings of Leon's "Use Somebody" (No. 5).

Cherry Lane Music Publishing captured a 2.9% share to
come in seventh for the third quarter, marking its fifth ap-

pearance on the top 10 publishers airplay chart since Bil
board launched the chart in second-quarter 2006. Its 2.9'
showing was up from its 2.7% share in the second quarti
and was its largest market share in any quarter since tt
chart's launch. Cherry Lane had shares in two of the tc
airplay songs, both from the Black Eyed Peas; "I Gotta Fee
ing" and 'Boom Boom Pow" (No. 15).

Evergreen Copyrights ranked eighth, making its debt
on the chart with 2.3% thanks to a share in three song
"You Belong With Me." Pitbull's " Hotel Room Service' (N
16) and Randy Houser's "Boots On' (No. 31).

Words and Music Copyright Administration snared a 2'
share to rank ninth, representing its fourth appearance c
the chart. It had a piece of five top 100 songs, includir
Brad Paisley's "Welcome to the Future" (No. 60) and "Thei
(No. 75) and Chris Young's "Gettin" You Home (The Bla<
Dress Song)" (No. 61).

Rounding out the top 10 is Stage Three Music, whit
makes its second appearance on the publishers airpi:
chart, after making its debut in the previous quarter. It tt
lied a 1.9% share, down from 3.1% in the second quart*
when it ranked seventh, it had shares in five songs, inclu
ing Mliey Cyrus' "The Climb" (No. 20), Rascal Flatt
"Summer Nights" (No. 32} and Matt Nathanson's "Con
On Gel Higher" (No. 71).

Swift was the quarter's top-ranking songwriter, than)
to three songs in the top 100: "You Belong With Me," "Lo'
Story" and " Best Days of Your Life," which she co-wro
with Kellie Pickler.

After ranking as the top songwriter of the second qua
ter. Nadir "RedOne" Ktiayat .slips one notch to second
the third quarter, owing his still-strong showing to his sha
in Lady Gaga's "LoveGame." "Poker Face" (No. 42) and
Dance" (No. 68); Sean Kingston's "Fire Burning" (No. \*
and -Make Her Say" (No. 100) by Kid Cudi featuring We
and Common.

Words and guitar: 'You Belong With Me' by TAYLOR
SWIFT was the third quarter's top airplay song.

TOP 10 PUBLISHER
AIRPLAYCHART

RANK

PUBLISHER NAME MARKET SHARE

EMI MUSIC PUBLISHING GROUP

19.5%

SONY/ATV MUSIC PUBLISHING

17.1%

UNIVERSAL MUSIC
PUBLISHING GROUP

12.5%

WARNER/CHAPPELL MUSIC

11.9%

KOBALT MUSIC GROUP

6.1%

BUG MUSIC/
WINDSWEPT HOLDINGS

4.0%

CHERRY LANE MUSIC PUBLISHING

2.9%

EVERGREEN COPYRIGHTS

2.3%

WORDS & MUSIC
COPYRIGHT ADMINISTRATION

2.0%

STAGE THREE MUSIC

1.9%

PirconUQ* caiculat>o^i
24 rnurs a cSw. levcn dg
Hany Foi Aoancy- A 'tK

MMd iJiMi -.rv cneia' too 100 cKtcct'vo longi trom I.6I0 <J 5 rMo HKIora vlactrantCBhi
rri a «cc* dunrfl tnc Dw'Dd ol JijV 1-ScO< SO ^iblis/w nfonriMOB '0» muscal WCto has M
Himot' It (MTinad at an aamnauitot. copyngnl owner ano/or contiollng party.

jnno'ttl By N»n«o BIW
en «»HTti'M tiy the

lOSONGWRITER!

ARTIS

TAYLOR SWIF

NAOl

"REDONE" KHAYA

LIZ ROS

STEFANI GABRIELL
LADY GAGA" GERMANOTT

KARL "MAX
SANDBERG MARTI

ROB THOMA

DWAYN

^"LIL WAYNE" CARTE

JASON MRA

CHAD KROEGE

LINKIN PAR

RanUns Mud on tna numtMr ol agoraoatM slayi Mcn (ooffwltar had ainM9 I'M Oi>«n>li lop 100 dMwcUnq win9i tnHn i.dSiO U 'j 'Kl-o li
ttacaentillt mcMcrea trf NMIMn BDS M ttoun * day. t»v«n <Vr>t a M««ti durng th* pWHXl ol A/y VS«OI 10 URM* in* actompanfing p
a-rplay cnarii. inn ranking doavi t laUs into account tt» piMitning i<Mnt among Mngiw^art Ic • V«n long, but rMhar divKIn crwctti K*
amono sacti titiid tongatrlMr

16 I BILLBOARD • NOVEMBER 21. 2009

Cni

THE PUBLISHERS
QUARTERLY 03 '09

BFTWEEMTHEUMK

The four major publishers' quarterly share
of the 100 most popular U.S. radio
airplay songs

TOP20 PUBLISHING SONGS

RANK SONG

LABEL

"YOU BELONG WITH ME," BI6HACHINI
TAYLOR SWIFT

"1 GOTTA FEELING," THE BLACK EYED PEASINTHBCOPE

"KNOCK YOU DOWN,"
KERI HILSON FEAT KANYE

N0SlfY/Z0NE4/
WEST & NE-YO INTERStOPE

"BEST 1 EVER HAD,"
DRAKE

raUNG MONEY/CASH HONEY/
UNIVERSAL MOTOWN

"USE SOMEBODY," KINGS

OF LEON RCA/RHG

"WAKING UP IN VEGAS,"
KATV PERRY

(APITOl

"LOVEGAME,"
LADY GAGA

STREAHUNE/KONLIVE/
CHERRYTREE/INTERSCOPE

"1 KNOW YOU WANT ME
PITBULL

(CALLE OCHO)," ULTRA

"OBSESSED," MARIAH CAREY ISUUID/IIUHG

"PLEASE DON'T LEAVE N

E," PINK laFACE/JlG

RANK

SONG

LABEL

"DOWN,"

JAY SEAN FEAT. LIL WAYNE

CASH MONEY/
UNIVERSAL REPUBUC

"NO SURPRISE," DAUGHTRY

19/RCA/RMG

"SECOND CHANCE," SHINEDOWN ATLANTIC

"FIRE BURNING,"
SEAN KINGSTON

BELUGA HEIGHTS/EPIC

"BOOM BOOM POW,"
THE BLACK EYED PEAS

WILLI.AH/
INTERSCOPE

"HOTEL ROOM SERVICE,"
PITBULL

HR.30S/P0(0 GROUNDS/
J/»K

"EVERY GIRL,"
YOUNG MONEY

YOUNG HONEY/CASH MONEY/
UNIVERSAL MOTOWN

"BATTLEFIELD," JORDIN SPARKS H/JIVE/JIG

"BIRTHDAY SEX,"
JEREMIH

HICXSCHULTZ/
DEFJAM/IDJHG

"THE CLIMB," MILEY CYRUS

WAITDISNEY/HOUYWOOD

BanHing baMO on
2* f™i a Oay, tr.

n* nuTib*' ot soo'^WtM til>ri eacn tong riM oTtong 1 610 U.S. radio tUtMHU
Oayi « Okjnrq th* pariod ol July SO

Mclrancally montorad by NWtaan ac&

NOVEMBER 21. 2009

V billboard biz I 17

Cni

Continental Drift

WHEN THE EUROPEAN COMMISSION On-
line Roundtable on Music issued an October
statement signed by publishers . collecting so-
cieties and online music services that pledged
to improve access to music online for Euro-
pean consumers, one might have thought that
the fog of confusion around Pan-European li-
censing of publishing rights was finally lifting.

The statement included a commitment to
"pursuing new [European Union] licensing
platforms comprising the repertoires of sev-
eral collecting societies." And Neelie Kroes, EC
commissioner for competition and the round-
table's chair, hailed the document as 'the first
time players from various parts of the market
have agreed on a common road map" (Bill-
board, biz. Oct. 20).

But there's still no guarantee that the road map
won't lead to a dead end, since PRS for Music
(United Kingdom}, SACEM (France) and STIM
(Sweden) — all of which signed the statement —
are also among the rights groups appealing the
EC's July 2008 decision that they must facilitate
Pan-European licensing of performance rights.

leremy Fabinyi, the London-based acting
CEO of PRS for Music. sa>^ the two actions "do
not affect each other," noting that the round
table was organized by the EC's Competition
Directorate but the statement was not an offi-
cial EC document.

Meanwhile, the collecting society appeals
grind through the labyrinthine European legal
system, even as the societies themselves at-
tempt to meet the EC requirements.

"We' re doing everything we can to comply with
the [2008) decision even though we don't agree
with it," Fabinyi says. 'We don't want further ac-
tion against us, and we don't want to be fined.'

In total, 22 societies appealed the EC deci-
sion in the European Court of First Instance
in Luxembourg. The EC told the 24 member
societies of the umbrella organization CI SAC
to review their system of reciprocal contracts
and drop territorial exclusivity clauses on the
grounds that they presented *a significant im-
pediment' to single-market development.

The EC wants collecting societies to offer on-
line services/broadcasters a single license cover-
ing repertoire represented by CI SAC's members.
But the vast majority of CIS AC memliers argue
against changing existing practices, which allow
them to ensure that license fees reach appropri-
ate rights holders across the continent.

The CISAC members' series of national re-
ciprocal agreements let each member collect
rights for repertoire used in their market on be-
half of their fellow societies. They then pass that
revenue — minus an administration fee — to the
appropriate national entity for distribution to
rights holders: the national society receiving
that revenue also takes an administration fee.

Reform, Kroes said, would let collecting
societies compete on cost and quality of serv-
ice, and Pan-European licenses would facil-
itate the development of satellite, cable and
Internet broadcasting. Such a process would
also allow services like iTunes and 7digital to
operate a single Pan-European music store.
Kroes added that authors would also benefit

from only a single administration fee.

It could also mean that a handful oflarger so-
cieties could dominate the continent, however.

With decisions on the appeals not expected
until 2010. each society has devised its own
Pan-Europ>ean licensing strategy.

"There's a huge amount of activity here,"
says Jez Bell, executive director for broadcast
and online at PRS, which has issued Pan-Eu-
ropean licenses for its own repertoire to Ama-
zon. Beatport. Nokia's Comes With Music.
Qtrax and Spotify, with others on the way. Other
societies have formed continent-vride alliances
like Armonia. which groups the repertoire of
SACEM (France), SIAE (Italy) and SGAE
(Spain) — although it has yet to strike any deals.

The major publishers also have their own
strategies. Mechanical rights for EMI Music
Publishing's Anglo-American catalog are han-
dled by CELAS. a joint venture between PRS
and the German society G EMA. Wamer/Chap-
pell. Sony/ATV and Universal Music Publish-
ing all have their own partnerships with
European societies for continent-wide licens-
ing (seema£;^age_19i^

The only CI SAC members not appealing the
EC decision are the Belgian society SABAM
(which declined to comment for this article)
and BUMA/STEMRA of the Netherlands.

BUM A/STEMRA CEO Cces Vervoord backs
the EC decision, saying that "it is not [appro-
priate for) these times that societies such as
BUMA/STEMRA can only license Internet
music stores in their own country, for distri-
bution in their own country."

CISAC director oflegal, political and strate-
gic affairs David Uwemedimo disagrees. "The
system of reciprocal representation and the
network of contracts built up over the past 100
years have certainly served the interests of our
members and the users," he says.

Among those backing CISAC is the Euro-
pean Broadcasting Union, which represents
national broadcasters and their online services
across the continent.

Heijo Ruijsenaars, head of intellectual prop-
erty at the EB U 's legal and public affairs depart-
ment, says the EC "underestimated the risk for
a fragmentation of rights and/or repertoire."The
EBU favors access to all available repertoire
through reciprocal deals, rather than comj>eti-
tion among societies offering Europe-wide ri^ts.

A coalition of other broadcasters headed by
the Luxembourg- based giant RTL back the EC.
as do the European Digital Media Assn. —
whose members include Amazon. iTunes and
Napster — and the IFPI.

"Tlie societies must adapt to the new digi-
tal cross-border environment." an IFPI repre-
sentative says. "Effective collective licensing
that would enable Pan-European licenses for
world repertoire would help the digital mar-
kets grow in Europe."

But, despite Kroes' road map. this has some
way to go, according to Alyssa Tisne. director
of strategy and business affairs at 7digital. "In
practice," she says, "we are a long way off from
a seamless single European market and a user-
friendly licensing system." • ■•■

UNITED KINGDOM
CISAC MEMBER: PRS for Music
HEAD: )eremy Fabinyi, acting CEO
MEMBERS: 60,000

PRS for Music has been Europe's most proactive society in striking Pan-European deals
for its own repertoire. " Business moves on," says executive director for broadcast and on-
line Jez Bell. "We've had the [European Commission) decision — whatever happens with
the appeal process, we needed to comply in the meantime, and we need to push and make
sure that we re acting and licensing in the members' best interests." PRS has also been
active through CELAS, the joint venture it set up with the German society G EMA in De-
cember 2007 to digitally license the mechanical rights of EM I Music Publishing's Anglo-
American catalog. CELAS has about 30 significant Pan-European deals with music services,
including 7digital. iTunes, Nokia and Omnifone. PRS is alsoa member of Wamer/Chap-
pell's Pan-European digital licensing initiative (PEDL), which allows digital services to li-
cense Pan-Europiean mechanical rights for Anglo-American repertoire from any PEDL
member society.

FRANCE

CISAC MEMBER: SACEM
HEAD: Bernard Miyct, chairman
MEMBERS: 12K.0OO

Along with the respective Spanish and Italian organizations SGAE and SIAE, SACEM
is part of the Armonia alliance that offers Pan-European licensing of the three societies'
domestic repertoire. While appealing the EC decision, in September 2008 it also declared
its willingness in principle to entrust other collecting societies with the Pan-European
licensing of its own repertoire. SACEM has an agreement with Universal Music Pub-
lishing Group to handle Pan-European digital licensing of Universal's catalog through
its Direct European Administration and Licensing initiative, which has deals with a num-
ber of services, including Amazon. Nokia's Comes With Music and Spotify. SACEM is
also part of the Wamer/Chappell PEDL initiative. "SACEM wishes to actively contribute,"
a representative says, "in conditions guaranteeing the respect of authors', composers'
and publishers' interests, to granting muhi territorial licenses that are needed to support
the growth of legitimate online and mobile services in Europe."

SPAIN

CISAC MEMBER: SGAE

HEAD: Fduiirdo "Teddy" Baiitista. executive prestidenl
MEMBERS: 95.000

In addition to being a member of Armonia with SIAE and SACEM, SGAE also does
Pan-European licensing as part of Wamer/Chappell's PEDL initiative. In )une. it struck
a Pan-European deal with the digital music subscription service eMusic for the Latin
and Spanish-language catalogs administered by SGAE through deals with Sony/ATV,
EMI Music Publishing and peermusic. plus several Latin American authors' collecting
societies. Earlier in the year, it struck a Pan-European licensingagreemenl with Nokia's
Comes With Music for the same catalog. According to director oflegal services Pablo
Hernandez, SGAE is open to striking alliances with other societies "to guarantee effi-
ciency in the administration of each piece of repertoire."

ITALY

CISAC MEMBER: SIAE
HEAD: Giorgio Assumma, president
MEMBERS: 83,500

Although, like the majority of CISAC members. SIAE appealed the EC decision in the
Court of First Instance in Luxembourg, it has complied with it. In the future, the group
plans to organize its non-domestic activities under the Armonia project, which will li-
cense its repertoire on a multiterritorial basis. "We believe that the commission's deci-
sion is just an attempt to achieve a more effective management of digital rights in
Europe." an SIAE representative says. "Further steps will be necessary in respect of the
interests of all the rights holders involved."

18 I BILLBOARD NOVEMBER 21. 2009

THERUBLISHERS

k QUARTERLY Q3 '09

REDRAWING THE MAP

■low Pan-European Licensing Is
Changing The Publishing Business

BELGIUM

CISAC MEMBER: SABAM
HEAD: rhristophc Dcprclcr. CHO
MEMBERS: 30.0(H)
With its tiose neighbor BUMA/STEMRA.
tlie Belgian society SABAM is one of only
two CISAC member societies that didn't file
an appeal at the Court of Hirst Instante in
Luxenilxjury. SABAM decliiit'd tocotnnienl
on its position for this stor)'. But it was one
of the first Fiiropean societies to attempt to
set up the mechanism for Pan-European li-
censing with the launch of its SOLUM initia-
tive in late 2007. SOLEM was intended to be
a European one-stop shop for online and
broadcast rights, but SABAM put SOLEM
on hold in 2008. In October, SABAM joined
Wamer/Chappeli's PEDL allowing it toofTcr
Pan-European digital licenses for the pub-
lisher's Anglo-American repertoire.

THE NETHERLANDS
CISAC MEMBER: BUMA/STEMRA
HEAD: Cccs Vervoord. CEO
MEMBERS: 16.000
BUMA/STEMRA nifHed the feathers
of other collecting societies in 2008 by
issuing a Pan-Euroix-an license to Beat-
port. In response, the United King-
dom's PRS for Music and Germany's
GI'MA suctessfully took court action
;ig;nnst BUM A/STEM UA. Since )anu-
ary. BUMA/STEMRA has been a mem-
ber of Warner/Chappell s PEDL
initiative. It hasn't appealed the EC de-
cision because "we need a European
solution lo a uniquely European situ-
ation." Vervoord says, "which promotes
more competition between collecting
societies while protecting the incomes
of all rights holders."

GERMANY
CISAC MEMBER: C;i MA
HEAD: ILirald I feker. CEO
MEMBERS: 63.752
In addition to jointly representing EM I
Music Publishing's Anglo-American
catalog with PRS for Music in CELAS.
GEMAoperatesa subsidiar)'. PA ECO L.
which licenses Sony/ATV Europe Music
Publishing's Anglo-American reper-
toire for mechanical exploitation on-
line. GEM A is also involved in Warner/
Cliappell's PEDL initiative. But G EMA
has also appealed the EC decision on
tlie grounds that it is an inadequate so-
lution to continent-wide licensing. "We
need very urgently European guidelines
for collecting societies that clearly tell
us what our rights and our duties are,"
1 leker says. In August 2008, G EMA suc-
cessfiilly obtained an injunction against
the Dutch soclet>' BUMA/STEMRA and
the online music service Beatport after
BUMA/STEMRA issued a Pan-
European license that included GEMA's
repertoire. GEMA has yet to strike its
own deal witli the service.

THE REST

So far. 17 otlier national
societies in European
Union member coun-
tries have appealed the
2008 EC decision.

AEPI: Greece
AKKA-LAA: Utvia
AKM: Austria
ARTISJUS: Hungary
EAU: I'isionia
IMRO: Ireland
KODA: Denmark
LATGA-A: Litluiania
OSA: C/ecli Republic
SAZAS: Slovenia
SOZA: Slovakia
SPA: Portugal
STEP: Iceland
STIM: Sweden
TEOSTO: Einland
TONO: Norway

ZAIKSs Poland

Reporting by Tom
iVrgiisoM in London.
HouvU ikwtllyn in
Madrid. Mure Maes in
Brussels. Aynieric
Pichevin in Paris.
Wolfgang Spahr in
Hamburg, Cesco van
Cool in Amsterdam and
Mark Warden in Milan.

NOVEMBER 21. 2009 t www.biilboard.ejgp J , i Jfteo ^laterial

Cni

THE PUBLISHERS
GAJARTEIU.YQ3 '09

10 Songwriters.
Five Days.

Three Recording Studios.
One Tattoo

Of An M PCSampler^

How EMI Music Publishing Uses Its Talent

To Brainstorm The Next Hit Song By David J. Prince

PHOTOGRAPHS BY TIM SOTER

TOBY GAD AND BRIAN HOWES AREN'T WASTING ANY TIME. It's 3 p.m. ona June
Monday at Chung King Studios in lower Manhattan, and they're already deep into the melody of a
song. Howes, acoustic guitar on his knee, is strumming out a chord progression while singing
nonsensical syllables. Gad, one hand on his Macbook Pro keyboard and the other on the keys of a
full-size grand piano, taps out a steady beat on the floor with his bare foot. On the opposite side of
the recording complex, Keefus Ciancia is still nervously jury-rigging the already twisted wires of
his keyboards, Moogs, synths and other low-fi gadgets he brought cross-country from his home
studio in Los Angeles. In the control room with him, arrayed along a leather couch, grown-up
British teen pop idol James Bourne, John Mayer's bandleader David Ryan Harris and blue-eyed
neo-soul artist DQ watch on a computer screen as the newest iPhone models are revealed in real
time. In the main studio — the one where Biggie Smalls was famously fellated before recording
one ofhis best-known raps — Jim Jonsin is punching drum patterns into his M PC, a coveted, out-
of-production sampler that serves as his control panel (it's also represented in tattoo ink on his
arm) . David Hodges , pale and also tattooed, tunes his guitar while Damon Sharp paces back and
forth with his laptop in hand. Later, they're joined by Steve McEwan, a curly-haired Brit with an
almost permanently bemused look on his face.

None of these 10 guys are household names — nor dio time in the hopes that several of the songs they create Keefus Ciancia is EMI's new kid on the block. Known

would you recognize any of them passing on the street — will become staples of the airwaves before the end of the year. around his L. A. hometown as the go-to keyboard session
but you undoubtedly know their work. This group of They call it Song Camp. guy for everyone from Dr. Dreto Macy Gray toT-Bone Bur-
songwriters is responsible for some the catchiest pop nett (who considers him his personal "secret weapon" both
hits of the past five years — from Beyonce's "If 1 Were ROOKIE OF THE YEAR in the studio and onstage), Ciancia is a lo-fi studio whiz
a Boy" to Lil Wayne's "Lollipop" to Celine Dion's "This The process of creating a hit — the magic combination of in the vein of Money Mark Nishita and the Dust Brothers.
Time." Between them, they have written numerous No. inspiration and relevancy that causes a song to resonate He honed his chops as Everlasfs musical director and
1 songs on the Billboard Hot 100, dozens of top 10 tunes with the public — is intangible. But when EMI gathers song- played with oneof LA.'s biggest unsung heroes, the 300-
and hundreds of tracks that have been cut by the biggest writers with a track record, or the potential to invigorate a plus-pound Benji Hughes, whose double-album collabo-
singers and pop stars working today. creative process, it's a very low risk for something that could ration with Ciancia is an underground favorite among
These 10 songwriters share a parmer — EMI Music Pub- turn into a significant financial reward. Southern California studio rats but sold virtually nothing
lishing — which brought them together and paid for the stu- Plus, it's fun. after its release on New West late last year.

NOVEMBER 21, 2009 I www.blllboard.biz I 21

CoDvrioh'nd nMioM.

Soti.i c ar^i, tMi Publishing Chairman/CEO ROGER FAXON
(left), songwriters TOBY GAD. DAVID RYAN HARRIS and
DAMON SHARPE; opposite page: Harris

EMI Publishing A&R director Dan McCarroIl is convincfd
Ciancia has the makings of a hit songwriter and recently brought
him into the company. Unlike everyone else in the studio iliis
week, Ciancia has yet to write a hit, but McCarroll thinks that
the combination of his musical instincts and some of the more
experienced songwriters' lyrical and melodic ideas can deliver
the winning combination.

For his part. Ciancia is cautiously optimistic. Tdlike to step
in and at least see what 1 can do in there, just to see that side,"
he says during a break in the setup. "I have a few friends that
started doing it, and they're really enjoying it. Plus. I have thai
thing inside of me where I'm hoping to sneak in. but be able
to maybe make radio a little bit better, little by litde."

TATTOO YOU

With his fedora, goatee and kncc-lcngth shorts. )im jonsin very
much looks the part of one ofhip-hopand R&B's top producers.
A one-time D|, )onsin's box of gold is a trusted MPC-3000, the
long-obsolete sampler coveted for its simplicity and tactile pads
that allow producers a hands-on entry point for their beats. Jon-
sin wears his love for the device — and the sounds it allows him
to create — on his sleeve, bterally: a lavish tattoo of the box and a
mad-looking producer runs up his right arm from wrist toelbow.

)nnsin wa*; at first mtrprised to find himself the "it" song-
writer of the moment. Even though he's been on a hot streak
that stretches back to the 2005 Trick Daddy hit "Let's Go." a
track that garnered him BMl's urban songwriter of the year
award, the former club DJ viewed himself more a producer than
writer. But with songwriting credits that include Lil Wayne's
"Lollipop," T.I. 's "Whatever You Like" and Soulja BoyTeU'Em's
"Kiss Me Thru the Phone." plus studio sessions with everj'one
from Beyonce and Ludacris to Flo Rida and Jordin Sparks, he's
come to a better understanding of his talent.

"My favorite kind of music on my iPod is classic rock. I lis-
ten to rock, R&B, pop music more than hip-hop.' he says. " But
hip-hop is what I grew up with, it was the thing to do, and you
know, 1 'm 39 now . . . it's more of a younger man's thing, es-
pecially with the newer artists. My favorite thing Jo do is to kick
back and listen to some Lyn)Td Skynyrd or some Bad Company.
Fleetwood Mac, Pink Floyd, you know?"

WRITER'S MARKET

While many professional songwriters relish the virtually anony-
mous role of musical Wizard of Oz. others are wanna-be rock
stars trapped in a mere mortal's body. At first glance, it would
be hard to sec David Hodges as simply a studio geek: With his
translucent white skin covered with inked-on religious iconog-
raphy; boyish, square face; and pitch-perfect tenor, he looks
and sounds like the kind of guy who would set millions of 'Twi-
light"-loving teenagers' hearts atwitter He certainly knows how
to speak their language.

22 I BILLBOARD NOVEMBER 2), 2009

Born and bred in Arkansas. Hodges grew up in a musical
fimdamentalist family. He wrote his first song at 1 5 and by his
next birthday had decided his destiny was to become a profes-
sional musician. Five years later, in 20(K), he teamed up with
two local high school kids named Ben Moody and Amy Lee and
formed the band Evanescence. The band signed to Wind-up
within a year and spent the next two holed up in L.A.'s notori-
ous Oakwood Apartments writing and recording the dozen
songs that would make up the band's debut album.

Hodges quit the group in December 2002. three months be-
fore the release of "Fallen," an album that would goon to sell
7.3 million copies in the United States, according to Nielsen
SoundScan; put the band on stage in front of GO.OOO people per
night; and eventually earn the musicians Grammy Awards in
2004 for best new artist and best hard rock performance.

Instead, Hodges returned to Little Rock, read books, drank
coffee and occasionally watched his former bandmates on TV.
" I would see Ben and Amy on the |ay Leno show and part of me
really was jealous of it," he says. "But there was a big part of me
that was hke. ' Man. I 've got a good gig here. ' Collect the checks
and sit at home and hang out with friends and just kind of fig-
ure out the next thing. It was a pretty wild experience."

MOVIE MAGIC

lonsin has "Twilight' on the brain. Specifically, he's thinking
about "New Moon," the forthcoming sequel to the hugely pop-
ular teenage vampire movie, and in particular, the song that
will play as the final credits roll. His wife, sister and niece are
deeply immersed in the series and its lore; Atlantic Records
chairman/CEO Craig Kallman is calling for soundtrack advice;
and the series' author. Stephenie Meyer, is a friend.

But Jonsin realizes that the hip-hop sounds for which he's
known don't fit the mood of the film nor the hordes of teenage
girls who get oO'on the themes of repressed sexual desire and
danger. But his thundering drums are proving to be an excel-
lent departure point for the lyricists to explore those emotions.

" I try to start with sounds or noises that are unique . . . key-
board sounds, drum sounds." |onsin says. "Once I have that
set up, it's just pulling out the right guitar, setting up the right
amp. getting the right bass guitar Getting the right sound set
up. Once that's done we add chord changes, find the right chord
changes. Then we add melody, then we start adding drums.
slufTlike that. That's pretty much how we do it."

"|im always amazes me. because out of nowhere he just gets
these huge amazing sounds." Steve McEwan says. "They al-
ways sound refreshing and always sound really current and
modern, and he's always a pleasure to work with."

jonsin is a veteran of several EMI camp outings, the previ-
ous one hosted in his own Florida studios.

"Oh. yeah, it's less pressure." he says. "I'd like to say that
these people were handpicked to work together — we've done

it before. Most of us are like family. If we can hang out in
room, drink a beer and eat some food, we sure as hell can jat
and make music. Tliere are writers and producers with ego:
but they're not here."

BRIT POP

"I always wanted to gel a cut to the Backstreet Boys, betause
was a big fan of the way their records have sounded in the past
)ames Bourne says with a light British lilt. "They recent
recorded one of the songs that I wrote with a btinch of peopi
at one of these camps."

Bourne is the baby-faced youngster in this group of vetera
songwriters, but he's had more hits on the charts as a performi
than anyone else in the studio this week. His band Busted
U.K. No. Is include "You Said No." "Crashed the Wedding
"Who's David?" and "Thundcrbirds Are Go." He bounces ei
ergetically from room to room, quick with a lyric or a melod

Bourne learned the power and reach of pop music at an ear
age. His self-guided guitar lessons consisted of playing alor
to the top 40 songs he heard on the radio as a tween. and \
quickly recognized the patterns and similarities that emerge
from his favorite ones. By the age of 12 he was writing hisow
and at 17 he had his first hit. "What I Go to School For," wii
hiti band Busted.

"We were an unknown band, but it went straight to No. 3 c
the U.K. charts — ahead of 'Cleaning Out My Closet' by Er
inem." he says. "It was a real amazing time. I was in my fir
year of college and a lot of big songs released that week — Be
lovi, Eminem — and it went in front of both of them."

Signed to Universal in 2002. Busted went on to score eig
top 10 singles in the United Kingdom with four of them goii
to No. 1 before breaking up abruptly three years later The mod
was clearly a formula for success — ^two of Bourne's Busted cha
hits. "School" and "Year 3000." were rerecorded and repac
aged by the |onas Brothers on their debut, serving as a sprin
board for Disney's young discovery to get a foothold on tl
charts. "Those kids are really cool, and it's really amazing
watch them have the kind of success they're having," he say

At 26, Bourne's years as a teen pop star are behind him. b
he's settled quite comfortably into the role ofbehind-the-scen
songwriter. Having been in several bands, he's particulai
adept at working with upcoming singer /songwriters lookii
tocrackthecodeof the charts. He's done more Song Camp st
sions that he can count and is a firm belie%'er in the power
numbers when it comes to writing.

"It's a proven formula that works," he says, "You put [t
gether] a number of people who've had successful songs in tl
past and it normally happens. You maximize the chances oft'
good result. Here, you don't have to write down and sign offt
who did what. Most people here have a reputation that th
don't really want to ruin. It's the ones with no rep that can |

m into trouble. If you write with people you don't really know,
m can gel in really dodgy situations when they go, 'I wrote
! and you didn't.' Here, there's an understanding that it works
certain way and everyone accepts it."

REATIVE FREEDOM

iancia long lived in a musical world where pop music rarely
"cpl in. "This week was a lot of names I've never heard of be-
)i c," he says with a laugh. "It's like. 'Oh. we've got a track for
h-and-such,' and I'm like, 'Oh, yeah, cool.' Almost all of
u'tn I didn't know. My daughter needs to keep me hip to it.

36. She's 13. She's great; I said. 'OK, you're going to be
\ consultant.' "

But as the week wears on, he grows more comfortable and
limes is downright giddy as the songs in his studio start
)tniii|4 together.

"This is really the first time I've been in a room with a
iiu ii of people writing," he says during a cigarette break on
«■ studio's fire escape. "What surprised me the most is just
nv quick these guys are, but they're careful. I love throw-
g everything at the wall. I think getting in the mind-set is
«' biggest thing, like how these guys just come in and you
n't think too much, you just go forward. You just dig into
Once they got the storyline, the guys would be going crazy,
a'. 'What if it's this.= What if it's this?' OK. bam. bam. bam.
t'liidif^ always came quick. My favorite was just putting up
iruin beat, playing some chords and each guy was saying,
h.it s great!' "

USINESS SENSE

ini silver-haired and seemingly soft-spoken, EMI Publish-
i; chairman/CEO Roger Faxon doesn't seem as comfortable
a recording studio as he is in the boardroom. But as the chief
ni f ,K l( II of the Song Camp, he docs have an interest in how
r process is going.

So while there's been nary a suit in sight for four long days —
iti several long nights — of creativity, his arrival is greeted as a
koiiu- respite. But it's also a moment of reckoning. For the first
ni' all week, the whole group of sonjfwriters gathers tORether —
St inCiancia's studio, then in jonsin's — to listen to their songs.
Faxon sits behind the control board, nodding his head as the
m\is arc cued up and blasted out of the oversized speakers built
every nook of the studio. Mc nods, he smiles, he makes a
iii};t ->ii()ii for a minor tweak here and there, while the songwrit-
bounce around the room, miming their various parts, laugh-
at a lyric or wishing there had been time for another lake.
Faxon smiles, offers a round of congratulations and slips out
I door. Song Camp is over, but the creative fires still burn. « ■••

'ii^;s written al EMI's songivriler event were recorded by Mario and
o Rida.aswellas major acts on Atlantic. Epic. Jive and Disney.

Up from Down
Under: RENEE
CASSAR

HYBRIDTHEORY

Cross

WHEN IT COMES to finding and devel-
oping musical talent, peermusic sees
the world without borders.

In addition to pursuing the traditional
means of searching for songwriting tal-
ent, pcermusic's stafTlooks for ways to
cross-pollinate musical cultures and
styles and move them from one terri-
tory to another.

With 34 offices in 28 countries, that
philosophy "is very much in the DNA
of this firm," chairman/CEO Ralph Peer
II says.

While Peer acknowledges that it isn't
unusual for publishers to try their luck
with a song outside of their home market,
such efforts tend to be limited to big hits.

"In addition to the hits that we are for-
tunate enough to have, we need lo also
find new sources of music that are out-
side the mainstream." Peer says. "It's
important to us."

How does peermusic nurture cross-
border collaborations? Besides circulat-
ing music to peermusic staffers, the
company holds meetings around the
world where employees from different
countries have tlie opportunity to get ac-
quainted with one another. Not only do
staffers get to match faces to names, the
meetings allow them to communicate
and work better together and to more ef-
fectively convey their enthusiasm for a
song, according to Kathy Spanberger.
president/COO of peermusic's Anglo-
American region.

When peermusic VP of A&R and film
and TV Sam Kling discovered the Aus-
tralian pop artist Renee Cassar on My-
Space, he enlisted the help of the
company's Aussie staffers to meet the
artist and woo her, which resulted in a
joint signing between peermusic's Syd-
ney and Los Angeles offices.

Sydney staffers also helped Cassar's
management get the artist signed to Is-
land Australia, while the L.A. office
worked closely with the label to develop

In Search Of Songs, Peermusic Nurtures
■Cultural Collaborations • By Ed Christman

the album, co-sponsoring songwriting
trips for Cassar to LA. and Nashville, as
well as co-fimding her U.S. trip to work
with producer Luke Ebbin. "Here was a
case where our offices in Nashville and
L.A. were able to work with someone from
another part of the world and get them
with the right people." Peer says.

In another example, Yvonne Gomez,
peermusic's Latin creative director for
the West Coast and Mexico, was listen-
ing to music by Swedish songwriters
signed to the company and noticed that
"sonically and rhythmically, it was sim-
ilar to what works well in Latin Amer-
ica," Gomez says.

So she had pcermusic's Sweden of-
fice send her a selection of songs. She
picked 10 and sent them to the com-
pany's Argentina and Venezuela offices
for Spanish lyrical adaptations. For a
few of the songs, Gomez had Spanish
demo vocals recorded in L.A. to add to
the original Swedish instrumental
tracks. Armed with those demos, she
has been pitching the songs to Latin la-
bels in the United States and Mexico
and has distributed them to the com-
pany's offices in Latin America so
staffers there can pitch the songs in

those countries.

In yet another example of cross-bor-
der collaboration, peermusic arranged
for Anahi, a former member of the Latin
pop act RBD, to work with U.S. -based
British songwriter Richard Harris and
a lyricist from Argentina to write songs
for her debut solo album. Kling says the
trio produced one of the stronger songs
on her album "Mi Delirio,"due Nov. 24
on EMI Latin.

An unlikely case of transporting a
song successfully to a different market
occurred when peermusic's Germany
office pitched Rihanna's "Umbrella,"
co-written by peermusic writer Tricky
Stewart, to the German rockabilly band
the Baseballs , who covered it in English
for their debut album, "Strike," released
in May on Warner Music International.

"It's easier to move songs from one
country to another," Peer says. "Songs
can be molded and changed around, and
sometimes the song travels better than
the songwriter."

Of course, not every collaboration
bears fruit right away, especially in areas
where the concept of copyright is still
catching on. Peermusic formed a part-
nership last year with the Ghana-based
Kampsite Music to develop the
West African music publish-
ing marketplace and boost the
international profile of the re-
gion's music (Billboard, Oct.

1 H. 3008). A ye.ir Liter, the c om-
pany is still working with
CISAC and other organiza-
tions to establish the necessary
legal infrastructure.

Even in areas where the nec-
essary copyright protections are
in place, exposing musical tal-
ent from one country to listen-
ers in another isn't always easy.
Or, as Peer puts it. "You have to
respect the fact that cars arc dif-
ferent somewhere else." •

World
explorer:
RALPH
PEER II

NOVEMBER 21, 2009 I www.billboard.biz I 23

TlieBillboardQ&A

Publishing Group, hails new digital opportunities
but warns of challenges for mechanical and
performance income. ByEdChristman

UNIVERSAL MUSIC PUBLISHING Group chairman/CEO David Renzer oversees a company with revenue nearing the $1 billion
mark and a global presence that spans 53 offices and 56 countries.

Since Renzer joined the company in 1996 when it was known as MCA Music Publishing, UMPG has grown dramatically
through direct signings and catalog acquisitions, including those of BMG Music Publishing, PolyGram, Ronder and Zomba, where
he began his music publishing career and rose to become senior VP/GM In his 10 years there.

Under Renzer's leadership, the company has grown into a powerhouse in production music and launched its Latin music di-
vision, which won ASCAP's music publisher of the year award four times, and saw its songwriters win, among many other ac-
colades, 27 Grammy Awards and 22 Latin Grammy Awards, including Latin record, song and album of the year awards.

UMPG has had a busy 2009 on the deal front, acquiring the Warner Bros. Entertainment music catalog and the French pro-
duction music company Kapagama S.A.. securing the exclusive administration rights to the JimI Hendrix catalog outside of the
United States and signing worldwide publishing agreements with Eminem, country star Keith Urban, Academy Award-winning
composer A.R. Rahman and Grammy- winning composer/Oingo Boingo co-founder Danny Elfman, among others.

In an interview with Billboard, Renzer talks about his company's recent performance, developments in synch licensing and
why publishers should collect a performance right in downloads.

How is UMPG faring In
the market?

It's definitely a challenging
marketplace. I f we look at the
various segments of our busi-
ness, mechanical income con-
tinues to decline for the entire
industry. We are seeing for the
first time some challenges
even in the performance in-
come area, which traditionally
has shown reliable annual
growth. Because radio has
taken a significant hit in ad-
vertising revenues due to the
recession, we are starting to
see what might be a flat year
for performance income.

Likewise, we are seeing
some challenges in traditional
synchronization areas [due to]
the impact the economy has
had on industries like auto-
motive. However, we are doing
reasonably well in television
and film synch licensing and
we are still seeing significant
growth in videogames. We are
pushing the envelope here all
the time in new. nontradi-
tional synch — that is every-
thing from the videc^ame area
to lyric merchandise. Some of
that is spilling over into digi-
tal areas. Also, we have an
incredibly strong release
schedule from important
artists and songwriters. We
have an incredibly strong

global production music li-
brary business. Our classical
publishingand Christian pub-
lishing businesses are hold-
ing up quite well.

What about the settlement
revenue coming from pend-
ing and unmatched funds
and the new digital revenue
coming your way?
We are also seeing some nice
seven-figures-type of money
for online video streaming.
Our company has deals in
place with MySpace and
YouTube and lots of other dig-
ital companies. We are pro-
jecting our digital collections
to grow significantly next
year. Digital is in the 7%-8%
range and I think it will grow
a couple of percentage points
[in 2010].

Having said that, one of
the challenges for our busi-
ness remains the slow
growth of digital throughout
Europe and many other mar-
kets. Europe remains a frus-
trating market. We continue
to emphasize to the Euro-
pean Commission that
licensing may be a bit bur-
densome, but the big issue
is we are still competing with
free. Piracy remains the No.
1 challenge. What we are
seeing in Europe with the

French initiative, with their
"three strikes" anti-piracy
legislation, is very positive
and we certainly love that.
We look forward to seeing
similar legislation enacted in
other markets.

What are the challenges
that you are facing around
the globe?

We are seeing a continued
stream of deals from our Pan-
European licensing initiative,
with big providers like Sfwtify.
Nokia. Omniphone and iTunes.
In terms of international is-
sues, Europe has to be an im-
portant focus because of the
euro value of that region.

In the Latin region, we have
concluded digital licensing
deals with the other major
record companies. We are
hoping that this will result in
some retroactive money being
paid and ease digital licens-
ing across the region. There
is also an initiative under dis-
cussion in Mexico with the
publishers and the local soci-
ety that could ease digital li-
censing in that territory.

In Southeast Asia, we've
successfully launched our
Pan-Asian digital deals with
several of the major compa-
nies and are seeing solid re-
sults from those deals. Finally,

we remain focused on emerg-
ing markets around the globe,
such as our recent deal for
Dubai and our growing [ joint
ventures] in India and Turkey.

How are the revenue
streams for interactive
streaming, music sub-
scriptions and ad-sup-
ported services shaping
up? Were payments In line
with expectations?
The whole subscription area
remains a challenging mar-
ketplace. It doesn't appear to
be a panacea for our industry.
Distributions Ifrom digital
service providersl are coming
in perhaps a little slower than
we would like. The amount of
data that has to be gone
through in the statements is
perhaps causing the process
to move slower than we would
like. The volume is in the ball-
park of our expectations and
our projections.

The area online attracting
the greatest growth is the
streaming services. Pandora
and Spotify in Europe. While
we are happy to see those sites
attract listeners. I believe that
they are also potentially replac-
ing sales and the performance
right Iroyalty] might not pres-
ent enough upside to our writ-
ers. So I am a little concerned

about that, because I see those
sites growing rapidly and not
the other sites like the legal
subscription sites.

What are the legislative
agendas that you wish
the industry would pur-
sue next?

Certainly, in the U.S., the issue
of performance right in a
download is very high on the
agenda of both ASCAP and
BMI. In terms of getting a fix
to that issue, it will be a signif-
icant uphill battle. But there
is an inequity when you down-
load a TV show or a film or a
song [becausel the perform-
ing right exists in a song
download outside the U.S. The
emphasis is on the audiovi-
sual download, but it's diffi-
cult to separate the issues.

There is definitely an equity
issue for a film or television
compwser who may be getting
upfront fees, which are under
pressure. They get no me-
chanical royalty when a TV
show is downloaded, so they
are really getting shut out with
no mechanical and no per-

formance royalty when tin-
shows are downloaded.

What are the opportunitic
going forward and what
the outlook for 2010?

For the first time, we are se
ing revenue from all the iie
digital services and llie ne
business models iK-ginning
emerge, whether it s tl
iPhone applications that w
are licensing, or online Ivrii
from Gracenote, which h;
done deals with many siti
like Yahoo.

While we have all ilu
challenges in our busini^-^
am still optimistic. As the i
dustry is friigincnling, it d<n
require the c Unit and sophi
tication of major publislu
to license many of these s i t r
That's one of the areas tli
perliaps tiiese days major pu
lishers might bo at an adva
tage in llu- marketplace. V
have the stnicUire to ofier Pa
European licensing. I am o
timistic about our position
the industry and what tlie
tiew revenue streams portei
for the future.

_ While we are happy to see [music streaming] sites attract
flkH p listeners, 1 believe that they are also potentially
replacing sales and the performance right [royalty]
^ might not present enough upside to our writers. "

24 , BILLBOARD I NOVEMBER 21, 2009

Copyrighted m

SIGNED, SEALED
l^aklm delivers on his
third io\o album

NIGHT AND DAY
The Bravery do pop
Mb and Jar'k S'Mt

HAVING FAITH

Steven Curtis Chapman

sndurii \m\U limi)

LATIN FORCE
Ednita Nazario is as
popular as ever

BEHIND THE SCENES
Contested Lil Wayne
documentary on DVD

Survival
Of The
Fittest

Jimmy Wayne Pulls
Himself Up By His
(Cowboy) Bootstraps

The bright lights and roaring crowds of New
York's Madison Square Garden are a long way
from the juvenile detention centers of North
Orolina where Jimmy Wayne spent parts of his
youth. With a new single, a cover of the Hall &
Oates classic "Sara Smile." at No. 32 on Bill-
board's Hot Country Songs chart; a new album
of the same name scheduled for release Nov.
23; and a coveted opening slot on Brad Paisley's
American Saturday Night tour. Wayne has fi-
nally left his turbulent past behind.

Wayne's early life could almost be the sub-
ject of a country song. He grew up in and out
of foster care and was a homeless teen when he
was picked up and placed in a detention cenlcr.
An elderly couple took him in and helped turn
his life around; he went on to college and worked
as a prison guard before moving to Nashville.

After the move. Wayne auditioned for indus-
try veteran Scott Borchetta. who then signed
him to his first deal on DreamWorks Records
in 2001. His self-titled debut, released in 2003,
spawned the top 10 hits "I Love You This Much"
and "Stay Gone" before DreamWorks closed.

Borchetta, now president/CEO of Big Ma-
chine Records and Valory Music, didn't want to
let Wayne go and signed him to his new label.
In 2008. Wayne released the album "Do You Be-
lieve Me Now"; the title track spent three weeks
at No. 1 on Hot Country Songs.

"This |immy album came together so
quickly," Borchetta says of the new release.
"Some of these tracks were cut during the 'Do
You Believe Me Now' sessions and they kept
coming back to me — they were just so good. We
then made the decision to cut "Sara Smile' while
|immy was still out with Brad Paisley, basically
because his fans demanded it. Producer Dann
Huff was the final catalyst and injected another
level of energy into the album."

WAYNE 1 1

The new album was produced by three of
country music's heavy hitters — Huff (Rascal
Flatts. Bon |ovi, Keith Urban), Nathan Chap-
man (Taylor Swift) and Mark Bright (Carrie Un-
derwood). The single was produced by HuflT and
features vocals from Daryl Halt and |olm Oates.
"It's just kind of surreal to hear my voice and
their voices on the same song." Waj-ne says.

"Sara Smile'" also includes a song by John
Shanks and Keith Urban called "Tilings I Believe."
" Dann said, ' I might have to go ask Keith Urban
if he would mind if we cut this song on you." "

Wayne recalls. "He said 'yes' and Dann was sur-
prised that Keith didn't record that himself."

Among the new tunes Wayne penned for the
album are "Just Knowing You Love Me," "I'll
Never Leave You" and "Elephant Ears," the last
of which holds special significance. "It's a com-
bination of my own personal experience and
my sister adopting a little girl and just thinking
about what kids out there go through in foster
homes," Wayne says. " It's a song to bring aware-
ness that those kids need our help."

"I'll Never Leave You" is a tune Wayne wrote

*My goal is to be
successful in this
career and never
have to struggle
again. I've found
something that I
really love, not
something that I
feel like is a job.'

-JIMMY WAYNE

with Hall & Oates in mind. "I thought. 'What
would 1 write if I were going to write a Hall &
Oates song? What would it sound like?' " he says.

Wayne performed that song and others dur-
inga Nov. 2 taping of "Live From Daryl's House,"
an online show Hall tapes at his home. The
episode will be broadcast Dec. 1 5 on Hall's site
[ 1 ivefromdarylshouse.com).

Wayne also utilizes Twitter, sending frequent
messages, photos and even inviting fans to join
him at a local restaurant in Nashville after an
Oct. 27 Grand Ole Opry appearance. Starting
Nov. 23 the label is running a contest asking
f^^ns to send a photo of themselves smiling to
Wayne's Twitter account for a chance to talk to
the artist. The label is also running a radio con-
test for fans to receive a customized version of
the album that puts the winner's name in the
title instead of 'Sara."

Wayne has been selected as a Breaker Artist
in LP33's "Music Magazine' show that airs in
McDonald s locations nationwide. The episode
featuring Wayne and the video for "Sara Smile"
will run Nov, 30- Dec. 14.

' M y goal is to be successful in this career and
never have to struggle again." says Wayne, who
also helps underprivileged youth. "I've found
something that I really love, not sometliing that
I feel like is a job. I love it with heart and soul.
I worked at it and believed with all my heart that
it was going to happen." ••••

NOVEMBER 21. 2009 I www.t>illboard.biz { 25

YEAR IN

WITH EXCLUSIVE DECADE-END

CHARTS AND ANALYSIS

The issue referenced year-round by the most
powerful people in the world of music

Covering: TOURING • PUBLISHING • TECHNOLOGY • and more!

..Ill

On Sale: December 12
Issue Ad Close: December 4
Special Section Ad Close: November 25

ADVERTISE TODAY!

New York: 646,654.4759
Los Angeles: 323 525 2299
Nashville: 615.352.0265/615.376.7931
Latin America: 973,452.3528/305.864,7578
UK: 44.207420.6075
Australia: 0402.431.106

SPECIAL DOUBLE ISSUE 250+ CHARTS

THE YEAR
M

IN MUSIC

&TOURING

Cni

QUESTIONS

with RAKIM

by MARIEL CONCEPCION

?akim has long been touted as one of the most influential MCs of all time.
3ut even with all the accolades, the New York rapper hasn't forgotten his
lumble beginnings.

On his third solo album— and first effort in nearly a decade— "The Seventh
Seal. " due Nov. 17 on his own Ra Records, Rakim says he hopes to "put some
ove back in New York."

The majority of this album has that melodic New York sound— I just tried to
nake it a good, all-around New York album," he says. "That's why I did songs
ike 'Euphoria.' with [New York rappers] Jadakiss, Busta Rhymes and Styles P—
wanted to make sure our presence was felt."

You're about to release your first
Ibum in almost a decade. Why did
ou choose the track "Walk These
treets," featuring newcomer Malno,
3 reintroduce yourself?
laino is an artist that I feel walks what
f talks — you can tell what he raps alx>ut
lid what he's been tlirougli is very sini-
ar. You've got a lot of rappers that rap
bout what they've heard or seen, but I
link Maino is one of the rappers that
as actually lived it. He has credibility,
nd liial'soneof the things I wanted to
oint out with this album: There's noth-
ig fake on this album. 1 wanted loniake
real album and at the same time show
ame love to tlie people I got respect for
id vice versa.

2 Which rappers are authentic and
excellent right now?

Lit Wayne is doing his thing and so is
Drake. But 1 really like the way Fabolous
is holding down New York right now.
fadakiss is also repping New York, heavy

3 speaking of New York, what do
you think of critics claiming the Big
Apple isn't holding its weight in
terms of the genre these days?

New York is ki nd of all over the place with
its soimd right now. Overall. I think the
substance of hip-hop is a little shallow
and I think listeners and consumers re-
alize that. We need to get back to a little
more consciousness — to the essence of
hip-hop, not just partyingand negativity.

4 What's to blame for the current
state of hip-hop?

Radio plays a big part. Before, labels
were able to predict what would be a hit
or not. but these days, radio has so much
control and power that labels sign acts
based on what radio will play. It's unfor-
tunate because a lot of it is politics in-
stead of talent. Everyone is trying to
make money, and the genre is being rna-
tiipnlated by money. You have a lot of
material out there, especially from New
York, that should be getting airplay, but
then you have powers that l>e that push
that to the side. If your label puts a lot
of money behind your project, then
you'll hear your music on the radio. Oth-
erwise, it's a struggle.

5 You signed your last deal in 2000
with Dr. Dre's Aftermath label. Why
did you decide to walk away from it
three years later?

One of the main reasons why it didn't
work out for me and Aftermath is be-
cause 1 felt my music should sound one

way and they felt it should sound an-
other. But. I learned a lot from watch-
ing Dre. and when 1 left California. I
knew it was time for me to get my own
label. I was fortimate enough to team
up with Montana and Tuscan Villa for
distribution and to be able to drop my
album myself.

6 You released your first album,
"Paid In Full," In 1987 with your
former partner Eric B. Considering
your long career, do you feel you get
your due?

1 feel like I deserve a little more credit.
Thcrearecertain things that 1 wish peo-
ple knew — certain things that 1 feel I
started and certain things that I'm re-
sponsible for. Sometimes you wish peo-
ple knew where a certain style of rapping
came from or who was the first one to
say whatever. That isn't always the case,
though. Hopefully. I can get back to
where I start setting trends again. Even
more, I hope I make thai happen with
this album.

h LATEST

"buzz

»>YOUNG MONEY
ALBUM TITLE
ANNOUNCED

According to Universal
Music Group's Web site,
the title of the Young
f^oney disc that will be
packaged with Lil
Wayne's rock album,
"Rebirth" (Dec. 15), will
be "We Are Young
Money." Originally
scheduled for April 7, the
first single, "Prom
Queen," was produced by
Infamous and Andrew
"Drew" Correa;
producers Cool and Dre
and Develop also have
tracks on "Rebirth."
Although the album is
mostly rock, one of its
leaked songs, "Fix My
Hat," is one of the few rap
tracks that the set
contains.

BY EVIE NAGY

3RETTY HATE MACHINES

*he Bravery
Jrings Darkness
b The Dancefloor

he songs on the Bravery's
ird studio album, "Stir the
lood." due Dec. 1 on Island
ecords, have titles like "Red
ands and White Knuckles."
^atefuck"and "Slow Poison"
he first single) — quite a
;nigc from earlier tracks like
ui Honest Mistake" and "Be-
ve." Frontman/songwritcr
m Endicott says that the
)ngs on "Stir the Blood"
me from a "darker, angrier
ace" than previous work. But
)nically it's a dance album,
uch like the band's self-
led debut.

This return to form is one
■ason behind the band's de-
sion to take an unusual step

promote the album — com-
eting a U.S. tour before its
lease, with only one single
nt to radio.

It's risky, because the pro-
c of the band is down a little

bit. We haven't been on tour for
a year-and-a-half; our last album
["The Sun and the Moon"] came
out over two years ago." man-
ager Pete Gain says. "You're
going to play a bit smaller ven-
ues than you normally do. be-
cause there isn't as much heat."
But the idea, he says, is to "re-
juvenate the fan base." get long-
time listeners excited alwul the
new material and olTer oppor-
tunities like a presale where

those who order the album for
$ 1 0 at a concert get to meet the
band after the show.

"It's old school — they sign
up on a piece of paper with
their address and we send
tiiem a physical CD." Galli says.
"We'd talked about doing a
download card that fans could
use on the day of release, but
there's something about get-
ting it in the mail, and that way
we can send iheni the Friday

belbre release. I'liere s a value
in getting it first."

Another grass-roots success
has been the video for "Hate-
fuck." which the Bravery pro-
duced and distributed online
without the label's participa-
tion. - Hatefuck' has become
tiic biggest fan favorite of any
of the new songs." Galli says.
" 1 1 probably has more momen-
tum than the actual single it-
self, from a gronndswell
perspective. But you can't ex-
actly convince your label that
your first single should be
called 'Hatefuck.' "

Also p.iving a siRnificant
bump to the Bravery's profile
Ix-fbre the album's release is En-
dicott's recent turn as a pop
songwriter: He wrote the title
track single for Shakira's up-
coming album "She Wolf."
which has peaked at No. 1 1 on
the Billboard Hot UWand No. 8
on the Hot Digital Songs chart,
in addition to two more songs
included on various interna-
tional releases ofthe album. The

col 1 a bora ti on ca me about when
Shakira contacted "Stir the
Blood" producer john Hill, who
asked Endicott to write a few
tracks to play for her while work-
ing on the Braver)' album. And
while the match seems unlikely
at first, Endicott says it was an
easy musical transition.

" 'SheWolf'isina wayvery
similar to Bravery music in
that it's l)ased on a dance beat
and adiscobassline." Endicott
says. "I'm a bass player first
and a singer second, so a lot of
our stufTis based on that kind
of rhythm."

"In the beginning I was wor-
ried about what writing a song
for Shakira would do for the
Bravery's credibility, but it's
turned out to be the opposite,"
*iays Galli. who adds lhal Endi-
cott co-wrote a song for an up-
coming Christina Aguilera
album, and demand tor his time
as a songwriter is growing. "1
think people saw style over sub-
stance at the beginning |of the
band's career]. But they've
weatheri'd that and have grown
through the records, and what's
fimny is that people have partly
realized it because Sam has writ-
ten a global pop smash."

>»'CRAZY LOVE'
GETS RERELEASE

Canadian singer Michael
Buble tells Billboard.com
that he plans to reissue
"Crazy Love"— which
spent its first two weeks
at No. 1 on the Billboard
200— next year with
additional songs that he
recorded during the
album's sessions. Among
them will be "Hollywood
Dead," which will be the
set's third single after
"Have I Met You ' and
"Hold On." A release date
for the album's new
edition hasn't yet been
announced.

> GERMANY

BANSRAMMSTEIN

ALBUM

The album "Liebe 1st Fur
Alle Da" by the German
hard rock group
Rammstein has been
banned from public
display in German stores
due to its depictions of
sadism and masochism,
which have been deemed
harmful to children and
young people.
Announcing this ruling.
Petra Meier, the deputy
president of the Federal
Office for the
Examination of Media
Harmful to Young People,
cited multiple tracks as

well as the artwork

showing guitarist Richard
Kruspe with a masked,
naked woman on his
knees. The album may no
longer be advertised or
placed on open
exhibition where children
younger than 18 may
access it.

Reporting by Crystal Bell,
Gary Graff and Wolfgang
Spahr.

NOVEMBER 21. 2009 www.billboard.bi2

ALBUMS

TRIN-I-TEE 5:7

Love, Peace, Joy at
Christmas

Producers: The Bama Boyz
Spirit Rising/Music World
Music

Release Date: Oct. 27
The girl group Trin-I-Tee 5:7
delivers its first holiday album
with the combined CD/DVD
package "Love, Peace, Joy at
Christmas." Those expecting
the award-winning act to stay
within gospel's confines will
be pleasantly surprised. In
addition to inspirational stan-
dards and contemporary
Christian offerings like "Joy to
the World," "O Holy Night"
and "Mary Did You Know,"
members Chanelle Hayes.
Angel Taylor and Adrian An-
derson stretch their wings on
attention-grabbing, jazzed-
up versions of "White Christ-
mas" and "Winter Wonder-
land" as well as a poignant
cover of the Jackson 5's "Give
Love on Christmas Day."
Rounding out the album is a
bonus track by Trin-I-Tee 5:7
labelmate Brian Courtney
Wilson, who renders a credi-
ble cover of the Donny Hath-
away classic "This Christmas."
The companion DVD com-
prises five live Trin-I-Tee 5:7

performances from the recent

TV special "Gospel Music
Channel Presents: Christmas
at Union Station." Overall, the
package shines a deserved
light on Trin-I-Tee 5:7's vocal
hallmark— smooth, effortless
harmonies.— GM

THE CLARK SISTERS

Family Christmas
Producer: Asaph Alexander
Ward

Karew Records/EMI Gospel
Release Date: Oct 13
The Clark Sisters' new holi-
day album, "Family Christ-
mas," is truly a family affair as
sisters Twinkle, Karen, Jacky
and Dorinda are joined by
younger members of the
Clark clan. Karen's son, J.
Drew Sheard, penned the
gorgeous track "Beautiful
Christmas," which features
sister and chart-topping
gospel artist Kierra Sheard on
lead vocals. J. Moss serves up
a potent version of Donny
Hathaway's "This Christmas,"
while his brother. Bill Moss Jr..
contributes a warm take on
"We Are the Reason." And
the sisters deliver stellar new
renditions of "Silver Bells."
"Silent Night" and "Hark the
Herald Angels Sing." It's been
more than 30 years since the

f ANDREA BOCELLI
My Christmas

Producers: David Foster, Glen
Ballard. Alan Silvestri
^vli^^ Sugar/Decca

-J> — 1 Release Date: Nov. 3

It's difficult to know which of Andrea Bocelll's
duet partners on his first holiday album, "My
Christmas," makes for the most unlikely match
with the Italian pop-classical crooner. There's
Mary J. Blige, who bends the melody of "What
Child Is This" into new R&B shapes. There's also
Reba McEntire, next to whom Bocelli couldn't
sound less down-home, in a gently swinging version
of "Blue Christmas." Of course, neither of those
stars usually work In children's venues, nor are they
made of felt— both of which are the case with the
Muppets, who show up for "Jingle Bells." (More
characteristic guests on the set include Natalie
Cole, Katherine Jenkins and the Mormon
Tabernacle Choir.) Though there's no shortage of
starchy church-service fare ("Angels We Have Heard
on High," "Adeste Fideles"), much of "My
Christmas" seems intended to show off Bocelli's
previously disguised playfulness. That doesn't mean
It's terribly playful— his version of "Santa Claus Is
Coming to Town" doesn't contain a drop of wit.
But isn't it nice to hear the big guy try?— AfkV

STING

If on a Winter's Night . . .
Producers: Robert Sadin, Sting
Cherrytree/Deutsche
Grammophon
Release Date: Oct. 27
Sting has said that his latest
album, "If on a Winter's Night . . .," was Inspired by
his favorite cold-weather season. But what's sur-
prising about the best cuts from the 1S-track set Is
how much heat the Police frontman and his varied
collaborators create. On "Christmas at Sea"— a
Robert Louis Stevenson poem set to music by Sting
and Scottish harpist Mary MacMaster— the players
layer folky string-band licks over a percolating
African-Inspired groove, and "The Burning Babe"—
based on a 16th-century poem by the Jesuit writer
Robert Southwell— climaxes in a surprisingly fierce
bit of sax-and-drums clatter by Jazz veterans Kenny
Garrett and Jack DeJohnette. Elsewhere, Sting
recasts "The Hounds of Winter" (from his 1996
album "Mercury Falling") as a slow-mo bossa nova
with percussion by Brazil's Cyro Baptista. And
"Hurdy Gurdy Man" turns a bit of Schubert into a
fireside lullaby. -MW

Clark Sisters issued "New
Dimensions of Christmas
Carols" — here's hoping
they don't wait that long
again to deliver another
holiday gift like this glori-
ous album.— DfP

STRAIGHT NO
CHASER

Christmas Cheers
Producers: Straight No
Chaser, Deke Sharon
ATCO/Atlantic
Release Date: Nov. 3
The a cappella group Straight
No Chaser's second holiday-
themed album. "Christmas
Cheers. " may feature tradi-
tional songs like "We Three
Kings." "O Holy Night" and
"Jingle Bells." but the vocal en-
semble puts its own spin on
the tunes using a variety of
genres to spread winter cheer
The familiar "Let It Snow" is re-
worked as a sassy R&B tune
with a funky interlude, while
the swinging "Rudolph the
Red-Nosed Reindeer" fea-
tures the pizzazz of big band
music. Straight No Chaser
loosens up from the straight-
ahead approach of its first hol-
iday album by weaving jokes
in between songs and often
pausing for wisecracks— a
cover of "Santa Claus Is Back
in Town" features a spot-on
impersonation of Elvis Pres-

ley, where a group member
says. "Santa's left the build-
ing, baby, he's comin' for
you." "Christmas Cheers" of-
fers a few originals, includ-
ing the tongue-in-cheek title
track, which references
Christmas sweaters and
spiked eggnog — SG

DAVID ARCHULETA

Christmas From the Heart
Producer. Jeff Archuleta
19/Jive Records
Release Date: Oct. 1}
Former "American Idol" con-
testant David Archuleta's
new holiday album. "Christ-
mas From the Heart." puts
the singer's mellifluous voice
front and center and wins
over the listener with his orig-
inal renditions of classic hol-
iday music. Archuleta's vel-
vety delivery of "Silent Night"
lulls the listener into a dream-
like state, while the string
arrangements on "Oh Holy
Night" add to the intensity.
And his Latin vocals com-
bined with an urgent back-
beat on "Pat-a-Pan" lend a
more contemporary feeling
to the set. Archuleta pays
tribute to his Latin heritage
by singing in Spanish on "Riu
Riu Chiu": elsewhere, the
singer summons his usual
pop style (while slipping
in light sleigh bells) for
"Melodies of Christmas." a

song he co-wrote. Archu-
leta's vocal virtuosity gives
"Christmas From the Heart"
a timelessness that should
appeal to his fans and lovers
of the traditional.—

NEIL DIAMOND

A Cherry Cherry Christmas

Producers: various

Columbia Records

Release Date: Oct. 13

The listener's reaction to the

concept of Neil Diamon
covering Adam Sandler
"The Chanukah Song" is
pretty good predictor c
how he or she will respon
to the third holiday comp
lation of Diamond's caree
While many of the class
songs are remasters fro
earlier recordings — incluc
ing the tenor sax-heavy "Th
Christmas Song" and th
gospel choir-assisted "Jo
to the World"— the ne'

BOB DYLAN

Christmas in the Heart
Producer Jack Frost
Columbia Records
Release Date: Oct. 13
Bob Dylan is so far into the cre-
ative renaissance that began with his 1997 album,
"Time out of Mind," that even fans could forget his
knack for taking unexpected left turns. But even by
Dylan's standards, his new album "Christmas In the
Heart" Is an odd one— a collection of straight-ahead
Christmas songs that benefits Feeding America, as
well as food charities in other countries. But it will
remind listeners that for nearly a decade Dylan has
been working on his croon— exploring musical styles
that are more polished than folk and blues. This set,
which mixes holiday classics like "Here Comes Santa
Claus" with lesser-known songs like "Christmas Is-
land" and a raved-up, accordion-heavy take on "Must
Be Santa," Includes a breadth of styles that reminds
one of Dylan's satellite radio show as much as his
albums. And speaking of left turns, he sings part of
"O Come All Ye Faithful" in Latin— and gets away
with It.-ffi

28 I BILLBOARD I NOVEMBER 21, 2009

Copyrighted materia

1141= Rll I BOARD

racks come off as though
hey were recorded over a
ilass or two of mulled cider
he title track name-drops a
lew of Diamond hits as
vays to celebrate the
eason. wishing listeners a
merry cherry, holly holy,
ockin' roily Christmas"; one
hat "feels like pretty amazin'
irace. if you know what I
lean," Meanwhile, "The
:hanukah Song" is exactly
rfhal one might imagine—
>iamond having some fun
trith Sandler's modern holi-
lay hit, with some added
lectric guitar.—

;UGARLAND

iold and Green
'reducers: various
icrcury

:elease Date: Oct 13

■.hristmas collections can
resent a slippery slope— al-
ums of covers rarely stand
p to the classics and sets of
II new material struggle to
apture the comfort and joy
f the season. Thankfully,
ugarland delivers with its
ew holiday album, "Gold
nd Green." a smart and
omfortable mix of stan-
ards and new songs pen-
ed by the duo's Jennifer
letties and Kristian Bush
nd a few friends. Nettles'
'ademark growl and play-
jlness on "Winter Wonder-
ind" and "Nultin' for Christ-
las" are just what the
•ecember doctor ordered,
ush's lead vocal on the
teel guitar-laden "Holly
oily Christmas" beautifully
lends with Nettles' inter-
/vining reprise of "Winter
.'onderland " But the proof
1 the pudding is the fresh
et familiar-feeling originals,
he gorgeous opener. "City
f Srtver Dreams" (penned

with Ellis Paul), tells the
tale of a town transformed,
while the soulful "Coming
Home" borders on a full-on
gospel number complete
with B-3 organ. Bush's take
on "Maybe Baby (New
Year's Day)" shares the
modern classicism of Dan
Fogelberg's "Same Old
Lang Syne."— XT

VITAL REISSUES

VARIOUS ARTISTS

A Christmas Gift for You
From Phil Spector
Producer: Phil Spector
Phil Spector Records/
Legacy

Release Date: Oct- 26

The first song on Phil Spec-
tor s famous Christmas al-
bum is Irving Berlin's "White
Christmas." one Russian-
American Jew's holiday
greeting to another. But
Specter's version— sung by
Darlene Love and arranged
with his famous Wall of
Sound— gives the song a
distinctly Los Angeles twist
as Love sings of warm
weather and palm trees. The
Ronettes. the Crystals and
Bob B- Soxx & the Blue Jeans
help Spector reinvent clas-
sics like "Frosty the Snow-
man" and "Winter Wonder-
land" as what the producer
once called "little sym-
phonies for the kids." It was
for this album that Spector.
Ellie Greenwich and Jeff
Barry wrote "Christmas
(Baby Please Come Home)."
which made the holidays
sound downright sexy. And
the Crystals' version of
"Santa Claus Is Coming to
Town" inspired a similarly
dramatic version by Spec-
tor fan Bruce Springsteen.
Winter wonderland never
got any weirder— or more
grandly beautiful.— fft

OITED BY MITCHELL PETERS
VLBUMS) AND MONICA
ERRERA (SINGLES)

ONTRIBUTORS: Judy Cantor-
/ivas, Manel Concepcion, Sandy
ordon, Monica Herrera, Robert
>vine. Michael Menachem, Gail
itchell. Evie Nagy. Kelsey Paine,
eborah Evans Price. Ken Tucker,
ikaei Wood

RITICS' CHOICE *: A new

lease, regardless of chart
3tential, highly recommended
'r musical ment.

PICK A new release predicted
to hit the top half of the chart in
the corresponding format

All albums commercially available
in the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard. 5055
Wilshire Blvd., Seventh Floor. Los
Angeles. CA 90036 arvd sirtgles
review copies to Monica Herrera
at Billboard. 770 Broadway.
Seventh Floor, New York. N.Y.
10003, or to the writers m the
appropriate bureaus.

REVIEWS-

SINGLIES

lillJIMJ

SNOOP DOGG
FEATURING THE-
DREAM

Gangsta Luv (4:17)
Producers: Christopher
"Tricky" Stewart. Terius "the-
Dream" Nash
Writers: T. Nash. C. A.
Stewart. C. C. Broadus Jr.
Publishers: various
Doggystyle/Priority/Capitoi
At first listen, Snoop Dogg's
"Gangsta Luv" appears to
have all the necessary ele-
ments for a hit. Co-wriler/co-
producer the-Dream delivers
a likable chorus, singing,
"Everytime I come around,
shavrty love me down/Run off
on me like c I ick-c lack/Throw
it out like. 'Take that,' " atop
keyboard licks that recall Kid
Cudi's " Day N Nite " The track
also continues the lady-loving
theme of Snoop's 2003 hit
"Beautiful." but six years later,
it's the Doggfathef 's own lyrics
that seem to fait short. Whtle
he hasn't been as lyrically in-
ventive for some time now. the
rapper sounds almost indo-
lent on "Gangsta Luv," coast-
ing with lines like, "I kxwled up
a winner, and put it up in the
air/Got that III dress on, you
coming up outta there." Let's
hope fans can overlook those
lackluster rhymes and focus
on the song's stronger, radio-
friendly elements.— AfC

LADY GAGA

Bad Romance (4:54)

Producers: RedOne. Lady
Gaga

Writers: N. Khayat.
S. G. Cermanotta
Publishers: various
Streamline/Konlive/
Cherrytree/fnterscope
"I want your ugly. I want your
disease/1 want your every-
thing as long as it's free." a
mischievous Lady Gaga
croons on the opening lines
of "Bad Romance." "I want
your psycho, your vertigo
stick/Want you in my rear
window/Baby, you're sick."
Hardly the stuff of a loving re-
lationship, but according to
this new track from Gaga's
expanded debut album. "The
Fame: Monster." no coupling
IS complete without a healthy
dose of dysfunction. As she
did on her previous No, \ hit
■Poker Face." Gaga splinters
the song's title into sing-
songy syllables, interspers-
ing them with "Ooh la las-
over industrial-dance synths
that rev up in dizzying fash-
ion, giving an otherwise fairly
simple production an illicit
feel. "Bad Romance" isn't
quite as catchy as the other
songs from Gaga's 2009 hit
streak, but it has wicked sex
appeal,— MW

PINK

Funhouse (3:24)
Producers: Tony Kartal
Jimmy Harry
Wrlt«rr. Pink. T Kanal.
J. Harry

Publishers: various

DADDY YANKEE
Grito Mundlal (3:05)
Producers: Raymond Aysla. Eti
tl MuncQlogo." Menes
Writer: R. Ayala
Publisher: Los Cangri
El Cartel

With the 2010 FIFA World Cup in South Africa around the
comer. Daddy Yankee aims to score the kind of goal Ricky
Martin did with his 1998 hit. "The Cup of Life." Yankee's
"Grrto Mundlal"— In Spanish, the title can mean "World-
wide Shout" or "World Cup Shout"— opens with carnival-
esque fanfare, matching rowdy chants to a dance beat
that could bring a stadium's worth of soccer diehards to
their feet. Fans are pushing for this first single from the
Puerto Rican artist's upcoming album. "Daddy Yankee
Mundial." to be used as the official World Cup anthem.
With so many samba whistles, "Grito" could easily be ded-
icated to Brazil, but Yankee's self-penned lyrics call for
unity among all Latin American countries. It's another
potential radio hit with plenty of gaso\\no.~JCN

CHRIS YOUNG
The Man I Want to Be (3:27)
Producer James Stroud
Writers: fi. James. T. Nichols
Pubiishers: various
RCA

Chris Young's previous single, the sultry "Gettin* You
Home (The Black Dress Song)," earned the
Murfreesboro, Tenn., native his first No. 1 country hit,
and his follow-up also has the potential to reach the
summit. Penned by Brett James and Tim Nichols.
"The Man 1 Want to Be" Is a thoughtful ballad writ-
ten from the perspective of a man who knows he's
made mistakes, as Young sings, "I want to be a good
man/A do-tike-l-should man/The kind of man the
mirror likes to see." Young has a rich, resonant voice
and delivers a potent vocal that is emotional, yet
restrained. It's a remarkably seasoned performance
by a young talent who has the vocal chops and sen-
sibility to follow in the footsteps of his hero, Keith
Whitley. Yes, that's high praise, but Young has
earned \t.—DEP

LaFace/Jive Records
On Pink's biggest pop hits,
art has almost always imi-
tated life. It's no different on
the title track and fourth
single from her "Funhouse"
album, which readdresses the
singer's rocky relationship
with husband Corey Hart —
and thank goodness for that.
Pink again displays her ver-
satility on this complex num-
Ijer, which calls for blues, funk
and rock vocal stylings that
few other pop stars could pull

off. The singer delivers with

full force, colliding with lively
guitar licks and hints of
Synth. Co-producers Jimmy
Harry and No Doubt's Tony
Kanal. who also co-produced
Pink's previous hit, "Sober."
provide a bluesy shuffle and
pulsing, organ-driven bridge
that drives the song home.
'Funhouse" is the latest hit
from Pink's most varied and
compelling set since her
2001 breakthrough album,
"MIssundaztood."— MM

NOVEMBER 21, 2009 I

BY DEBORAH EVANS PRICE

Finding
Strength
In Music

Steven Curtis Chapman Comes Back
With Album Following Daughter's
Tragic Death

Steven Curtis Chapman wishes he had never written the songs
on his new album. "Beaiily Will Rise" (Sparrow Records/ KM I.
Nov. 3). which debuts this week at No. 1 on Billboard's Top

christian Albums chart. That's because the songs were writ-
ten following the death of his 5-year-old daughter Maria, who
was killed May 21 . 2008. when Chapman's 17-year-old son ac-
cidentally hit her while pulling into the family's driveway in
a sport utility vehicle.

"The last thing 1 wanted was to turn any of this into a song,"
Chapman says. "After we lost Maria, I did not know if I would
ever write anymore songs or ever sing again.'

His songwriting. however, became a cathartic experience.
"You realize, "God, this is what happened and now what would
you have me do? How would beauty come out of this and what
would that look like?' " Chapman says of the questions he
asked as he wrestled with his faith. "Songs slowly began to
coiTic out as I tried to process what my family and 1 were think-
ing and feeling."

Chapman — the Christian music industry's most-awarded
artist with more than 50 Dove Awards and five Grammys to
his credit — wasn't signed to a label when he recorded "Beauty
Will Rise." The singer/songwriter, who has recorded with
Sparrow for more than two decades, decided at the time that
if he signed another record deal, it would be after he finished
recording this project. "If there was ever a recording 1 was

going to make that 1 could not let anyone speak to me abou
the process, this was it. For better or worse, it just had to com*
straight out of my gut."

Chapman recruited Brent Milligan as his co-producei
More than half of the album was recorded in dressing room
and hotels during Chapman's United tour with Michael ^K
Smith. "We would set up a little makeshift studio and record.
Chapman says. And although several labels were vying li
release "Beauty." he returned to the familiarity of the Spai
row team.

"People will find encouragement and hope in this albur
regardless of their life situation." says David Sylvester, prod
uct marketing director for EMI Christian Music Group. Th
label hosted a release-date webcast from Chapman's hom
studio as well as a webcast for Christian radio. "Over 40 sts
tion.s signed up to watch and about a third of them watche
with their entire staff." Sylvester says.

Christian retail has also supported the project. "Famil
Christian Stores and Lifeway both worked to deliver si§
nificant positioning even though we were right up agains
their deadlines." Sylvester says. "Family Christian implc
mented a presell in all their stores, with consumers immc
diately receiving a CD single of [the lead single) 'Heave
Is the Face.' "

While "Beauty" is a very personal project, it also strikes
universal chord. The lyrics are honest and vulnerable, esp<
cially on songs like "Heaven Is the Face" — No. 16 on the He
Christian Songs chart — and "Questions." on which Chaf
man asks. "Who are you God?/Cause you are turning out t
be so much different than I imagined." Yet hope reverberate
as well on other tunes like "Spring Is Coming," "Our God I
in Control" and "1 Will Trust You."

As evidenced by those songs. Chapman's faith remain
strong- "The hope that we have has allowed me to share thi
music and this recording with people." he says. " 'Beaul;
will always be the album that 1 wished 1 would have neve
written. But part of the process in doing this is to see Go
bring beauty out of the ashes and see the comfort in othc
people that can come from this."

'TIS BOCELLI SEASON

Andrea Bocelli's "My Christmas " debuts on the Billboard 200 at No. 3 with 149,000 copies sold, ai
( ording to Nielsen SoundScan. It is the Italian singer's fifth top 10 release and his best sales wee
since "Cieli DiToscana" sold 177,000 during Christmas week in 2001. •! The new album's sales tot£
is also Bocelli's second-best opening week — the 1999 "Songo" sold just a couple of hundred mor
copies in its first week. "My Christmas " begins at No. 1 on both Top Holiday Albums and Top Clas
sical Crossover Albums.^] The latter tally gives Bocelli a record seventh chart-topper. He was prev
ously tied for most No. Is in the Ifi-year history of the chart with |ohn Williams, Sarah Brightma
and the London Symphony Orchestra. And the arrival of "Christmas" atop the Classical Crossove
chart is the artist's 100th cumulative week at No. 1 (see chart).* The David Foster-produced albur
primarily features English recordings of seasonal songs like "White Christmas," "Santa Glaus I
Coming to Town" and "Silent Night." Bocelli is joined by guests including Natalie Cole. Reba McEr
tire, Mary I . Blige and the Muppets. — Keith Caulfiel

ARTISTS WITH THE MOST NO. Is

ON TOP CLASSICAL CROSSOVER ALBUMS

ANDREA BOCELLI'S NO. 1s
ON TOP CLASSICAL CROSSOVER ALBUMS
Or

Deck ttie lia
ANDREA BOCELLI

Nks

Jotin London Smh
Wi\am STmptunv BrifMnian
OnhHlia

OwloDi
Qiurch

AndiHBetHli: LlwinlBsa«r

BILLBOARD I NOVEMBER 21, 2009

BY LEILA COBO

^re Awards In Synch
i/Vith Consumer Desires?

■dnita Nazario Continues At No. 1 As Latin Grammys
Help Post Gains For Others

ollowint; the recent lOlh annual Latin Grammy
wards in Las Vegas, veteran Puerto Rican artist
dnita Nazario continues her reign at No. 1 on
illboard s Top Latin Albums chart for a second
ansecutive week with "Soy" (Sony. Oct. 27). Sales
("the album (23,000 copies, according to Nielsen
oundScan), primarily from Puerto Rico, nearly
oubk'd those of this week's No. 2 album,
Ventura's "The Last." That Sony album
as already spent 22 weeks on or near the

p of the l-atin Albums chart.

But looking beyond the top echelon,
n important part of the Latin sales chart
lovt'inent this week is related to the
aX\n Grammy Awards — but not always
1 obvious ways.

I n terms of percentages, the Latin Gram-

) s resulted in some of the biggest across-
ir board increases in album sales for the
kend following the Nov. 5 telecast. But
1 terms of copies sold, the results were
WW modest — befitting the times — with
ot a single artist selling more than 1 ,000
jpies from the previous week. This also
lustralfs how awards aren't always in

nth with consumer sentiment.

The biggest percentage gainer this week

the Puerto Rican duo Calle 13. which won

five Latin Grammys and posted a 134% sales in-
crease. But the unit sales gain was minuscule. The
pair's album, "Los de Atras Vienen Conmigo"
(Sony), barely re-entered the chart at No. 74, de-
spite a high-power performance alongside Ruben
Blades and members of Cirque du Soleil.

The biggest gainer in terms of sales was Person

i/VAYNE'S WORLD

elayed by a lawsuit, the Lil
/ayne documentary "The
arter" will now come out on
VD Nov. 17 in the United States,
roduced by Quincy "QD3"
Dnes III and directed by Adam
Dugh, the 90-minute film is cur-
ntly the focus of a presale and
n-sale promotion in partner-
ip with LImeWire.
"The Carter" offers an en-
aging, fascinating and seme-
mes humorous look at one of
usic's most popular artists.
Imed seven months before
id a couple of months after
\e momentous release of Lil
Payne's 2008 platinum-selling
ha Carter III," the documen-
ry follows the rapper and his
itourage on- and offstage in
cales like Amsterdam, New
^rk and Los Angeles.
Yes, blunts and cough syrup
e In evidence. But more com-
piling Is the man behind the
ar persona and the creative
>rce that drives him. As he
Dtes about growing up: "I
dn't want to play hide and

seek. I watched 'Star Search' and
'Showtime at the Apollo." "Of-
fering personal perspectives are
manager Cortez Bryant, Cash
Money principal Brian "Baby"
Williams and Wayne's daughter,
Reglnae Carter.

"Like James Brown, this guy
works 100 times harder," says
Jones, who operates DIgerati
Hokllngs (w^lch contracted with
Wayne and Young Money to do
the film) and QD3 Entertain-
ment. "He's obsessed about ex-
celling as a lyricist and record-
ing more songs." Lough adds,
"Beyond the media hype, I hope
viewers will realize how much of
a genius Lil Wayne Is."

Premlering last January at the
Sundance Film Festival, the doc-
umentary's wide release was de-
layed when Wayne filed suit In
March for breach of contract re-
garding the final edit of the proj-
ect. The court rejected the claim
after DigeratI filed a countersult.
Although Jones' company was
given the right to release the
film, appeals filed by both par-

ties are still pending. Wayne also
faces jail time in 2010 after
pleading guilty to a charge of
attempted criminal possession
of a weapon.

In the meantime, self-
described "super tech geek"
Jones Is mounting a major viral
campaign around the DVD. In a
marketing first for LImeWire. the
portal is hosting a pre-order
campaign and special giveaway
promotion. LimeWIre CEO
George Searle says, "It's no se-
cret that we'd tike to work with
the entire music Industry."
Rounding out the film's digital
push are Twitter contests for free
screening passes, a Web site
Cthecarterdoc.com) and iTunes
as well as YouTube and MySpace.

Jones says. "We wanted to do
this film five years ago but
the distributor didn't
understand the Lil Wayne
movement. We were
lucky this time; we
caught a special window
in his life and career."

-Gail Mitchell

of the Year honoree Juan Gabriel. His 30-plus-
miiiute performance — unheard of on a Latin music
awards show — resulted in an 88% gain and the
biggest rise in copies sold — close to 1 ,000 — for his
hits album "Mis Canciones" (Discos 605/Sony).

Next up behind Calle 13 in terms of percent-
age hikes is Wisin & Yandel. who saw an 81% in-
crease in sales for their album "La Revolucion"
(Machete/Universal). Luis Fonsi received an
80.4% boost for "Palabras del Silencio" (Univer-
sal Music Latino), which climbed from No. 19 to
No. 14 after 63 weeks on the chart. Other gain-
ers include Luis Enrique's "Ciclos" (Top Spot),
which jumped 39-21 on an 89% increase in sates
but sold fewer copies than Fonsi, and Laura
Pausini's "Primavera Anticipada" (Warner), which
rose 26-17 on a 55% increase in copies sold.

Surprise best pop duo or group winner Reik
nearly doubled its album sales as " U n Dia Mas"
entered the chart at No. 30. But as with Calle
13, Reik's unit gain was very small.

In all fairness, expecting substantial increases
at a time when Latin music sales have taken a
major beating is unrealistic. Pius. Latin music
awards shows never deliver the kind of sales gain
like that of mainstream awards programs. In
terms of ratings, however, the Latin Grammys
posted higher numbers than last year. This year's
show had a 25.4 rating among Hispanic viewers,
according to Nielsen: was watched by an average
of 5.8 million viewers; and finished as the most-
watched show on Spanish-language TV for the
week that ended Nov. 8. In that context, the sales
results are very disappointing. And it again un-
derscores the fact that what people like to watch
on TV and what they actually buy can be two
different things.

OLYMPIC
DREAMS

Apart from the gold, silver and bronze
medals, the Olympics are about
bringing together various countries
and cultures. As an artist who merges
Hasldic Judaism with reggae beats-
plus hip-hop and rock— Matisyahu can
definitely relate. The artist's uplifting
anthem, "One Day," has been tapped
as the theme song for NBC's "Count-
down to Vancouver" promotional
campaign for the 2010 Winter
Olympics (Feb. 12-28).

"One Day" ts the lead single from
Matlsyahu's third album, "Light," re-
leased In August. The Epic artist de-
scribes the song as being about "unity
and coming together for one com-
mon cause; about putting aside all
differences and Issues to connect In
some way."

The spot premiered Nov. 3, ran all
day Nov. 4 on all of NBC's affiliated
cable networks, including Bravo,
Oxygen, MSNBC and USA. and will
air on NBC through February. It fea-
tures Vancouver contenders Apolo
Ohno (speed skating), Lindsey Vonn
(alpine skiing), Shaun White (snow-
boarding), Gretchen Bleller (snow-
boarding) and Tanlth Belbtn and
Ben Agosto (figure skating) de-
scribing what the Olympics mean
to athletes and spectators alike. Ma-
tisyahu says, "When you see what
those athletes go through and being
the background for that ... It pulls
on the heartstrings."

For the week that ended Nov. 8,
"One Day" experienced a 13% in-
crease In download sales— Its first
weekly increase since the beginning
of October. To date, the song has sold
117,000 downloads, according to
Nielsen SoundScan. In keeping with
his cross-genre style. Matisyahu says
fans can expect a new version of "One

Day" featuring Akon to premiere In
the next few weeks.

In the meantime, Matisyahu Is
touring In support of "Light," work-
ing with Kenneth Cole on the "One
Day for Change" viral campaign on
Twitter and participating in a Charity
Folks online auction— the prize being
a Brooklyn bike ride with the artist.
Matisyahu Is also finalizing details
for his fourth annual Festival of Light
In New York during hfanukkah, which
begins Dec. 11. —Kelly Staskel

www.billboard.biz I 31

Billboard, connect with the music industry's most important

iiliMiiiilii

marketplac

For ad placement in print and online call Jeff Serrette 800-223-7524/jserrette dbillboard.com

HELP WANTED

ASSISTANT ARTS
PROFESSOR

The Clive Davis
Department of
Recorded Music
TiscH School of the Arts

New York University's Tisch
School of the Arts seeks appli-
cations for an Assistant Arts
Professor for The Clive Davis
Department of Recorded f^usic
to commence m the fall of 2010.
We seek a business faculty mem-
ber who will continue to develop
an innovative, groundbreaking
academic discipline. Please visit
http://cllvedavl5dept.tlsch.nyu.
edu/object/remubusfacsearch
for a full position description and
application procedures. EOE

NYU

General Manager

A broadcast company In a Southeast market
Is seeking a seasoned General Manager with
a proven track record of success to take a
cluster of well positioned radio stations to
Ifie next level of revenue, programming,
public service, and profitability.

Individual must protect tfie license at all
times and have a clear understanding of all
aspects of the radio station from best busi-
ness practices and expense conirot to the
development of revenue and ratings. Prior
experience as a radio General Manager is
required

Please email resumes to:
a8mltt)erman@nasrecru Kment. coa
& Indicate NAS Cofifldentlal
Reply « Ural 02 In subject llae.
EOE

MUSIC

NDISE

BUY DIRECT AND 8AVE1

While other peopte are faiwng their prices, we are
slashing ours CD s, LP's, Books, Cassettes as low as
50 cents Your cho»ce (rom the most extenswe list-
ings available

For free catalog ull (609) 890-«000.
Fax (609) 690-0247 or write
Scorpio Music, Inc.
RO.Box A Trenton, N.J. 0S6S1-W20
email; scorpkimuB6sol.com

MASTERING

tangerineMASTERING.com

Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

REAL ESTATE

New Luxury LA
Apartments

OmiTh TuAnm ]oe 's MASXf.r,
8,S00 li/i-r Hi^iuv Sp/i, CnuismTY
Trai\er Ossite, I.\fi\iTf Pool,
Guard Gated Communtw
Stakhsg t2,500

REAL ESTATE

wwu.Pmjvz/oWisi-wood.covi
Cai.1.: (888) 482-9084

DUPLICATION/
REPLICATION

cD/ora i-SHiurs/iwjKii snwtus/PosKRS

CRYSTALCLEARyt

f ■

^^599! $99!

miB EHOED n Kl Elir Ml !■ V

MHamuiuttaiHii

AIBEY ROAD, ST JOHNS WOOD,
LONDON NWB- £2.200,0

TALENT

POPULAR NYC CABLE TV SHOW
BOOKING NEW ARTISTS/GROUPS
FOR TV TAPING. SATURDAY, December
Sm at 5pm. GREAT EXPOSURE! SPEAK
TO: RON 718-220-3594

BILLBOARD HOTTEST ISSUE OF THE YEAR!

THE 2009 YEAR IN MUSIC ISSUE
December 19, 2009/DEADLINE CLASSIFIED
December 14TH

TOURING, PUBLISHING, LEGAL, TECHNOLOGY AND
MUCH MORE!!

FEATURING . . .
•Over 200 Highly Anticipated Billboard Year-End Charts
•The year's most unforgettable music moments
•Analysis of all segments of the music business

•Billboard also honors MADONNA in this special edition -
The Top Solo Touring Artist In

•GET YOUR MESSAGE IN THIS SIGNATURE DOUBLE
ISSUE THAT IS REFERENCE ALL YEAR-ROUND BY THE
MOST POWERFUL PEOPLE IN THE WORLD OF MUSIC,
BUSINESS AND ENTERTAINMENT!
CALL TODAY JEFF SERRETTE/1-800-223-7524/
JSERRETTEdBILLBOARD.COM

Immaculate remodelled Contemporary Interior
Designed Townhouse set back
from Abbey Road
within walking distance of American School, Abbey
Road Studios,
Lords Cricket Ground,
St Johns Wood Village and Tube.

3 bedrooms, 3 bathrooms
(2 en suite / 1 with balcony).
Study/ 4th Bedroom, Cloakroom,
Poggenpohl Kitchen,
Ofien plan living room /
dining room with fireplace.
Zen-like private garden with timed irrigation
and lighting systems.
Integral garage plus offstreet
parking for 2 cars.
Alarm and entryphone systems.
Wired for Cable / Internet.

Great Home or Investment

Contact: Holdswonh Estates
(44) 077178 14050 or e-mail
colonelfosarty®yaboo.coni

BUSINESS OPPORTUNITIES

Hello my name Is ALVIN W. IRVING and I recorded s
song called SEXSOLISIOUS I DID IT to buy my mothe
a house and I won't stop until I do. I am also a membe
of many charities like ASPCA AND THE RED CROSS
AND MARCH OF DIMES AND JERRY LEWIS MDA
AND CITY HARVEST so please dear people I beg yoL
to help me get my mother that house this Christmas
please go to itunes, amazon.com and cd baby.net
and buy one of my songs. I really want to make my
mother happy this Christmas so if you can help please
do and from my heart GOD BLESS YOU AND YOUR
FAMILY'S ervlngn@aol.com 347-843-7781

CALL US TODAY AND ASK ABOUT THE
BILLBOARD CLASSIFIEDS
INTRODUCTORY OFFER FOR NEW ADVERTISERS!

1-800-223-7524 or iserretteiabillboard.com

32 I BILLBOARD j NOVEMBER 21, 2009

THE

BOX

^ WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

an Jackson claims his
top 10 s«t on tha Top
(try Albums chart with tha
ker Barrel-exclusive
igs of Lova and Haart-

Tha hits package Is the
of three albums In his deal
the retailer that also
ides a variety of branded
handise.

om now through mfd-
ary. the seasonal Top
iay Albums chart will
ar every week In print. In
3f the Top Pop Catalog
t. The Catalog tally will
inue to be available
:ly at blllboard.blz/chartc.

the same week that Oave
bows at No. 11 on the
ard 200 with his group
■Ighters, his former band
ma's "Live at Reading"
ts atop Top Music Video
(see page 36). The set
ires the act's performance
1 19g2 Reading Festival.

Carrie's Big 'Play'; Chart Changes On The Horizon

Carrie Underwood's "Play On" bows
at No. 1 on the Billboard 200, selling
318.000 copies in its first week.
;iccording lo Nielsen SoundScan.

The country artist's album is her
second lo top the tally, after her sec-
ond set, "Carnival Ride." bowed in
the penthouse with 527.000 in 2007.
Her 2005 debut. "Some Hearts."
started at No. 2 on the Billboard 200
and at No. 1 on Top Country Albums
with 315.000.

She is only the fourth artist since
Billboard's sales charts began using
SoundScan data in 1991 to bow at
No. 1 on Top Country Albums with
their first three chart entries. LeAnn
Rimes, Gretchen Wilson and
Miranda Lambert also managed
the feat.

The 318.000 sum for "Play On" is
the largest sales week for a female
artist's album in 2009 and the year's
second-best frame for a country re-
lease. Among this year's country sets,
only Rascal Flatts' "Unstoppable"
netted a bigger week, when it started
at No. 1 with 351. 000 sold.

Underwood joins an elite group
of artists whose first three studio al-
bums all debuted with more than
too, 000 copies In the SoundScan
era.

Aside from her. only Snoop
Dogg. 50 Cent, Beyonce and
Kanye West have achieved that feat,
jnd West did it with his first four

studio albums.

By earning her second No. 1 on the
Billboard 200. Underwood becomes
only the sixth female country artist
lo do so. Before Underwood, only
Rimes, Olivia Newton-John, Linda
Ronstadt Faith Hill aiui Reba
McEntire Itad roped a pair of toppers
on the Billboard 200.

Newton-john earned her No. Is in
1974 — when she was considered a coun-
tryartist — with "If You Love Me, Let Me
Know " and " Have You Never Been Mel-
low." Ronstadt notched a trio of chart-
toppers between 1975 and 1978 with
"Heart Likea Wheel." "Simple Dream.s"
and "Living in the U.S. A" — all of which
also charted on Top Country Albums.

CH-CH-CHANGES: Beginning with
the Dec. 5 issue of Billboard (which
will report the sales tracking week
of Nov. 16-22). the Billboard 200
will be based on Nielsen Sound-
Scan's Comprehensive Albums
chart instead of the Current Al-
bums chart. With this change, '
the Billboard 200 will now rank
the lop overall selling albums in
the country, regardless of their
release dale (see siory. pa^Jc 6).

The change in the Billboard 200
will not affect SoundScan's own
presentation of the charts or its ca
culalions of marketing reports,
the Top Current Albums, Top Com-
prehensive Albums and Top Catalog

Albums charts remain unchanged.

The only change is which of those
charts make up the basis of the Bill-
board 200 rankings. In addition, the
move to a current/catalog hybrid chart
willonlyafTectthe Billboard .^Jm M' ol
our other currents-based .^^^^^^
albums charts will still ' OvGfTl^ff^
abide by our longstand- im^av
ing catalog criteria. \*OUnX©r ^jj

KEITH .^■1^1

Some may ask, why didn't this hap-
pen sooner? A change as significant
as this required much discussion and
consultation. In addition, Billboard's
new 2010 chart year was an appropri-
ate time lo make the change.

If you have any ques-
tions regarding the change
to the Billboard 200 or the
alterations to the R&B/
Hip-Hop Albums chart
(see siory. page 6|. contact
director of charts Silvio
Pietroluongo at
silvioCcpbillboard.com.

FOR THE RECORD: On

Thursday. Nov. 5. Nielsen SoundScan
reprocessed its digital songs and tracks
charts after receiving revised data from
a digital provider. However, this revi-
sion came after the Billboard pages that
house the Hot Digital Songs chart and
the Billboard Hot 100 were shipped to
our printer. On Nov. 6. the online ver-
sions of these charts were corrected to
reficct the revised data, as were the
charts-based stories on billboard.com
and billboard. biz. In this week's issue,
the charts' "last week" column shows
the corrected ranking.

Due to an editing error, last week's
column should have reported that
Michael Jacltson's "This Is It" had
the fifth-besi sales frame of any one
album in 2009. not the fifth-best
debut week.

Market Watch A Weekly National Music Sales Report
Weekly Unit Sales Year-To-Date

Fof w«<*< ^ndng Now 8, 2009 Figum m» rcMndM
Compiled hotn A lutionai umtfo of ratan nor* and rack

fcocrti coHortetl and o«swdod try

UIUHS UBUK-

DICITU
IR/KKS

This Week

6.860.000 l.^J/l.OOO

18.419.000

6,316.000 1,424.000

19.100,000

Change

8.6X O.OX

-3.6%

Ihb Week Last «iw

7.028.000 U68.0OO

18.609.000

Change

■i'iM)''.nl MiM nr. .

■2.4% 21.9%

to countod witnin alburr uWi

-1.0%

Weekly Album Sales cMiHion umts)

25
20
IS I
10 '

±J

2008

200»

J F M A M

OVERALL UNIT SALES

»IIWIIB 339.393.000 294.463.000 -13.2%

DIgltallraiks 905.715. 000 998.2S4.000 10 2%

SlmSngle 1.440.000 1.560.000 8 3%

Total 1,246,548,000 1.294,277,000 ZJB%

Albinsw/TU' 429.964.500 394,288.400 -8.3%

DIGITAL TRACKS SALES

'08 90S.7 milliqoj

SALES BY ALBUM FORMAT

CO 283.313.000 228.378.000 -19.4%

Digilal 54.458.000 63.973.000 17.5%

Kinyl 1.507.000 2.061.000 36.8%

Other 115.000 50.000 -56.5%

f I

liiclscn

SoundScan

YEAR-TO-DATE SALES BY ALBUM CATEGORY

Current 194.461.000 160.952.000 -172%

Catalog 144.932.000 133.511.000 -7.9%

OeepCatalo? 104.338.000 100.177000 -4.0%

CURRENT ALBUM SALES
■08 ^ 194.5 millionO
MB— il lil t li

CATALOG ALBUM SALES
"" 144.9 millioni

Nielsen SoundScan counU a» cutrent only ulu within the first 18 moniht ol «n
Album rcMaw 03 nwniM lor ciatMAl «nd nzz albumt) TWm tn»t v»y in m»
too ftatt ot Ih« Billboard 200, hoM«v«f. rerruiin an current Tdin oklar than IB
monthi ore catalog. D«ep cdtatou a sublet ot catalog lor tillei out more ilii»n
56 month*

Go to www.blllboard.blz for complete chart data

:hart

BEAT

Pet Shop Boys are the first
o or group to reach a
uble-digit No. 1 total on Hot
nee Club Songs, as "Old You
s Me Coming?" becomes
>ir 10th topper. 2009 marks
t first year in which the pair,
ich has been charting since
iS. has notched a trio of top
Bs on the tally, having risen
No. 5 in January as a guest

Rabble Williams' -We're

t Pet Shop Boys."

Jay-Z and Alicia Keys'
Tiplre State of Mind" be-
■nesjust the sixth title to
:end to No. 1 on Hot RAB/
>-Hop Songs this year,
th five chart weeks
nalning, 2009 could pass
07 (with eight leaders) for
west No. Is since the survey
nchedln195a.

^ Read Chart Boat
II every week at

W blllboard.com/clwrtbMt.

2S »o V(^ll<: » DUMBER mSTRIBUTnQ LAIEL (PUCE)

Title

£ si

5 KB

jriffjl , Rl CARRIE UNDERWOOD
EQZII Bftl ■! ■■■ ' i',vt|i3g8>

, MICHAEL JACKSON

MictiAot xlflckson's Ttiis Is It (SoundtTcick)

■

■ki
mm

^^■H ANDREA BOCELLI

■

Hft'
mm

^^^M SOUNDTRACK

■

^^^H VARIOUS ARTISTS

NOW 32

3 7 0 TAYLOR SWIFT

F9&il4Sft

-1

— 1
■■

BPI WEEZER

Radltude

■
■

7 t n MICHAEL BUBLE

' U Ml.. .. .,V,'.l--.i.Un.-,

Cruy Love

■
■

g M STING

n It On A Winter's NIghl..

■
■

S 1 VI SOUNDTRACK

Tho Twili^tit Saga' New Moon

■
■

HIinRI FOO FIGHTERS

GteAlest HUs

■
■

PPB; ; SLAYER

■lilfl^^ ".' .'•■'3ovriiH»«(ngBi *

■
■

i M STEWART

Soulbook

■

9 n CREED

* " K.ua Lie (13MI

Full Circle

■
■

1A i R'JAY'Z

The Blueprint 3

■
■

9 2 0^'" MCC^flAW

Soulhef n Voice

■

■Si';

« in MILEY CYRUS

» lil .■o^j,

The Time Ot Our Lives (EP>

18 a HI OWL CITY

0ce8D Eyes

■

. n TRANS-SIBERIAN ORCHESTftA

» - H

Night Caslle

■
■

,^ ^ THE BLACK EYED PEAS

THa e u n

1 ne cn.u-

„ . LADY GAGA

•,.(.• iiJSM, TlisFome

*■

IP-.

» n ZAC BROWN BAND

«aii]<i. TlHiFounrttlioo

M 9« n KINGS OF LEON

Only By The Nl^hl

90 M n l-AOY ANTEBELLUM

Lady Aniet>elluni

PPin SAY ANYTHING

Say Anyltiing

■?

IS - Q SWELL SEASON

Strict Joy

STEVEN CURTIS CHAPMAN

Beauty Will Ris«

26 IS Q BREAKING BENJAMIN

Dear Agony

33 22 Q MIRANDA LAMBERT

Revolution

38 30

Hannah Montana: The Movie

■■

35 32 01 J*SON ALDEAN

Wide Open

*■

■e:_

32 ,B U TOBY KEITH ^^^^

American Ride

■

25 9 Q B'^'^^'^^ STREISAND

Love Is The Answer

■

■MB ALAN JACKSON Songs 01 Love And Heartache

- M.u'CUSimiUMNrTiKi >-.-.. ' - n'la.

■

Si.

^^2^ JULIAN CA5ABLANCAS

Ptiiaios For The Young

■i

24 12 Q ^^^^ ^^^^ WINANS

smi

■1

NIRVANA

Live At Reading

■

„ VARIOUS ARTISTS

WOW Hits 2010

■

39 27 Q SELENA GOMEZ & THE SCENE

Kiss And Tell

■

11 - Q JOHNSON

En Concert

■

2j ^ Q MARIAH CAREY

Memoirs Of An Imperlecl Angel

CHICKENFOOT^

Chickenloot

30 20 Q WHITNEY HOUSTON

1 Look To You

•■

67 W Q DARIUS RUCKER

Learn To Live

■■

37 23 fl DRAKE

»i,»«M<J«. So Far Gone )EP1

■

mmn amerie

In Love & War

21 Q ALICE IN CHAINS

Black Gives Way To Blue

THE BEATLES

Brand New Eyes

It's it\ emlMrrau-
ttHRt ot rKhn on
(tus cofcclion.
wh«re alt but one
wng vu i lop 10
tfetglt on th«
mieriutrrt chart.
nKSCf'tlead

OMflltmimi
tracks «i4bul«ts

at No.Jofitlw
Ulertutivt l2llT.

lis Oiil'..-
(13.000

90 i!*^

Ktim it Mo. 11 on
ToflHoMar Uiunn

sit

§1

AHTIST

■MPnmi h NUMEK ' DISTUUTIMG LABEL {PHCt)

Title

TREY SONGZ

LUKE BRYAN

TAYLOR SWIFT

Taylor Suvtfl

■

PEARL JAM

■ ' ■. .■ ■-■ It) 961

SHV/AYZE

: T >.£ GirifNoiutmu KOMI

Lei II Beal

ffi

5UGARLAND

Gold And Green

NICKELBACK

Dark Horse

■

TECH N9NE

K.O D,

(?)

COLBIE CAILLAT

THREE DAYS GRACE

Lire ouna row

PINK

Funhouse

!■

■

WOLFMOTHER

"■[■■I.' ..:VIMlU9SI

MUSE

Hil.lUII-3 S/liSQWUtHffl HOS l<SHl'f

The ResistarKe

REBA

iJUBSIflUW M0IM.V»LOttl' (18 88} •

Keep On Loving You

n
II

BROOKS a DUNN

IS S-JS U»5*fHlt£ WI SVMIJSil

#ls ... And Then Some

KISS

Sonic Boom

IHt ALMOST

i <i itl Ml

Monster Monster

HARRY CONNICK. JR.

■ , '.v.. 1 ,. ■■ M.'i. Ul.>c<l3 9(l

VOur Songs

MAXWELL

BLACKsummers' night

TRAIN

Save Me. San Francisco

SKILLET

Awake

EMINEM

Relapse

86 139

MANNHEIM STEAMROLLER

Christmas: 25lh Anrtiversary Collection

tit

«s

CHRIS TOMLIN q,^^ ^^ Htgheil: Christmas Songs Of Worship

ATREVU

CongregatkKi Of The Damned

■1

DAVID ARCHULETA

Christmas From The Heart

VARIOUS ARTISTS

•i' HUSCIIBMl

NOW 31

DAUGHTRY

Leave This Town

ROSANNE CASH

TheUsi

SOUNDTRACK

' - i>f)*'J>0 lit Mj «

Twiltghl

TEGAN AND SARA

' ■-■vi |l) HI

Sainthood

SHINEDOWN

' . < 1 B BBl

The Sound Ol Madness

KEITH URBAN

',r -Ki

Defying Gravity

BRIAN MCKNIGHT

Evolution Of A Man

GEORGE STRAIT

■ U »»|

Twang

LYNYRD SKYNYRO

God a Guns

BOB DYLAN

Christmas In The Heart

CHRIS YOUNG

The Man 1 Want To Be

□

KUTLESS

It Is Well

STRAIGHT NO CHASER

Christmas Cheers

MADONNA

Celebration

78 68

BEYONCE

1 Am...Sastia Fierce

■

CAGE THE ELEPHANT

Cage The Elephant

KENNY CHESNEY

Greatest Hlls II

KID CUDI

an On The Moon: The End 01 Day

SHANE a SHANE

Everything Is Different

TAMELA MANN

The Master Plan

MARIO

D.N.A.

»■(

RASCAL FLATTS

. ..1..J IB9fl)

Unstoppable

100

EDNITA NAZARIO

snrfMiisii: ti'iN ni Mt

Soy

THE BILLBOARD 200 ARTIST INDEjl

fjWjPBMJIIWI .. a

^iPPIg|UE-. J

STEVEN CURTtSCHVUMt

wuvcywus tr

notmm 11}

IICFRW 164

KEHIMLSON Itlll
rOimOCOLWUlJ rj2
WmitY tKHlETOW *3

JONASflROnCRS 1E2

XKjfwrr 171

■onusi JB

JUONMDEAM . 31
JUCENCHWG -IT
IMUiUST 87
MCW 4B

QAVn WCMJlfTA 76
UKVU n

ntWTIBROIHtfB tlO

ncBunis a
msm -HI

JOSHMSaL IK

omsiBnier ...m

Mem ir

BOWCE 9?
TW SLACK r»Hin« »
uma BocEiu :

LUSOOSC It]
KnSUKEOnS Ito
BNEMIKBSUAMk 26
BDOOKSADIMN U

CUSnCELfPHAHT 01
COlBltWiaAl »
WaiAH CAREY 4t

•wMncMuii- ..ttr

JUUAHCASABUHCAS M
KSMKCUH n

C«VIIU IW
CHCrtWDOT «
caiVCLARKSON 111
cavuv 179
WiAltvCOIMCX.JR «
CREED 14
DAVID CaOWOUl DANO

107

SLLvCLflniwrax 149

AOttioRaeM^ in

OETHMjCW 111

HBLDWIMMD 127

tmw 4
mcnuN Mt

^riCMNQLnKAIH

FTA fOn RCMTrtG 130
TI«F1AUWGL1PS 133
fUGMtOf t«
COHCMOWS IM
fOOHSMTEftS "

cxTHWD m

SGEK »

OOflWU U4
[UvttGMr W

msnoKf . . 141

iM-l 15
JRtMIrt 148

JACKXMNSON 40

^^^^^^^^

NDCua as

mUMPMS 15>
KIWSOflHM »

nss s6

rjiM ISO
HUKraMmn im

HKtANMLAMBan M

nrnimiE 50

iircrr* . i9!

IWFAO , 167

wiLOwn 139

nuNnoua ....

TMnUMUM ...

Mino ;

lumnwiiv ..i

OWEIMmcWSMf

uucwai

34 I Go to www.billboard.biz for complete chart data

Data for weel< of NOVEMBER 21, 2009 i CHARTS LEGEND on Page :

Cni

3undScan

UST
WEEI

SS ARTIST

l3 >M^P in & KUMSEft / nSTRIRUTWG LAfiEL (PRICE)

Tllle

s &

Hi'

n SERENA RVDER

107

n DAVID CROWDER BAND
Ifl ■ - =

Chufch Music

103

fm PHOENIX

104

Wm FIVE FINGER DEATH PUNCH

H f i'!:;, 'tLi I'fi* 50100* 113 Ml 4

War Is The Answer

106

fm SUQARLAND

IjiJ M[:(i i;iV' IM';'tVILLE01127r;lJMGKtl3M)

106

wm JOSS STONE

U ■<!itti'. -.'f /.II . ir 9a>

Colour Mg FtsgI

I07

fft THEORY OF A OEADMAN
111 t;.. ,i-,9«|,*.

Scdrs & SouvBnirs

Hj VARIOUS ARTISTS

m IM.M't..fi M . ; :r]NV MUSIC lis 981

NOW That's What 1 Call Dance Classics

lOO

H FRED HAMMOND

1 IM.I.'V .'Ml- . U .•Ullfl)

Love Unstoppable

110

Q THE AVETT BROTHERS

1 and Love and You

111

Q DETHKLOK

Melalocalyp»e: Delhalbum 1) (Soundtrack)

111

H FOREIGNER

■J Mil,-.-,;. 1 i. t u HHiNii II8 98 CO.'OTOl *

Can't Slow Down

113

100

n KELLY CLARKSON

All 1 Ever Wanted

g RASCAL FLATTS

Greatest Hits Volume 1

I1B

103

fl VARIOUS ARTISTS

Up, Down, Turn Around: Circa 80

n
■

Q ?" °^^,^^.„ ,«.,EO«:».i,H.i«a„9 9., » TheUlllmateBeeGMS

Hj PINK MARTINI

Wm KIIII7 '5

Splendor In The Grass

116

t06

rm BRAD PAISLEY

'U;ntLLl 4ni?.SMml3 98)

American Saturday Night

123

109

■PI SOUNDTRACK

m AAir fl .M r RO?qrfl 118 981

Hannah Montana 3

n TRIPLE C'S

If MAyiiAi.K'Ittl JAW Qt3M8'IDJWG 113 981

Custom Cars & Cycles

M RAMMSTEIN

■ ■ -1 ' 1 ''111)8)

Uebe 1st Fur Alle Da

108

101

g HOLLYWfOOD UNDEAD

Swan Songs

101

H MONSTERS OF FOLK

WM $KAN6f)]-tJt 1O1044* (18 98)

Monsters Of Folk

N OOVT MULE

mm I'^ii 'I'll '?fi''7 98)

By A Thread

144

125

Q DEMI LOVATO

Here We Go Again

105

VARIOUS ARTISTS

NOW Thai s What 1 Call Country Vol. 2

127

136

NEIL DIAMOND

. ■.. It US)

A Cherry Cherry Christmas

118

SOUNDTRACK

Disney: Phineas And Ferb

129

123

.-: LIL WAYNE Th. 11.
^_i:.'. ■ M-rBSALMOiQWNOiw/'ywiMiUM) inavaneriii

■ H

SOUNDTRACK

NCIS: The Official TV Soundtrack Vol -2

^ JOE NICHOLS

^m l.'V'Uf1'>AI snijtH 01?9fta 113 981

Old Things New

■

THE FLAMING LIPS

Embryonic

■

'93

2 UUIM VARIOUS ARTISTS NOW That's What 1 Call A Country Christmaa

MUllil (WI.UMVIKSAl anjuixsoliY MUSIC (19 H)

133

109

t02

m CHEVELLE

IM 11- " 4"''^ ^""v Milliil. ni 98i

Sci-Fi Crimes

■
■

n KAREN O AND THE KIDS

mm n:l. IT-K'vXr') IllSlliJ- ir.fl 113 'IKi

Where The Wild Things Are (Soundtrack)

■

KEW

M EVERY AVENUE

mm '-CH' ^ -'n )( !;'a ,'14 'JS.

Picture Perfect

■

Q BETWEEN THE BURIED AND ME

The Great Misdirect

ff FLIGHT OF THE CONCHORDS

mm aOO-i SUB pop l is 98|

1 Told You 1 Was Freaky (Soundtrack)

104

M LYLE LOVETT

d (:uRa iO<l) HIOHWAV OI3ir4'UMC« (13 98)

Natural Forces

130

t07

ft BOYS LIKE GIRLS

Love Drunk

128

fft GREEN DAY

a;^/i 5';':)- WAflNEn BROS (18981

21 St Century Breakdown

122

116

n JASON MRAZ

Ui DIAllli: 41^5^^- 4G (IB 981 «<

We Sing. We Dance. We Steal Things-

■ ■■

m ^m

121

H LIL' BOOSIE

1RILL ASVLUW SI9rsl 'WARNER BROS (IB 98)

SuparBad; The Return Of Boosie Bad Azz

126

M PITBULL

Hi "» i: '"'""'' 1 ''''.'■" I'"', I1J98)

Rebelution

124

10»

Q DAVE MATTHEWS BAND

Big Whiskey And The QrooGrux King

■ I

13b

115

ROB THOMAS

Cradlesong

145

k-^ BRANDI CARLILE

Wm — ■'•'U:^ .'4.'il) ;.(A» Wl.'lilt (11 981

Give Up The Ghost

131

122

in JEREMIH

mm UICK SHiRILU'OEl JAM 013O9S-'IOJMG (12 98)

Jeremih

138

120

n BILLY CURRINGTON

mm W1RCUR1 mSll^llf a09SStl'UUaH 113 98)

Little Bit Of Everything

119

113

M K'JON

:>>M]P .1IVERSAI RERUBltC 0131117 UMRG (13 9B|

1 Get Around

The "Now " ierles
nets ib S2n(t and
S^d charting
albums this week
with Ihe bow of
-Now 12" at Ho. 5
and thts dance
eftort, which
Includes rhythmk-
leaning dance tuts
likeJodyWatley's
"Real Love," Paula
Abdul's "Straight
Up" and Young
HC's"BusIa
Hove."

buixi

This debut relurns
the Bee dm to the
Warner family or
the Billboard ZOO
tof the first time
since 1989. The aU
obtained the rights
Id its catalog In
2006 Irom Universal
and now licenses its
recordings to
Reprtse/Wamer.

this album, which
also arrives at No. 9
on Top Soundlrachs.
boasts the unre-
leased Bob Dylan
song "Calrtomia."
The track w.Vi
promlnen;!'.
featured inik
Hov. 5 episode of
ttteCBSTVshow.

EEZl

This compilation
(I.OOO sold), which
mostly features
tunes voiced t)y
Mickey and hts
animated pals, is
exdusively sold
through Targel and
iTunes and carries a
list price ol S6-99.

WEEK

loi^ ARTIST

»3 So iVt>PiriI & NUMBER 1 DISTRIBurmG LMCL <PniCEj

Tllle

191

132

im Kf JUSTIN MOORE
"° U I'on IKI.9BI

Justin MoorG

Viir

155

127 CT AVENTURA

1^ t-t:).<Jl<l.'UT:H;OB0Q<SON¥ MUSIC LMIIII14.9BI

183

149

13S n JAMEY JOHNSON

UlU MtftCURy tA'jMVILLE (}M2iT IMOH |t3,98|

141

104 n

Crssii Lovo

16B

112

OJ l?l CHRISETTE MICHELE
" Hi 1 :i I. -y. .'J as. *

172

141 Z BOP KIDS

Kidz Bop 16

187

115

99 n OAVID GRAY

Wm IMI ;0lD9-,Mtni;SFi SIHECI (13981

Drsw Tr>6 Lins

161

H JACKSON 5

W^ v<}J^^Wf!^^^lavHI^ (uaai

OttiiDBlG Ohristm&s Colldctlon

18ft

110

89 H SOUNDTRACK Translormers

Rovon^G Of Th9 FQllon^ Th6 Albuni

NILE

Milk.' '. ..

Ti>os6 Wi>OFTi Ths Gods Ootsst

1B1

137

Ill tn fABOLOUS

-1. - i,..U0|1391j ♦

Loso's Wsy (Soundtrsck)

Hiir

179

lO 5*i JONAS BROTHERS

108

142

imBI SICK PUPPIES

'"Ul ;.i4J. UHI.;;; Ill SI.

164

148

124 n ™^ """A^

IgJ {( . II,,.... 1- iONy MUSIC n39Bl +

134

11 CARLY SIMON
- Ii .., i,..il,..M|

106

133

72 n P^T^^ ^O"" * SCARLETT JOHANSSON

mm -'il^'-IliM'i»A:L: 5Tn66-.HHIfiC 113 Sai

BrGok Up

1G7

150

126111'-"''*°

m PIHTY ROCK,.*!! L 1 AM,'CHEftayTHt£.IMEaSCI>l'E 01?932.tGA (10

J Psriy Rock

168

117

n EMILY OSMENT

All The Rlgiit WronQs (EP)

182

171 Ifl KELLIE PICKLER
irj ^

Kellle Pickler

170

102

"iT BYRON CAGE

^^ri , . '.11 r.. »n<3.,JL(l (1! 9fl)

Fafthfijl To Believe

171

13S

117 ST VARIOUS ARTISTS

?X " ii*L S6jsa;swryt«(C (19 981

Now That's What 1 Call Club Mils

178

125

ORIANTHI

. F[N01350a,'l(3A(9 98(

Believe

173

153

148 ^ SO^'Z

Skinny Jeanz And A Mic

174

154

134 30H'3

i^y. " " ' ^ ' '1 ' '^'1

Want

ID ^'^"^ '^S ROMANS

To Plant A Seed

VARIOUS ARTISTS

Disney: Holiday Magic 2009

Wl MARCO ANTONIO SOUS
ifllS r.i. '.buULI (14 98 CD..t>VOi *

Mas de Marco Antonio Soils

178

17-1 164 - .J ''°''°!'^y,,, „, Vlv« La VIda or Death And All His Friends

■m

RPIilltfl JOURNEY

Revelation

■m

190

171

,rr. " '' RISE AGAINST

/ I - i.iliFt01l904-.|<;«M3 9B;

Appeal To Reason

156

'«a"^'^*°f^^«i,.,.,

Endgame

162

186

FRANK SINATRA

Nothing But The Best

•

183

166

„,||RAEKWON^^^

Only Built 4 Cuban Linx... Pt. II

184

165

,j, ;' RELIENT K

■' . . . iPEO .l«t i9?Ti.JLG 11? 981

Forget And Not Slow Down

180

170

114 n BACKSTREET BOYS
lis .1 113 9S| *

This Is Us

186

pi R.E.M.

f I.I.- 1/1 98i *

Live At The Olympia: In Dublin

m °^ MEXICO

Hasta Mi Final

180

157

SUQARLAND

LIVE On The Inside

180

194

Q VARIOUS ARTISTS Songs 4 Worship 50: SO Greatest Praise And Worship Songs

158

■ ; FIVE FOR FIGHTING

Slice

101

173

Lady Love

177

IM n UNCLE KRACKER

^ mm " .■' I ' '.■.-..III l .M,- AG lis ^81

Happy Hour

193

151

wm A DAY TO REMEMBER

Homesick

104

195

Ride Through The Country

■PMPl JOSHUA BELL

At Home With Friends

Wm'. Mi DIERKS BENTLEY

\ . .u ■yr-.n nayei

Feel Thai Fire

In KANOI

Fly Above (EP)

mwM- ■

fUBm?, S KERl HILSON

In A Perleci World. .-

i9e

164

l-M W MARK KNOPFLER

U -. I.I . ■ ......'.iRenai; (I898I

Gel Lucky

200

on 1 a MARY MARY

U '■' ■ VII ... ;.«.™.-. scimiiiisit. Ill 98, t

The Sound

WCGWW 10 XEI«CH(]LS 1

\H UCKNKHT 64 NICKELBACK %1 BRW miSLEY

MOETH 181 NLE 1(0 MHAUDRE

USmC MKfCLE 1SS WRVAM 13 PCARL JAM

(SIEBSOf FOUt 123 PHOENK

TW MOORE IS1 ■■■■EBHB KRIS PICKLER

ONMRJU 14? KAREN 0 AM) THE Klt)S PINKMAmW

ORIAKTtM

EMILY OSMENI

100 OWLCfTY

, ITT PITBUU.

HH RE.M 196 SAYANVIHiriG

•19 RAEKWON Ift3 SHAAE& SHANE.

54 RAMMSTEIN . 121 SMHEDOWN

1U3 RASCAL runs 99.114 SMWAYZE .

169 RQA .$4 StCK PUPPIES

117 REHENTK. ... 184 CftRLVSMOTJ

6! RISE AGAINST 180 fHAiW SINATK*

144 QARIUS RUCKER .44 SXILLET

SERENA RVDER ICH ^m^.

MAACO ANTONIO SOUS

177 DtSNEY PHIHEASWO
FERH

rsoR

ta for week of NOVEMBER 21. 2009 i For chart reprints call 646.654.4633

96 ROD STEWART 13 FERH I2B TMJGHT

82 SIWG 9 afE S£ASO«OME THE

55 JOSS STONE lOG UUSICVOIUMC 1 4

163 GEORGESTWr . 85 HANNAH MONIANA 3 t13

IBS STRAIGHT ttOCHASEB 90 KANMAH MONTANA

m BARBtUSTftOSAM) .33 THEMOVf 30 TH»N9NE

M SUGWUW..56. 10S. in NOSTHeomcW.Ty TEGAflANOSAM .81

\2 THE StWLL SEASON .26 S0U«TFViCKWl'2 130 TKeORYOFAOCAOMAN . .

TmOR SWFT «. 53 THANSFORWRS

REVENGE tV THE MUei. THREE DATS GfUCE .60 KEITHlinBAN
15B CmSTOUUN

..80 lanjN ....

TRANS-S8ERIAN
.10 ORCHESTRA

TRTfSONSZ

TUPLE C S

DISNEY: HOUOAV UAQIC DANCE OASSlCS 108
T76 SONGS 4 WORSHIP SO 50
,77 SREAItST PRAISE AND
WOftSHP SONGS

NOW 32

NOWTHATSWHAIICALL Uf> DOWN. TURN AROUNO
A COUNTRY CHRISTMAS CIRCA 80

ROBTHOHAS. -146 CARRIE UNDERWOOD 1 133 WQWHiTS2010

Go to www.billboard.bi2 for complete chart data

WCCAWASHOMVe

175

WEESR

BEBE & CECE WIMANS

WQLFUOTHER .

fi2

JOHANSSON

TU)

CHRIS vawG

BillbMrd

I KENNY G Holidav Colleclwn

a.'Ny BMG CUgrOM M*RKEllSf. GflOLiP afi:3«.SDHV MUSIC )j 98l

I VARIOUS ARTISTS The EssentaJ NOWTtial s Whal I Cal Chnstmas

TRANS-SIBERIAN ORCHESTRA

The Ctinstmas Attic

JIM BRICKMAN

Joy

1 BARRY MANILOW

In The Swing 01 Chtislmas

1 ■■ I.-'.: ! sa>

HARRY CONNICK, JR.

What A Night' A Christmas Altium

L. '.-I I-. »/USIC (IB 9S|

I SOUNDTRACK

ELVIS PRESLEY

Elvis ChnsiTTias

mtm GROUP &B9oe<-sohiv music ns ssi

I FRANK SINATRA. DUN MARTINA SAMMY DAVIS JR Cmshns VMh The Pad i

STRAIGHT NO CHASER

Holiday Spirits

ELVIS PRESLEY

[ BURL IVES Hudolpri The Red-Nosefl Remdeei ,

^ I'll' T'- i^mi: Ml iS^Bi

VARIOUS ARTISTS Tis The Season Santa Baby A flomantc Chnstmas

'.'ARKEIS iria U COMPASS i9 96)

KIDZ BOP KIDS

Knit Bop ChllSIITUS

MARTINA MCBRIOE

ii; ■..■.'1,1 1 ■ H" ;M11 .!fl 961

Whrle Chtistmas

■

VARIOUS ARTISTS

All Wrapped Up. Vol. 2 lEP)

ii»i>'if!w:j:<.i'.:«:'!r^<r'i>iuaiw«iMiliiKiM<Si«UKi »i:mkH

CARPENTERS

Cfi'islmas Porlrart

■

IVINCE CUARALDI TRIO A Charlie Brown Christinas (Soundtraciii

Christmas Jaz: Jam

I WYNTON MARSALIS

I . ■t:?J EH'SQMEBStl |99B|

I VARIOUS ARHSTS V l^SBBcn Ji^BetRoa 15CtrGrasl3asSK5Ntim TTelU

, I ■ ■■ ■■ . ■.. '.UHKETS 437J5 tX.CQMP*SS 19

I KIDZ BOP KIDS

The Cootesl Kidi Bop Christmas Ever'

The dOth-anniverury reissue of the Rolling Stones' t970 Hve album,
"Get Yer Va-Ya's Out! (The Rolling Stones in Contert)." is Mo. 18 on
Top Mcmel Afeums and Ho. 24 on Top Pop Catalog (viewable at bilt-
boafd.blzycharts) with sligtttly more than 4,000 cop^ sold. The reis-
sue, which captures the Stones al Hew York's Hadison Square Garden
In November 1969. includes five bonus tracks, opening sets trom B.B.
King and Ike & Tina Turner, and a DVD.

36 I Go to wwvt/.billboard.biz for complete chart data

TOP DIGITAL

ARTIST

■W^.T IJT . DISTRiauriNG LABEL

TItl*

KlCARRIE UNDERWOOD

■Q9 19 ARIST/l NASHVILlE <'&MN

Play On

SOUNDTRACK Glee: Season One. The Mustc Volume 1

I'll ■■ jir,-!' .'. ■,¥ MUSIC

■

WEEZER

Raditude

OWL CITY

IJMVtR&AL RtFtlBLIC UMRIi

Ocean Eyes

KINGS OF LEON

Only By The Nighl

■1

JAY-Z

ROf NiTlWj AG •

The Blueprint 3

■

TAYLOR SWIFT

Fearless

MICHAEL JACKSON Mchael Jackson's The Is It (Souncftrack)

SAY ANYTHING

Say Anything

SHWAYZE

t^fj-r.^dtM .^U^tlONEGEffEN ■i6A

Lei It Beat

JULIAN CASABLANCAS

1 M-- RUG

Phiazes for The Young

■

SOUNDTRACK The Twilight Saga: N?w Moon

" fHGP SMOP.'AriANIIC .AG

CREED

Full Circle

FOO FIGHTERS

Greatest Hits

■

■1

MICHAEL BUBLE

Crazy Love

S-

■

STEVEN CURTIS CHAPMAN

Beauty Will Rise

THE BLACK EYED PEAS

r.u«;:L-ui't iua

The E N D

■1

SLAYER

;.P,'iK CAfj rOL.UbiA .SOtjr MUSIC +

World Painted Blood

■

LADY GAGA The Fame

r-![ Kniii i^f CHERflviRCE INIERSCQPE .'IGA

■

RAMONES

RHINO

Grealosl Hits

■

DARIUS RUCKER

Learn To Live

■

THE ALMOST

■. - -his C-iiPtlOL

Monster Monster

THE SWELL SEASON

Stncl Joy

■

ANDREA BOCELLI

My Christmas

■

NIRVANA

Live At Reading

■

^TOP INTERNET

ARTIST Tills Si t
IWPRIM . DISIRlflUlmC LAetL S5 S

IQ^ANDREA BOCELLI My Christmas

THE BEATLES The Bcalies In Slwetr

CARRIE UNDERWOOD Pl.fly On

MICHAEL JACKSON MK:ri.M^I JaciiSOO s Ths Is 1 iSouxBack)

■

TRANS-SIBERIAN ORCHESTRA Night Castle

SOUNDTRACK Glee Season One: The Music Volume 1

.. ^ Li... .1.1:. ^ SOKV MUSIC

STING II On A Wiotei s Nijni

CnF^lfivTfiEt vn3?9' UNIVEHSAl CLASSICS GHOuP *

•I

MICHAEL BUBLE Cra;v Love

Ri-rm^E WARNER BROS i.'

ROD STEWART Soulbook

FOO FIGHTERS Greatest Hits

- ■'. .■.t.L RCA Ji.9?f HMG .f

SLAYER Wortil Painted Blood

-■.It ' -rj i_.:.i.ii.iB..» njiB- SON* MUSIC +

■n

STRAIGHT NO CHASER Christmas Cheers

BOB DYLAN Chnstmas In The Heart

. jLi.i'.'nA :..!.. '^OJiv MUSIC

TAYLOR SWIFT fearless

WEEZER Radiludo

. ■. ' 1 ■■ 1JM0* 1UA

u 5

ROSANNE CASH The List

■■ ■ ■ !.■.■. .1 RIC.

SOUNDTRACK The TwiligW Saja: New Moon

■ Li-ArLANtlC 519*21. Ari

TKE ROLLING STONES Gfl^lk^'sOuP.TheRcArgSlQnesriCaxert

THE SWELL SEASON Strict Joy

^■,11 ^:.:I4:.- ■ f irjFti *

iit

BARBRA STREISAND Love Is The Answer

PINK MARTINI Splendor In The Grass

117

CARLY SIMON Never Been Gone

Ri: nij

165

CREED full C icle

.', IJIi . 1' 131B7 ♦

■

17 2

U2 TiM UnlorgetlaWe Fire

■■." VrERSCUPE 0ir9Z4* UME •

HARRY CONNICK, JR. Your Songs

. .LuvriA i::2B- sorjv music

EXCLUSIVE CHARTS
FROM BILLBOARD

/^ILIKE PROFILES: A
VL/ MOST ADDED W

TITLE

ARtlSr ilMPRMTrLAB£L|

R|l GOTTA FEELING

B93 IHE SLACK EYED PUS ItNTEDSCOPE]

POKER FACE

LADT GAGA . Mft; .IM, Hit ^ORLIvE CIIERR'rrHEE IWIERSCOPEl

■1

m I'M YOURS

H "UOH MRAZ lAUAIiTir RRPi

SINGLE LADIES (PUT A RING ON IT)

B£T01*CE WUl;1C WaRLD CULUMSIAl

THRILLER

MICHAEL JACKSIM IEP1C LEGACY!

IF 1 WERE A BOY

BETDHCE '.in;.(..- ',vn-1LD COLUMaiAl

^ UPRISING

B MUSE i"tL UM . '.VM;;i:R HRll^ .

■ RUN THIS TOWN

VfS JAT-Z ftlHANNA A KANTE WIST IROC NATiON|

"Wl

LOVE STORY

rATLDfl SWIFT iBIG MACHIHC)

BILLIE JEAN

HiCHAiL JAGISDM lEPICLEGACV)

FIREFLIES

owl cm (UNIVERSAL REPUSLIC)

PAPARAZZI

lADT GAGA ST^iil.MiSf XONLnrE CHERRVTRfE INTERSCOPEi

WHATCHA SAY

JASON DERULO iR[ll|.r,A llElRHIS 'AARKER PROS i

■11

HALO

BEYOHCE MUSIC WClRin CULlJMfl A

■

■ SEXY BITCH

■H DAVID EUCnA FEATVffiND iUHill |GUM VIRGiNi

Ih* melr's ntoci purdiMM] longs via Lju - tti
TITLE dlglM mutie w^bilu nm an laanaM c«ulog

AHtiST (IMPRINT. lABELI o' wn^s ffvaiiaMe to play. buy. and shara oniln

KM FIREFLIES

FOREVER

MNunAi NumwitT utwnaaiMsaMixAH.f UAi^n^jx ^sinLAMiNtHitiiscwi-.An-

WHATCHA SAY

JASGR DEnjU .BELUGA ilEIGRtSWARNER BROS i

DOWN

JAT SEAM FEATUMNG UL WAYNE iCASH MONEY UMVERSAi. REPIiaEICi

•

EMPIRE STATE OF MIND

jmM * KUCNI KEYS iROC NATION.

PAPARAZZI

LADY GAGA iSTREAWLmE.KONllVE.CHERRYTREE INTERSCOPEl

BRITNEY SPEARS iJrvE JLGI

REPLAY

1YAZ .IIL11 IS HONEY/BELUGA IIE1GHIS REFRISil

•

1 GOTTA FEELING

THE lUOl EYED PlAf iMEKtlUPEI

ONE TIME

JUSTIN BIEBER .L I in.iur,

SEXY BITCH

DAvm GUEITA FEATURING AKON iGUM V:RG1Ni

MEET ME HALFWAY

TWIIUCK EYED l-EAS '.lERSCOPEf

Hvbu BELONG WITH ME
^BTATlORIWffT ■■ . 'I.-., "itif 1

MONEY TO BLOW

S1HDMAN FEATURING UL WAYNE « OfUUl iCASM MONEY UNIVERSAL MOTOrVN;.

,«

RUN THIS TOWN

JAY T RIHANHA A KANYE WEST iRCC SAIiONi

Atop VIDEO iffi

W MUSIC SALES ' W

TITLE

LABELDISTBIBUTTWO LABEL (WtWCiPAE PtRFORMER)
KM LIVE AT READING

BBS OGC GEFFEN LIME UNIVERSAL MUSK i VIDEO DIET jSIRVANA

LIVE IN MANILA

ROCK AND ROLL HALL OF FAME + MUSEUM: LIVE
TilBtUFE bib

LIVE IN BUCHAREST: THE DANGEROUS TOUR

EPIC SONr MUSIC VtUtO iMICMAEL .IACaSOMi

281

NUMBER ONES

EPIC MUSIC V1DED SONY MUSJC VIIEO iMILHAEL JACASCIJ

FUNHOUSE TOUR: LIVE IN AUSTRALIA

LAFACE. JIVE SONY MUSIC VIBEO ^ 'J1

VIDEO GREATEST HITS: HISTORY

[PIC SONY MUSIC ViUEU i" . .■ i ■ . ■.

CELEBRATION: THE VIDEO COLLECTION

WARHCRBROS WARHER MUSIC V151UN ■HHUMJA

193

HISTORY ON FILM: VOLUME II
EPIDSONY MJIK WNQ iMICHALl JACaSONj

1 io

JOY IN MY HEART

GAIHIBW BHfBiBf BBIH iBUt GU»A BAJTl€a AABl T1€B1 HOMECOMNO FR I

WIDE OPEN: LIVE i MOREI

EAGLE VISION EAGLE ROCK iJASON ALDEANi

DEAR JACK

SIRE WARNER MUSIC VISION ..lACH b MAIJIIEUUIK

COMIN DOWN THE ROAD: THE CONCERT AT ROYAL ALBERT H.

FOHTUNAri SON VERVE FORECAST UNIVERSAL MUSIC A VIDEO DIST iJCHN lui;ii

EN CONCERT

BRUSRFIRE UNIVERSAL MUSIC A VIDEO DIST . ALA JOHNSON!

DANGEROUS: THE SHORT FILMS

EPIC MUSIC W10E0S0NY MUSIC :.■ l lu-i -: KiiONi

Data for week of NOVEMBER 21, 20(

:ls<:n nicLscii

Billbwrd:

Jl HEATSEEKERS ALBUMS"

ARTIST

UBi- 1 ^'^f'jLf J.- ;if;IiH.,.ML.L: i'tiiC£(

ARTIST Title

MT UDT

vm\

KlSERENA RYDER

IS It O K

IkCxiKilx
lingo's Ui. Mm
ahnilaitsMli

: 1, HaHofd 111: Winter Song.

■(

EVERY AVENUE

. naiu ,1,

PIcturs Perfect

j^"?!! a ,1 :l>o>d, 4 *• ^"'^ ^"

NILE

HUCltUR BvAST Z23<

Those Whom The Gods Detest

(.OUaiiiEsoM.

-UttlcWolBt^,-
p«keditllo.6i)n
Um Triple A mTw

GIRLS Alhiim

F*NI*Sf IB*SMC«NO!0''TBU€ PAKTHFB SOUNDS iM afl. HiDOm

EMILY OSMENT

WIKD-UP 1319! 1

All The flight Wrongs (EP>

SIDEWALK PnOPHETS ^n^^

ORIANTHI

Belittve

-i

WE CAME AS ROMANS

[QUU Vision US<lj »>ii

To Plant A Seed

diafi in June.

ATLAS SOUND .

un ■ ■ .... ....1

COLT FORD

RWe Through The Country

■car

Sliwi'!^; ill ^ "S""

ll-J.^I'iU JOSHUA BEU

L^nm >. i.ASS[Ul.S2M&/SMTIUSremKHU(3(19.Hl

At Home With Friends

«i "f^"!*^^ In And Ou. Of Cont^.1

THE XX ^

1 1

JOSEPH FONSECA *m»„,« a-..h«=

PAUL BALOCHE

iiTEr.iirv -ir;afX'PRaviDFNMNrc6RiTv t* 'in,.

OkKioiJi

26 >

BOB SCHNEIDER lo«l, C.atu,..

FLORENCE + THE MACHINE

M .'r^=.*i «EPu«ic Di3i7a'Uim5 1 n 'mi

Lungt

MsPriesfslMi
IUlDnliilslietti«

NELLIE MCKAV Nonml «• BHMMrTy We: A IHbule To Doris Day

EPICA

. . 1 . ?3*b ir, 'in

Destgn Vbur Unrverte

iwniMMo

■«litlilss«.inii(«
vst misses (turttng

ERIC HUTCHINSON Sound, Uke ThB

MELANIE FIONA

SHC'LIIVERJiJ; VnTaWNOI31!ia<\IMHO ^nw

TheBrWge

KEITH » KRISTYN GETTV A».Jc.n Th. D«.n

eiinmst 9ij5« » .. • AwakonTBa Dawn

CECILIA BARTOLI

■,i.L''. 1 cji5S^SGflOJPi:i';;i

Sacriticium

on the Top HoiMaT
Album talv Itilj

,10 ,u Whrt W. All Com. TO N.«l

EDV/ARD SHARPE & THE MAGNETIC ZEROES

Up From Betow

THE GOSSIP u„„, f„, u,„
tOLUWSl* WJaO'.^QKV MUSIC |9.M) muwi. ror Hicn

DEVENDRA BANHART

What Will We Be

BARONESS ni,„B„„,H

«EL.ss!7osi ,.!« BluoRacotd

RANDY HOUSER

JNt,'[!iS*L SOlTH aum 'O 96'

Anything Goes

™iH > IVmS:?-'^ ='•*"<> SI""" lEP)

ROYCE DA 5*9"

' " KM 'It RECORDS inUi

Street Hop

ULfp»^i9*^H^H PraaontB: Ultra.2010

LA ROUX

, . r.--^\r ^ JlSaW.liyKtOdSI

LaRoux

JS'oK^imi'", „, 0IITh.Hmi>m,HO0l.(EP)

THE AIRBORNE TOXIC EVENT

■ i: ■ 1 . ■ IDJMG H2 Mi

The Mibome Toxic Event

ne9Z-nif-<«,
HoiHIIiil-en
doiK'iaMiiii,

■9

THAO WITH THE GET DOWN STAY DOWN ^ ^ La„„

SWOLLEN MEMBERS

SAITU All t:<b SueuRbCh trMi . iv

Anned To The Tselh

DAVID GARRETT riawiH ra«-«

DtCC* Ot!J7;,'LNrvERS»L CL*SSJCS WIWP .M ^fl. "a"*^

MY FVtRAR a GEUUtlH GIBeAflO Ora Ful Move Or I'm G(vw: h

■ualc From Kerouac's Sur (SouryKracK)

■lildiHllii.lln

hkmm

Su? P"" TOrouan Tl» T««m Machine

£)

HYPOCRISY

■, ■ 1 .. Blast 7276 u, nu

A Taste 01 Extreme Divinity

i" OMi!? M)°M ."""^"^ Imaaliunloti Monti: Fo« ThOM AHout Tb Hop (Soundtrack)

KINGS OF CONVENIENCE

SCvif Of LlfiWO* ASIHAlWtBRS n. 'ill;

Declaration Ol Dependence

LyiM hef ftnt
ingafeunmtlw

°'. "'c^a. » o™"" "«» D»V

CAROLINA LIAR

tlLAI>IIC 4M1U.'|IG .t 'ti

Coming To Terms

UnUedSbK.

™ °°*" Th. Ufe Of The world To Com.

4 HEATSEEKERS SONGS

REGIONAL HEATSEEKERS "1 ALBUMS

TITLE

AHTiiT . wmm : mouonON imi<

WHITE UAR

BBSM1RUCI« UtMMttI II l'MI>L>i

1 16

RED LIGHT

USVIC tML

AIN T NO REST FOR THE WICKED

TARE -H( tlOTUKI ■■ ..'■,

r 10

EIGHT SECOND RIDE

JUE DWEH ' .11.

RUNAWAY
umiMnim i;iHijiwo;;ti;

■3

SHOTS

IHFAD FUTUnMBLH JW r)'LRTy ^DCK.nWIU I lU'CHERflrlRE('inlERScaP()

LA LA LA

IMFAO .-i-.T- .- ir, 1 1 i'J rt-F^KviqEF I'lim&CDPtl

LOOKING FOR PARADISE

AiEjAXDHc uu FunmHeMJcuanrA'AnvEPi ui.iai

1901

nieuu >.iy>«uTt.'ai.ASsitOTti

SAVIOR

(list *G*I«SI I'.'".' '" " "■ 1

CITY ON OUR KNEES
TOirttAr, ■ ■■

CLOSE TO YOU

8Eti iciawmua - o,

KINGS AND QUEENS

liiCi:aMn-iiDiURS ■ » ,iH(M-t*PMOL\

10 ^•

YOU RE GOING DOWN

SKK i'U'FKS 1 HI, 111 ; i^iIlR)

14 18

JAFS

LhFUIlif

DOLLHOUSE

POISailA REKEA ' U|

12 'J

MUnnv HOME

MCm mCHMl CAMROU lAHi^IA HASHViiU)

Is It O.K.
Serena Ryder

Picture Perfect
Every Avenue

WEST NORTH CENTRAL MID ATLANTIC

I •

■ <

NEW FANG

!..!in r- II . El- . i['UR» flmtftseawj

5 STAR CHICK

YOCCIII

I LOOK GOOD

Amante Bachata

SOUTH CENTRAL SOUTH ATLANTIC

I toi

ESCLAVO DE 5LJ5 OESOS
TE IRA MEJOR SIN Ml

iOAHSElAETUH " I |. -. .-.i.'.;

Mil SOUIM)

IT KILLS ME

I'M IN MIAMI TRICK

® ^ ® /

NEW ON THE CHARTS

We Came As Romans, "To Plant a Seed"

The rock act s first album starts at No. 6 on Heatseekers Albums with
3,000>plus copies sold, giving the sextet its first Billboard chart
hit. Forty'Stx percent of the set's first-week sales were dtgttal down- '
loads, while 36% canr>e from the band's own merch site.

Rn'' ji

a
I

Every Avenue

Emily Osmertt

Carolina Liar

ITii'mnij To ronTis

Orianthi

Intaginatior Movers

nic»e wnom rne Gods OetMi

E Randy Houeer

ThoM HViom n>e Gods Datur

Epica

Dawf/n Vow Urwmt

' Hypocrisy
• A Tasto Ot Em

[

Halford

Halfordlll mmerSonffa

^ Emily Osmenl

ita for week of NOVEMBER 21. 2009 i For chart rvprInU call 646.654.4633

Go to www.billboard.biz for complete chart data i 37

Billboard

niclscii

BDS

^THE BILLBOARD HOT 100

TITLE Anist

MPfttNt < OROMOIIOH lAUiL

i if

1 12

KIfireflies Owl City
BSfl- ■ I !. ■ ■ ■. . O lUllWBSAi fitPOhlC

. 1

13 9

^Iug|||l| EMPIRE STATE OF MIND Jay-Z * Alicia Keys
'T.1l.'M:lf:1lilJf:M ■ rm^uKtnmttiMmtmfmturmL'UKAiuiuntmummm ©©mcwn

WHATCMA SAY Jason DeRulo

■ ■ - ' l. .r-f J MSBOlXtWX 1 M(AF| (» BfLLpiQ* Mfliil-'f. 'AASf'.iH EBin:;

12 12

4 1

DOWN Jay Sean Fealuring Ul Wayne

I.'-". ■ : 'i-HF it'iHrt'l !j<AU[K , PffiMHS TCi/^riB, QO WrittY llhti^lW, Bffifll C

b »

PARTY IN THE USA Mil«y Cyrus

. . ,. ■, .1, ® HUL-'AJUU

{

PAPARAZZI Udy Qaga

1 --.1 - ii i.r--.!.'.;. ■ -i ^ FtiSMii ©OOSrfltAMllMEfcONl/VfCMtHflM^ff ll.-FHSC-.FF

3 Britney Spears

ii,ur-in-:.ieilb«;k iiisMMnws*itLLS»cti.tAiieEfli 0 ii'J£ -l:;

1(N}

RUSSIAN ROULETTC Rlhanna

n ID

SWEET DREAMS Beyonce
..Vi:5J0SCHEf«HWI«iallSBIC0UI«l © i»iS'. rtn \fHi-

• 11

RUN THtS TOWN Jay-Z. Rlhanna & Kanye West

T'. .-■ C CAHiEfin WEST: AUSW.filfPm* »l*l*5l (MIO R:C htllCrH

• 2

SEXY CHICK DawM Guella Featuring Ahon

J.; :■ . ,li .. L: SIkDfttS iDGUnU jCSiNURiSG TJIKOfllS ViS A1HII,M © GUW *irw.:.Wln',S M^-TLL

YOU BELONG WITH ME Taylor Swift

■; 1 i.'l'.j. , ,IS*i(lL ROEii e iS\C MSCHIME UHlVtOSAL lEPUiiLli:

■ 2

^Ir

16 22

TIK TOK KoSha

MEET ME HALFWAY The Black Eyed Peas

<f)

FOREVER Drake Featuring Kanye West. Ul Wayne & Eminem

■ -KiU K WiSIHCWTiaM IWIMtSSi i K«T4-£y MAiOH WHt 4 :IHf4l^,l'li ■-flMM^.Ctft

1 GOTTA FEELING The Black Eya<] Pe«$

'. '.i.AMS.* PlkiQA JGOyU.S FERGUSBltO GUEIU FP>i^,1E^(Rl 0 IhURSC DFt

9 -

BAD ROMANCE Lady Qaga
" -^-ll^OCtftUANOIUl 9 SmEUIllNEWlNLfVt'CHERKytRa'm'ERSC'JPf

21 17

ALREADY GONE Kelty Clartcson

1 ■ ■ 1 ■ ■ ttyoERt i '9 tck fi»;i

a 15

USE SOMEBODY Kings Of Leon

•i-"- ■ ■i.iJrtll.lJfQlLQ«lLl..MFCLL0»IUhFOLlOWILli © If* filM'J

■ 4

A
w

COWBOY CASANOVA Carri« Underwood

■.' ■ ■ !■ 1 ■ 1 1 [:oN:infl am?- © ;o ^ti

N4^

n IS

NEED YOU NOW Lady Antebellum

■.1 ni.Ajiji. . 1.1.1..: Fii-_.i;L:r jKiMi. © t*>>in5i

1 CAN TRANSFORM VA Chris Biown Featurir>g Lil Wayne & Swizz Bealz

,;. , filAN , * I'v-iiJi. riL/.niEF, ©.Itt'lJi'T

ONE TIME Justin Btsber

.[...■.I . .n<,>(i.iius(.ji,Lv[:a-HK.-.ii^tAi.---. © i^iLmilvupWu

FALLIN FOR YOU Colbie Cailtsi

FAVORITE GIRL JusUn BMber

.1 LV. 1 1 I'.F .1 II i JW«S.*0 B1«ME!T,AJ81BCM(IIi iSUKMJIW

»1
*• 1

DO YOU REMEMBER Jay Sean Featuring Sean Paul & Ul Jon

■ ■■■ . IS ■ ■ 1 ■ 1 .

ff\
w

EVACUATE THE DANCEFLOOR Cascade

1 ■ - ■ -. P,l Kt,iUH| ©O ^i:'t!BIV5

OBSESSED Marlah Carey

'MSH.CAETEAUITl ©Q© i^UNR GjVO

TOES Zac Brown Band

f.l1;JH0n:iMS.$MU.LMS> © lOyE lilOA'S J'.JMi; DlfrjEH WCMtE

31 -

BABY BY ME SO Cent Featuring Ne-Yo

39 31

PAPERS Usher

■ ■ ■.■■ii'JH0i-li*««EIT"3l]TSOT*Ml.rMISi ©■.*F»CE.,&

3a 27

SAY HEY (1 LOVE YOU) Michael Frantl & Spearhead FeaL Cherlne Anderson

vi^i'ili. I.;...,!-.. ii>-f.(^t*H iMIHAtK C vllUVSi © SCO BBO *A>. AKIi llfllVEI>5ftL Btl'l.SL>:

1$'.

35 23

BREAK UP Mario Featuring Gucci Mane & Sean Garrett

■.- i,»r(H[i; L ■.fiKinUj .jIhM.-- j C'.AAIUllCl,[^ SAt'tS^ © J d.VG

BODY LANOUAOe Jesse McCartrtey Fealuring T-Pain

■'t -.iL-i":'!! , hUUK.tlL CCLt J MCCAXIHt'I © l-l'LLViVLiCD

WASTED Gucci Mane Fealuring Plies Or OJ Da Jutceman

.11. ~S H DUVtS A WAiMIMGIOKi © i-0 ICt' .VAfi1Ei> flftC-i

LOVE DRUNK Boys Lihe Oirls

■' ir-i'.soN.s HOLiAMifP 0 oc:llm&-*

• 22

A
w

FIFTEEN Taylor Swttt

') r-;^'i,'i'. T ;,AiFI iiswiFT; © .iS.VE'tSAi PipJB.ur.BK. m*:''ine

DO 1 Luke Bryan

.1 STE'iEMS .L 8«Y*VC •EiLEYDHA»»'0ODi G CA^n^ll. 'Jii-lvia f

MONEY TO BLOW Blrdman Featuring Ul Wayne & Drake

Ji- JM>.»(. e JV :fl A'liLUWS A GBAIIAW 3 CAR'tR C SMCi-iONl © C*iH UOKi- UNIvESGSl MD"OV.r;

JUMP THEN FALL Taylor Swift

1 : rt'i- ■( "Mi.'/.f; 1- ilVIFli © BIC MnC"i'J£

HOTEL ROOM SERVICE Pitbull

GOOD GIRLS GO BAD Cobra Slarship Featuring Leighion Meester

THROW IT IN THE BAG Fabolous Featuring The-Dream

•■ UD MUCHL I. =\lfiKH} ©© :iEStr«' ^R-IULi<> JCM'iCi.Mfi

FUNHOUSE Pmk

. .1-' li'lUA 1 Pi.tKAI J HAAtni © LlUi:£ ;Lli

Vii/

1 M ALIVE Kenny Chesney With Dave Manhews

>i - H. • 't-F=.HFV |K |:HE^I>>T0D1U0M M UMSIl*IINai 9

HEY. SOUL SISTER Train

!,■!;'■ 11 -. l iuLHiE (i'Mi>>(*JIMt LINU ABJIWkLWIL'I © *^*«Bt t.lHiMUiA

SHE WOLF Shakira

■-. iJC'i'ii" -1 . HILL .5 M[f!»RAn n ; [ifl£"l.E« J "ILL 5 ENOiC OH, ©© iC^V* ML'SlC .AtlN EPtC

• 11

CONSIDER ME GONE Reba

■J ■ ; ■■■■ ■■■ ii'.'i © st*rstbuckv*loi1'

ONLY YOU CAN LOVE ME THIS WAY Keith Urban

■ ■ ■ 1. • ■ © IWilOl N&SHVIIH

GETTIN YOU HOME (THE BLACK DRESS SONG) Chris Young

1 ■■HLUO ii; fOLt*U t SftMj.'j n BIW} © HL* UliiHVIUf

SMILE Uncle Kracker

[| i-ivAiio 'M ■:MJFiH « n»i*, -tA^ninr. jBOSE) « 'hf nnr, AkriL

«*

IMMA STAR (EVERYWHERE WE ARE) Jeremih

■1. ■■ .I'll.. © IBCK SCMULrM)tlJ*M ituMU

DROP IT LOW Ester Dean Featuring Chris Brown

O nin'ltV UASE>H.JOIIE i'SIREAUUXC'IMEN:':'.-'!

5<-

GANGSTA LUV Snoop Dogg Ftahirlr»B Th»-Oroam

.1 ' : ■■ .i:. ;r- t © aOGCVSITlfWUMlIt " '

The ming uperdii
urns het fnl No, I
on Hot too Airpby.
K •Pajufaifl"
luemh 2-1. She'd
ptevicMidv cliintal
K higti » No. 2
vilh''Potef4ct''

ThetiUeiiuliKtrH
(hirt's li*99esl
junp. whle rising
K-noi Rock Songs.
Tlie baad Is one oF
elgMadsmnairing
onltwFiise nel-
wrk't Best 04 2009
fan-voted (ompeti-
iMn and b baltllng
Papa Boath foi the
rigitt to mnt on to
Uh ftui lour.

IbeuRgistMS
liglithtDiinofl
AduRT«p40(9-4).
•MSlqritMn
NaWiiwl
anoRS BHk aitlsts.
KveiMTtwinas'
tapWciMnlwith
Halttiboi Trnilv
(II), cl would
afiprophateiv brmg
hK total to 70.

Tbe series' cast Uts
TiylotSiintw
leuNid-mMt
NawardHoDOO

(fltrie this w
a4).asttH
"Wklied" (tw
bows. Ul WayM rs
theimfall teadef
■ritti n appufances

INEEKS I

TITLE Artist

■-igD'jctR 50K(inmufi> luniiiiii / pnoMonon lasei

IF YOU ONLY KNEW Shinedtmn

. .1 i, SMIl" D MSSfni 0 i'.AMlt

1
j

fi5

66
87

UPRISING Muse

, © HHII.M -i-MV.'-: :■.}< '■

TIE ME DOWN Now Boyz Fealuring Ray J

WELCOME TO THE FUTURE Brad Paisley

,i;.r;n?i 0 "hiM* f.'.:nuni

2t GUNS Green Day

. .■.f!V5TaOltG,GltEEN D»'i © KifHl^f

• i
•1

1 INVENTED SEX Tley Sor>g2 Featuring Drake

.■..■!). A GBAMAUi © sow •OOKi'AILUIIIC

■it

■I
■1

DOESN T MEAN ANYTHING AlldB Keys

1 WANNA MAKE YOU CLOSE YOUR EYES Dierks Bentley

■-:M: © CAFIIOL HASHVILU

a
9

TWO IS BETTER THAN ONE Boys Uke Girls Featuring Taylor Swift

0 Cil'LUMfli*

I'M GOING IN Drake Featuring Ul Wayne 8. Young Jeezy

. mHIiMOCASTKI.j HJEnniNbi © ^^•J^1:i Mult* :a;m UGHtV ..►.r.'iHS.Vl M;iIiitVh

WHITE LIAR Miranda Umbert

..L I.- tif.X'.i lU i.twaEnit4»0wevi © collimria

LOVE ME Justin Bleber

■ 1 • ■S5V:tS50f< S PERSSOH'. © IStAND.IDjMG

HAPPY Leona Lewis

= - ■■ --" •- 'rrCfP. f t; sDCAFHi. itw^t O SVC3J.ftMG

UNTOUCHABLE Taylor Swlh

■, i--" !,■'.!, -5*IFT ilSVtin.C HBABLlmf H 6AflJjfrE U JAWESi © ifJ KJKmw-

BONFIRE Craig Morgan
■■ 1 !■ C ireatwN.K aEKIEYC IMRIiAH M ROGERS} ©

RED LIGHT David Nail

Ml " .1.1 V WftuCtE iJ i^S&LElonu P(*CE DM*UI>Sn,yi © m;:j

WHEELS Foo Fighters

^ v:i.'-.ir. t ■jMlllS I^MflMTEPSl 0 ftCSAL.. ait hv:i

SOUTHERN VOICE Tim McGraw
" -i.v.sDSMrTH |IOOUGLAS.IO«P<flOl © IW»

BAD HABITS Maxwell

■ 1:1 uu&lti © 'jt^LUin^srik

SUCCESSFUL Drake Feahihng Trey Songz & Lit Wayne

" '< --lEIiie TU'^nSOM D CARTER] © roUHG MWEV C-liSH MOHEV UtiI'fTOSAi. WOTCWN

WHO SAYS John Mayer
■ ■■■■[\u © ccxuuer*

ONE LESS LONELY GIRL Justin Bteber

' >i " ' ■■■>■ ' ll> " SMM It LEArS B UUKAMUAnSPHAMILTM.HSMlH) © ISlAfiDIOJIK

HAVEN T MET YOU YET Michael Bubte

V ii.ilci © MJflEP1*ISE

A
00

1 WILL NOT BOW Brttitlng Ber^amln

" ' |> ' ' ' ^ 0 HULLVAOOO

REGRET LeToya FMturing Ludaoris

1'. -11. iu»L{Miv(L.L»;R£'i.flW*T,sA,jf«)iiittji».cBiwxasi ©c*pnoi

■1

■a

(IF YOU RE WONDERING IF 1 WANT YOU TO) 1 WANT YOU TO Wmzw

■- ■■ ..tr^ © 3GC ,HHHii:CiPL

STARSTRUKK 30HI3 Featuring Katy Perry

■/ , . ■ .hi UAH 1 MOtUl © EHIiri. ' ■ :ri ■-:

# •

ALL THE RIGHT MOVES OneRepublrc

0 MUiiE' .tlfH-^tLiPE

NUMBER ONE R, Kelly Feilunng Kerl Hilson

- " ' . hLMIlTOMRKaiTRHAMIlTait.RHXMILTOM.ftLHIlSOIIi © .'%'E..vG

00
00

62
70

53
65

AMERICAN RIDE Toby Keith

■■ . -~.!,M>H,, © .-1:.;

FACE DROP SQiin Kingslon

■ ViSliHi © o;_i..i--L Li ^ .

F- [!F).H''j ithHEi OAYSGRACt B SIOCKi ©

GOD IN ME Mary Mary Ffaturtng Kierra "KIKI' Sfieo'd

,.. ,-:"-^r, .Ai-^MPFFi 1 F S!MFi--.-;*MPBEi.L T AlKWS-C«IH>*£ lL > e «■ (ILJi:- 1. .■ '

A IN 1 rJU ritsi run int WIUKtU Oago 1 ne tlopnant

HISTORY IN THE MAKING Dlirius HiicKor

Q>
A

Hi*'

THE TRUTH Jason Aldcan

■ •■ . ■ ■ © H^l Ml .V

23 -

LIVE LIKE WE RE DYING Kris Allen

■ - ■. ; :i 3r«0-jH[,-= M SMEEHA>(I © !■■ ,^

SOMEDAY Rob Tnom.ia

■ - 0 tMHiFV M,-,..

THE OTHER SIDE OF THE DOOR Taylor Swift

EIGHT SECOND RIDE Jake Owen

■■ ■■■ ■ ■ ■ ■■ © DC* NtS'iUllLE

NEVER GONNA BE ALONE NIckolback

-■■■.f ■,'■11 ', ■ -.FiHJrt. '^ : ,ASGf C >.B:£Gif . © ROADRUN'.fri F"''

SPOTLIGHT Goccl Mane Fealuring Usher

1! ■■, -Li - 'IF. i^r-.ias jl5MuriHCi.- J0HE3I © Mi;*- "■■ ■

RUNAWAY Love Ann Tticfi
r -I.- s-t p t caPHi (S B LiLEs c smum r BiACiaiMti e ...

DEFYING GRAVITY Glee Cast Featuring Chris Cotter & Lea Michele

.■.■■-rrs FASTSOU (S SCMWARHJ © (OKCLJlUMfllA

100

FOREVER a ALWAYS Taylor Swtn

■, ■ l-.-rM,l-J ISA ?! ;r5A'*I' © BlC WACHIW

BETWEEN THE BULLETS

'ROULETTE' LANDS IN TOP 10

Ritiaiiiiacarnv ht-r 12th Billboard Hul 100 top U)as "Russian Roulette" shoots 7S-
9, UiggcTt'd b>' first-week download sales ot 132.000. "Roulette" opens at No. 9 on
Hoi Digital Songs and inches 36-35 oti Hot 1 00 Airplay with 29.4 million audience
impressions. Dk song's digital release coincided witli tlie singer's first public com-
ments since her a.ssault in February in an ink'^^■iew on .ABC's "20/20" and "Good
Morning America' (Nov. 5 and 6). Rihanna's 12 Hot 100 top 10s place her second
among female acts this decade, trailing only Beyonce's 1 3 top 1 Os. " Roulette" pre-
\!L-ws Rihanna's new album. "Rated R.' due Nov. 23. — Silvio Pictroluongo

38 Go to www.billboard.biz for complete chart data

Data for week of NOVEMBER 21. 2009 CHARTS LEGEND on Page :

s|
3i i(

TITLE

AflTrtl iiV4.-:|PNI fft'JIMHOh lAHIl 1

TITLE

ARllSi , ■ ■■ ;, Tj i-,t

10 d PAPARAZZI

1 CAN TRANSFORM YA

wm snawH nu in him t i'mn tin

56 4

SOUTHERN VOICE

[IMHCGRAW

SWEET DREAMS

MClWu^aANO ■ "■ ■ .V. I'L'J.T.. n;;

1/ ;

nOEQfU'T AACAKI AAlVTUIUfl

Llwcora 1 ivICMn ArvTinirBu

AitClAHETS '.- •

DOWN

WASTED

flUCCi vehf FEAI PL ' :,,'VV SO ICEV WAHNtB B

•3

LUVc UnUran

WHATCHA SAY

J»SOh Of HiHO ■ 1 1 1

TUDniA/ IT JU TUC BAA

'ASIXaiS ! EAT nC-MEMI .IX»m STlVMtH J/HVi

i.' 18

GOOD GIRLS GO BAD

YOL BELONG WITH ME

unO'isW'T ■ "■ -

OBSESSED

Hmui CAREY .. ISLAND. IDJWG)

GANGSTA LUV

SMOPClXGftltMimEAM !■ i .-i ■ ■ .-^

EMPIRE STATE OF MIND

CONSIDER ME GONE

B[»Ar.-Mr,L,THiJC«jVAtMV)

UNDER

nusuRlP .n.'.i.rM;i

RUN THIS TOWN

ONE TIME

jusrw iiEBEii .i6iANn''n.iuc.i

HISTORY IN THE MAKING

OAniui «uc<ilit 1 ""■ii; . .Lf [

USE SOMEBODY

1 M ALIVE

WPWYCWSntT WTH DAVEUAnWWS ii 'i-

ALL 1 ASK FOR ANYMORE

TRACf AMINS ■ iviLLfl

•

PARTY IN THE U.S.A.

M[L{Y C'Bili 1 .

EVACUATE THE DANCEFLOOR

CASCIDA ■hif ■:-

AMERICAN RIDE

IDBY HillN ■ ,■ ..f 1

FOREVER

o%m 1'--. ■■( ;-nf i.^wwAMEi'mfisecPSi

RUSSIAN ROULETTE

milAKMA . '.' 1 'L >..' '.MGi

WHITE LIAR

MHIAhDl LlMBLin ■ ■. './.SHVILiSl.'

ALREADY GOME

BONFIRE
CItUGMQRCAil fi'lA.

DO YOU REMEMBER

W SUM lUI i LIJW s:vUJCTW«BS«.W«Lfc,

HOTEL ROOM SERVICE

PHBIRI iVi- ,1115 ^-Uj jfiD'JfiOS.lftW3i

49 11

NUMBER ONE

R ULLifiA; (!FT HiLsan ..q;

1 GOTTA FEEUNG

TW lUttK mo rW l<riTf !ISCD»( 1

WELCOME TO THE FUTURE

IIUD PAiSLIT ■■I'.'IlL-i

THE TRUTH

iASOR AineAII '^-t -..bf. Hli/;;

MEET ME HALFWAY

IMS tMH FrtO rU3 (iMfBSCOPEl

BAD HABITS

LOOKING FOR PARADISE

ALUANDRD SANI FEAT. ALKI* KETS i A'APItF' 1 At:1|Ai

SEXY CHICK

DAVID GUITU (UT MON liUM'*&TnAll|llE()«S<CJiP<rOM

BAD ROMANCE

UtnoAimc ■Kiw.i«.Mfj_M':H!»"l«f .Trti!.-ii:

SI 18

SUCCESSFUL

FIREFLIES

gan QTV iimtRsAL m^MiX)

28 15

ONLY YOU CAN LOVE ME THIS WAY

am mm .caphc. >hshv-lei

SMILE

UHCtEiRACH'l ■■" ■■■■ ■■-.'•.riCi

REPLAY

im (TIME IS WOIKT.'BELUOA H EIGHTS' RtPfllSt ^

S 4

BABY BY ME

SOCEHTFUr Nt-VO r;ii:iV A'IEflUAtK'IHrERSCOP[

IF YOU ONLY KNEW

SHtMlUOBN

FALUN' FOR VOU

COIIK C»ILI*I ■ -■>. V-H>JH HfPUfltlC)

GETT1N VOU HOME (THE BUtCK ORESS SONG)

CHRIS YDUHC ■ ■ 1 .

61 17

SHE WOLF

SHAEIRA

COWBOY CASANOVA

CJUMK UHOtnwODO i v-, UriSU laSHVIllEi

1 WANNA MAKE YOU CLOSE YOUR EYES

OltMS BlNILtT . ' -.'.JIVIL.l.

69 2

EVERYTHING. EVERYDAY F^'ERYWHERE

FABDUUSfEAI ianila.ji:f'

PAPERS

USKM L(.ti:[ j.j.

MONEY TO BLOW

TWANG

GEOREE STUAIT iMli P.:I,',i<vii 1 : '

BREAK UP

MMia 'EM &UCCI MAKE 1 UIM GMnfTT J RMLiJ

REGRET

imm FfAi lUDACflis :<. 'Pur-. i

lJUST CALL YOU MINE

MARTINA MCBRIOC - ■•• 'iV-LEI

NEED YOU NOW

LAOr AlltfBfllUI* n»i,Ml'lLL!l

GOD IN ME

■URTHURVfUT UMAIHUMIiUf BlOC>.

HAVENT MET YOU YET

MlCMAtl BJBLf ■ . -;!■ ■■

00 1

UM inru < Cit-MIOL flASHVIlLEl

RED LIGHT

OAHDIUil

WHY

BAiCAL H*ns ---.iL iTH(EI,

FIFTEEN

UTIC« SWIPI iLitllVERSAv ntPUBllC'BIG MACHINEl

SAY HEY (1 LOVE YOU)

MDWimUniAIPUMjIC "r -

SOMEDAY

ROBTHDMAS -Mt.bM ATlANTtCI

1 INVENTED SEX

Till FUI DUKE i^DNG UOtX UUUlIIC>

:®

TIK TOK

KIUA '.A- ,■ unKJv.ncAitMi;!

S2 12

RUNAWAY

LOVE ANDTWFT i" iKaWGOC 1

i>;hot digital songs

TITLE

ANTIIT ftM^HIM fROUOriO*) LAUfL.

TITLE

ARiiir uMPt^iM pnoitttiON maaj

% . , , Kl FIREFLIES

W ' BEu OWL cm ■■ui! jC'

YOU BELONG WITH ME

TAnOHlwriBii; i'n:Mi>,ii

FACE DROP

SEAH AINOSTON ih-. CjA f iiOMiS EPlCl

REPLAY

lYt; '.■ '.- . -i - ■■■ -II . HfPRi'.f

BODY LANGUAGE

JtSi! MCtAHIllEV fEAI ' PAIIS iHL, L'-ftOLiD .

HOTEL ROOM SERVICE

PlIflllLL ■/ I'Wu

EMPIRE STATE OF MIND

j»v-; ■ wiciAiifs - 'i^.i

BABY BY ME

W ti«' ha: hi i'j ! ■.ni-/,(/,i'irjitHiCtPii

, DEFYING GRAVITY

% _ , RUSSIAN ROULETTE

EVACUATE THE DANCE FLOOR

CAmn*

POKER FACE

LADYMW .■ . , ■

WHATCHA SAY

JlSOt. MHUID . - - "b uHIS AANrililt Sl^'yi 1

USE SOMEBODY

IIHGI Of LEDN r::.i.l<UG

■

BOOM BOOM POW

IMEBLIO E'fDPtAS ■. . - ilL-.-L'L

PARTY IN THE U.S.A.

WET crWJS ■ ::\.-.'.:\

FUNHOUSE

■1

FOREVER & ALWAYS

lAvioa swift ■■ .

TIK TOK

HEY SOUL SISTER

TRAM ..W.'.''; LJLuMmAi

TWO IS BETTER THAN ONE

BGTS LIKE lilP'.S nil H>;CfiSWIir I:JLUU11Ij1|

aRimrspEAM^jirijLtii

LOVE ME

JUSTIN BItBlfl 'ISLAND. tI)jU<).

ALL THE RIGHT MOVES

o^tmupiii'. . ..(■•:■

BAD ROMANCE

uiOT GAG* fiTHEMiJttwiAttaewawtwiQBaH:.

OBSESSED

MARUM CAREY .'ISLAND.'IDjyfi^

STARSTRUKK

3DH1 -i; ■" il. H ATLWJtlC'flRP)

•

DOWN

UNTOUCHABLE

TATLaniNffT •nil: vi.[:Hiht 1

WHO SAYS

JOHN HArifl ... ....tfS'.A)

SEXY BITCH

DAVD ojfTTA lui urn , M ASmnCflKSORTai

SAY HEY (1 LOVE YOU)
wnawwniswioi *ii«r-iM,0iA.c\fu:.

•1

WASTED

ate nut fui ao « u u mm Mji^ w; v = - -

fk . FAVORITE GIRL
6? ' jusTiv «i[i(n 1 . ■,ii:'jM&

TOES

ac worn vm mm i^nmArLWxaoGB «m»i

TIE ME DOWN

«W Btm f EtO RAY J -M-T-- I'T'-, p,i',wvi>Ht .

MEET ME HALFWAY

rm B.*c« neo ptAs u.'rHSCOPfi

LOVE DRUNK
HTtlKtGMU iCIXUW&iAl

•

WMTNO"RKTf^1^^

CAM THE ELEPMAKI ■ ,r ,> . :.

RUN THIS TOWN

JAY7 WHAM* « Mm mn moc nationi

•

FALLING FOR YOU

COlWCAIlUlT,;ifli.iH-i.i !■■!!■;:" iri

NEW DIVIDE

LIHKIN PARA M')'. " 'i[ ^HIjU'VlAHNH iNL)[, i

■

PAPARAZZI

UUKUiCA ■ -rW.I ■.= «::'!. MOfWWTFltBMIFFBEm

MONEY TO BLOW

BKHHfUILllMnEAIXUI. <;« Vllt< lr^-»'J. 1.1 : ^V;

VANILLA TWILIGHT

D»l CIT' 1 1'- .i-l -Ai REPJflLIU

•

1 GOTTA FEELING

DROP IT LOW

I'M GOING IN

11.; nr . irw 4 n« (G« mn-Mia^ ittwi

1 CAN TRANSFORM YA

Ow<.H>vr<iS't>T .1 wAT^inMaintnir.1 r^i

GOOD GIRLS GO BAD

aWiaWtCJBnBMHBlr^t'.HT^I.ITi'

■

SECRETS

OWREPUBllC Ml -..^^ IHIFBSmPe'i

FOREVER

DflAi.- ■ , 1 -.niiWJiriftT.TERWIH.

SHE WOLF

MARIRJI r 1'.' VJ'ilL L«ni|.iPiC'

•

PAPERS

inmB ..'.i.v.i ..!..

COWBOY CASANOVA

CAMHl UIILIH'AOUU ' .^h 3)ANA!>>nilU>

HAPPY

GANGSTA LUV

MXTDOGcmncMMioxiiA^^enonnv'^tTcii

NEED YOU NOW

lADI ANTIHUIUH '.I' lOi. NASmU)

IMMA STAR (EVERYWHERE WE ARE)

JtfllMIM

SUPERSTAR

lATlMtWin^BIGMACHiNEi

ONE TIME

JIATM >IFUn ii. .'M< H'jMlii

OTHER SIDE OF THE DOOR

TATIDRIWIFT I'.ll, UillwSI .

TILL 1 COLLAPSE

»MEH FEAT NATE DON pKMnBHimMmns

JUMP THEN FALL

lAnc" [wifT Ml... -i.vn

SMILE

UNCLE IRACRER 1 IjP t)Uli Al. jlKIli: |

fi9

SHOTS

■L, , 00 VOU REMEMBER

UPRISING

Hliit .■ 1 AARWH 8H0S 1

BIG GREEN TRACTOR

]Alil>tl Al DIAU Ml •■•( kOWi

•

SWEET DREAMS

et'OxilI " '1 . :/llilMBIAl

•

21 GUNS

•

THRILLER

KKMAfL JAClWH LPICifGACVi

ALREADY GONE

. , J ONE LESS LONELY GIRL

, CHANGE

LAnnif L-NaEHWOOO ta jUIISTA NASnVILlEl

ita for week of NOVEMBER 21, 2009 i For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data

ALBUM CHARTS

Sai«» data compiled from a compreh^sive pool of U S music
merchants by Nielsen SoundSc^n. Sales data tot RAB/lMp-hop
retail charti it co<npil«c) by Ni«ls«n SoundScan from a nattortal
sublet at core stores that speciatiie In thoM genres.
® Albums with tr>o greatest sales gains this «w«l<.

Whore Included, this award indtcates the title with

the chart's biggest percentage growth.

IrKlicates aCxOT ontDTod top KX) of Tho aillward 200
ana has been renmed from Heatseetters cttarl

PRICING/CONFIGURATION/AVAILABILITY
CD/Caueoe prtces are suggested itu or equivaieni prices, whlcti
an projected from vitioiesate prices. D after prKe Indicates album
only mlBMt on DualDtsc. CD/DVD atlw pncc indicates CD/DVD
ooRibo only available. I> DiulOisc available, t CD/t>vo combo
avaiBble. ' IndtCJitet vinyl LP is aviHlabto. Pricing orxt wmyl LP avad-
abltlty are iwt induded on all charts. EX after catalog number inoi-
cales title n exclusive to on« accmM or rus limited <»sb«>utlon.

SONG CHARTS

e Billboard Hot 100

RADIO AIRPLAY CHARTS

Hot 100 Airplay, Rock Songs, Hot CotMry Songs. Hot R«p
Songs. Chrmian Songs. Hot l»t\n Songs and Latin Airplay charts
are compiled from a rational sample of data supplied by Nielsen
Broadcast Data Systems. Charts are ranked liy number of gross
Impressiorts. computed by cross -referencing enact tirnes of air-
play with ArtHlron hstorwr data. Mainstream Top 40. Adult
Contemporary. Adutt Top 40. Altemallve. Triple A. Ac11v« Roch.
Hertlaoe Rock. MaMKtream RAB/Hlp-Hop. Rhythnvc. Adult R&B.
Hot ChristLBn AC Songs. Hot Gospel Soi>gi. Hot Dance Airplay,
ar>d Smooth Jaiz Songs are ranked by total detectioru.
% Songs showing an Increase in audtonce (or detections)
over the pmlows Mwek. regardless of chart movement.

RECURRENT RULES

Songs are removied from the Brfltioard Hot lOO and Hot 100
Airplay charts simultaneousty after 20 weeks on U>e UlltMard
Hoi 100 and if ranking below No. SO. Sor^s are removed from
Hot R*B/Hip-Hoe Songs after 20 weks rf ranking be*ow No.
50. Songs are removed from Hot Country Songs after 20 weeks
If ranking below No 10 in detections or aud»nco, provided that
they are not still gaming enough audiervce points to tiuliet or If
they rank below No lO and post a third consecutive week of
audience decline, regardless of total chart weeks. Songs are
rentovod from Halrutream Top 40. Rock Songs, Alternative,
Active Rock. Mainstream R&B/Mlp-Hop. Rhythmic. Hot Latin
Songs and Latin Airplay charts after 20 weeks rf ranking below
No. 20. Descending songs are rentOved from Adult
Contemporary and Adult Top 40 after 30 weeks it ranking
below No. tS. after 36 weeks if ranking below No. 10, or after S2
weeks If ranking below No S. Descer>dlr>g songs are rerrwved
from the Triple A. Heritage Rock. Adult RSB. Chrlstbsn Songs.
Hot Christian AC Songs. Christian CHH, Hot Gospel Songs, Hot
□ance Airplay and Smooth Jazi Songs charts after 20 weeks
and if ranking below No. 15.

CONFIGURATIONS

9 CO sirvgle available. 9 Digital Download available. O DVD
single available. O Vinyl Maxi-Single available. O Vlnyt single
available. O CO l>la:il-Slrtg<e avaliatHe. Configurations are not
IrKludcd on all singles charts.

HOT DANCE CLUB SONGS

Complied from a national sample of reports from dub DJs.

9 Titles with ttw greaivft dub piav irKnease over tfte prwKius week.

AWARD CERT. LEVELS

ALBUM CHARTS

• Recording industry Assrt Of America <RIAA) certlflcMlon for
net shipment of SOO.OOO albwns (Gold). ■ RIAA certiRcation for
net shipment a* 1 miHion urvts (Platinum) <^ RIAA certlAcMlon
for net ijiipmani of )0 millton units (Diamond). Nurnaral wllhin
Platinum or Diannond symbol indicates altium's mulb-pMtnum
level For txwed sets, and double albums with a running time of
100 minutes or more, the RIAA rmiltiplirs shipments by the num-
ber of discs and/or tapes^ Certrfkation for r>et shipments of
tOO.OOO units (Oro) Certificallon of 200,000 units (Platino)
> C^rtlncaition of 4(K},000 units (MuW-Plalino).

SINGLES CHARTS

• RIAA cartmcaUon for SOOiOOO paid dowrfcMds (Gokt).
■ RIAA csntficatkin for 1 million pa«d downktads (PlatinumX
Numeral withn ptattnum symbol Indicates song's muKipiatinum level

RIAA certtAcatton for net shemenl of SOOiCXX) 5tr>!^ (Gold).

MUSIC VIDEO SALES CHAfiTS

• RIAA goM certincMlon tor net (hlpmafit ol 35,000 unK* tor

Video singles. ~ RIAA gold certification for net shipment of
50.0O0 units for shortform or longform videos. ■ RIAA platinum
certification tor net shipment of 50,000 units for vKleo slngleS-
r ] RIAA platinum certification tor sales of 100.000 units tor
Shortform or longform videos. Nivneral within platinum symtwl
Indicates song's miAlplalinixn level.

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA goM certiHcation for net shipment of SOOOO ixsBs or SI mil-
lion n sales at suggoitod retafl phce. ■ RIAA platinum cnrtlftcatlon
for sales of lOO.OOO ixilts or S2 mifeon in sales at suggested retail
price IRMA gold certification for a minrrxjm sale of 12&XXX) unto
Of a dollar whfne of t9 million at fwai for thwtricatyr^liowctpro-
grams; or of at least 25,000 unto and $1 MMon M uggMtMl fttal
fbr norMheafertcal tWes. IRf^ApMlnunsctrtBattDnlsramMmum
sale of 350000 unto or a dolar volume of S18 iTdfan at ratal for
theatiicaHy rvleated programs, and of at least 50.000 urto aixl S2
mlWon ai suggested retail tc* novtheatrlcat titles.

Cni

m
m

ARTIST ,i!.t)>Rtti! : niMOUm IU£1|

1 1

PAPARAZ2[t

V/HATCHA SAY

nfPuiB ■ H[tGHTS'A»n.«B hrd^ :■

JKY KM WK II. Mm iC^ WmUNHRSM RtfULCi

PARTY IN THE U.S.A.

HUCt CTflUS " II 1 WM'-iii

SWEET DREAMS

BmTNETtmRS .i ..<^>

Ai DCAnv nnuB

mLTOlUUON < -it¥\i:.:

OWl C(TT

■9

YOU BELONG WITH ME

IXriOfl IWIR V^CHIM IMIVERSM. REPUBLICj

MEET ME HALFWAY

iMfiuamoPWJ i i v ji't

IB.

REPLAY

ITU ■. IS V.,lNf 1 HElliuA -■ ■ !-■ t

USE SOMEBODY
KIPNS OF LEON

r T

nUN Irllo FUiVrl

tAy-Z RriUNK* k HMtl WtSI >' :i<-' NATIOKi

tme iiAai niD PUS ■iHP-rci.-'E'

unc 1 IMC
jutmitEtu lajvG}

LOVE DRUNK

1« 7

SEXY CHICK

o«m sum ruT uon ' ~ t luiwERKS-tKmoi t

FALLIN' FOR YOU

CmiE UULUIT .1" '.1 I'i-'l <:

EVACUATE THE OANCEFLOOR
USOUU

UustUxU BAD ROMANCE 1

RUSSIAN ROULETTE

RMMM >'-' ' i-M o.U'.-.

FUNHOUSE

T1K TOK

BODY LANGUAGE

Jf lit ■CtMIim' Fl« T'PMH III •W'OOni

21)

EMPIRE STATE OF MIND
JAT-I MKU UTS

IF YOU ONLY KNEW
SHMfOMm

OBSESSED

MMUHCWET . . .TI.Uu.

TWO IS BETTER THAN ONE
am iiu 01M.S Fui THLH imnFT k: c j'U:

HOTEL ROOM SERVICE
PtTBULL ■-■ iOi. F-Ol.l .1 ■. 1 •

38 2

GIVE IT UP TO ME

ItUOfU FEJU. UL IM«m

S.O.S. (LET THE MUSIC PLAY)
jOHom <

HAPPY

NEVER GONNA BE ALONE

MCOLUM " - ' " <

SAY HEY {1 LOVE YOU)

BEST 1 EVER HAD

DOLLHOUSE
PMSCaUt fitHU

HEAVEN CAN WAIT
«n iHitwu 1

STARSTRUKK

Mwj rui MIT pfwrr iPM3rp3 r!»iisMiAtLA»T)C -rrpi

HOW YOU LOVE ME NOW
HEYp»ow»T it.'sia'i

LIVE LIKE WE RE DYING

KKS *HE>l.lU.Yt.--l.,

Owl City, trie 9m» Mmed bf &ii)g«r/ui>gwr1ter Adam Young.
Imomn Ihe First iHd M l/i abnosl three yetn to claim the AM bp
40 Gfeale&i Gainef awaid with a MhiI chart single for lout consecu-
tive Mcks, B "rnflies'' rises 17-1! (ii|i 451 plays, a SIS increase).
ImiMit's "R's Not Owr" evneil the honor fof tour straiuhl weths In
iMHfV ii4 FebnwY 2007.

On the Ultboard 200. Owl Citv'i "fkmttts" ngMm lliM|h-
esl weeklv ules tolal (12.000 soM, up 24%) 11
a(t« reachins its mrrent

Deak ol No. S tm Mfks
a9D. On the BillburtHot
IOO,''FiTenws''re(iMnA
2-1 IM a second week at
tlw uiinmii.

TlMttKk [red Peas'
1lMlHtlWMr'*cll«6s

fwlMff "Hwflks" fisfi lO"

8).iMjnli)gtlHbandlntoa

tlenriUlIMIlD'iUlililoi

■>g|lorlk((i|M)

■ll|H[>lMS<M*.

3ULT

RARY 1

ii
1

I 17
3 14

TITLE

XflTISI HMh^ONI ' moUOriON lABCL)
d YOU 8EL0NG WITH ME

FALLIN FOR YOU

cdLBii ■, ; -■ .*[ «!-Mmi(.i

THE CLIMB

WiiET CTHUS ■ I'.ltl [iiiN|y;Kll.lVW00O)

HER DIAMONDS

HDfHIIMiV ■■■

4 39

COME ON GET HIGHER

MJLTT HATKMISON

YOU FOUND ME

HAVEN'T MET YOU YET
WduaMaU . ':i:>t;

•

PLEASE DONT LEAVE ME

PIM < . '

•

NO SURPRISE

1 WANT TO KNOW WHAT LOVE IS

NUniAHCJUET . .hI,

CHANCES
rm f on FKHTiM

11 1?

KISS A GIRL

MItHUMU _L i'<_

USE SOMEBODY

jCineSi:- ;!..'( ■ .1

CLOSER TO LOVE

K»l lii.-l.Ti JiUSiAi

BEAUTIFUL WORLD {WE'RE ALL HERE)

17 23

SECOND CHANCE

SWNLDOWN

ALREADY GONE

KEUT CUUttSON

THIS IS IT

W<.M»Et JACHSGW flAT m MCWOW lU. !

WE WERENT BORN TO FOLLOW

BOX i&i.-:'.t.\'ZL^'1. -ii.yui

16 3

BATTLEFIELD
iVmU SPHOtl (l>JJfA/A6l

THEN

H)lAO PAiUET <ARiSn IUSHVU.LE,'R1I0I

WHEN IT COMES TO LOVE

ftinEtRMH iIiIiahtic-hhik)

SMILE

uHtii KFttcun r "II' :ii:i6. "\

AhllCi

■w

Buai CHASING PIRATES 1
i^fl^lP^ wMMuamiuutnaiErCAPiiU)

1 GOTTA FEELING

IMEHJICIFrEDnM ilMtlSCtH'ii

MJLT TOP

TITLE

MTISI iiMi'fllH^ P«£>WinWI '. *flrn

KluSE SOMEBODY j

FALLIN FOR YOU

C0134 CAilL*r .IV!'' .SL K\

ALREADY GONE

MUt ClAfWMB " "'i iMn

YOU BELONG WITH ME

unonswFi ■ '■(. n.ii- ■

■

SAY HEY (1 LOVE YOU)

NO SURPRISE

1 GOTTA FEELING

ll>( BLAC" E'lP I'EAS 'irCRSCOPtI

SMILE

UMCLf iRAnnfn ■ ■ AiLWtiCi

SOMEDAY

ROB THOMAS rl.'r. AM

PLEASE DON'T LEAVE ME

itOk

WE WEREN T BORN TO FOLLOW

son lOl'l ■'

ll^j^Vtli FIREFLIES 1
(if iL NH nwt CITY .ilUlWSfiSALWHKUCl 1

HEY SOUL SISTER

PARTY IN THE U.S.A.

CHANCES

iwi Hi" f iGiirifK, ■ .' 1 ■'. Ai

NEVER GONNA BE ALONE

MAYBE

MEHDNOMOIMitMnHCHISfM MMALimUVM HOttMMi

PAPARAZZI

WHO SAYS

>OHN WA»EB ni I.MRlAp

HALFWAY GONE

LIFBMnHii Ml--', '(■•FSCOPt)

COME ON

CREEHfllVEH onniHiAHCE HR';

tn TAPITWi

LIVE LIKE WE'RE DYING

At I THF RIGHT MOVES

n>lEMti'Ufli.li: ■■ ■ MIRiCOrti

BREAKEVEN

THE icmc: [PlCi

IF YOU ONLY KNEW

SHIMOOWN jAT|Sr4Ta.-;

^ ROCK SONGS

ii
JL

-2 SB

AHTIIT tlUPNINt PnOMOtlON mShj

Kl WHEELS 1

^BSFIO'it^HUnS " r,AtLLlMA.'nUlt| 1

1 WILL NOT BOW

CHECK MY BRAIN

BREAK

THWE IMYI EfUCE .

7 12

(IF YOUTIE WOMOSnW IF 1 WANT VOU TO) 1 WiWT TOU TO
WfEUR

6 14

1 IDDIQI

MllSi 1 . . AAHMtn UKOi 1

CHEVIUI -iLi

THE FIXER

PURL JAM ''."IJ.AIVWRfl|CM)

SAVIOR

vOM*DE ft^iu^ nr^wu

SIC« ■■Jirii^-.

ie 9

IF YOU ONLY KNEW

SHINEOOWK

13 s

KINGS AND QUEENS

30 EtCONDS 10 MRS .

Hi?*:.

OVERCOME

C«£D II":

NEW DIVIDE

LIHKM PAflC L'tfrllHE FWlP.'WARltER flfiOS 1

USE SOMEBODY
KINGS W L£OM ".OA.nWG|

MCUIUA 1 C
*FI

PA NIC SWITCH

SltVEPSUK FICHI.'Ti . r lir ^Dl

FMccI Mc UN Tne euUINOX

DEATH CAI FOR CUIU |C"UP ^MgP.ATLAATlC .

1901

PHO»IX 1 :-li.I! ■:iUt5»/lJ('

22 2

NEW FANO

THBICllOWEOlfdLIUMS lliT[Rr,C3cti

BACK AGAINST THE WALL

LLl£iU£lJ JUST BREATHE

iffiirTjiM I-IAALJAM i.<L-<4K£rMtMCH| 1

CRAWL BACK IN

DCAOtT SUNRISE f i- ::j |

21 18

IGNOhANCc

PftRAMOnt ^- '■■< AllANUCfiRri

AGAIN

Finwf ;]i:;o«E.'iMCfiscOPti

29 3

PUDDVf OF mUOO [FUlALtSS.uEFFf M IMTmSCDm

EAST JESUS NOWHERE

OBHlfOKr-ilfF^;-,!!

30 4

SNUFF

IIIPANOI ■■-»'Ji"i!HKtftRflPl

HARD TO SEE

FIVE fIHGEfl DEHIHnKM .fROSI'ICT MAKI

INVINCIBLE

IIKLITAS WAT . .'IHQN'LAPIIOlt

MONSTER

lULUT ...1' IM.- IKO AriAUIfi;'

FUGITIVE

IMf-D CKAt J. 1

30 3

BROKEN, BEAT ft SCARRED

MiiAuii;*

34 5

SUBSTITUTION

FOHEVER IN YOUR HANDS

AU. THAT HEWUNl . ^'H' i^i i Hi ^<-, RA/un A tIEl

40 3

WHO SAYS
JOHIIIUTER .i.JueiAi

44 3

CRASH

CAVO i-i[i I- -A:

MAYBE

KM} MciwiKH wHi :A'jHiiim sowLUiM.'tyM. wi

!©

STORM TO PASS

ATrii^'J ■■

HEY. SOUL SISTER

TRAIN ■ ■,

I'LL GO CflAZY IF 1 DON'T GO CBAZV TONIGHT

4«

FIREFUES
oweiTY . .

SLOW POISON

nil BBAVtBT

37 9

BLOOD ON MY HANDS

THE USIO -M l- !

49 2
I' il

JUST SAY YES

SHOW PATROt '■.■>!■ -iiiu.-jii'i
1 CHASING PIRATES

1 HORAH JONES ' CAWTQU 1

BY THE WAY

IHIORTOf t DEADIUN - ' ■ i^.t' tl^lL 'KNER

WHY 1 AM

MVl HATTHfWS MND BlVA RAG^ RCA. RMGl

MESS OF ME

SVirTCHFDOr ;A1iAM ;,

EYESORE

Ma Nafcr ties Jack Mmson tor most
Vtfk k Ho. 1i dmong male jrltstt, "Who
Siys" bwomes hh yflh cliart-toiipef (J-l).
On Bock S«m. the lead track frotn "Battte
audtes" rises 40-16 Mth an iHdMMe «l I
■iioi(i*19%).

RNATI

Bi is

TITLE

ARTIST itMP^I ' PROUDtDN LABH)

UPRISING

HUtt .1. 'JM l-MAFOIEIieAOS 1

lIF TDJ R£ M<OU]EHING IF 1 UfWT YOU TO) 1 WiWT TOU

WHEELS

too MGKIIRS 'l<j:>Mll.L'Ri:A,'HMbl

4 21

SAVIOR

mSE AUAlHtl 1 . - -' 1 • .

7 S

KINGS AND QUEENS

1 WILL NOT BOW

IRUOKG IIMJAMM .HdLlVKQOOl

1 7 j

BREAK

THNtl DAISUHACE 'lIUL.JlGl

JARS

CltEVlUE

MEDICATE

Af. ■;

MEET ME ON THE EQUINOX

DEATH CA* ton CUTIt ■ - ■ ■ i ' Jil,

BACK AGAINST THE WALL

UGl IHl lLt»^»l»t ... .1

PANIC SWITCH

Elll'EftSUli 'ICAUPS [.'■■jLH; tUI

1901

PHOEKII

: i>:.AS!iNO(Et

^14

USE SOMEBODY

THE FIXER

P£»«i JAM ..

CHECK MY BRAIN

IUCI IfH CHAINS ., '-JLI

IGNORANCE

PAAAMORE . = 1 ..fr BV RAM!

S AtLANTir.RftPi

IF YOU ONLY KNEW

©-

SI NEW FANG

!■ TMEM CMOUD luuwn ;l>lttttSCOPf

NEW DIVIDE

IIMIN PARK (.■...■ ■Ill, £ 'jMQP WiRHf = BHO-j ■

EAST JESUS NOWHERE

CHflHOAr l><:--'ii:ir .

21 11

AGAIN

IlILUI .A&U'OCIMl IMtN

iiCifli

22 t

SUBSTITUTION
(nnnuN poupi inAHOEnsinoi

SLOW POISON

TM IMnn |i;..ANO'tDJM0|

JUST BREATHE
fCANliMI MQM.EVlvniNC-l'

TITLE

AMIll- . .- 1, ,1.1,,'ti.AKlJ

KlWHO SAYS

WCM MATH iCMUUtUr

FUGITIVE

DAtiaGRAT >^\•■:.\-\ = M**rOWIl)

MAYBE

RAMOWCMmni.' <ll^ -1 .hU :«NILVIMmil.ieTt

HEY SOUL SISTER

inAiN ■>.'■■'

CHASING PIRATES

NONAHJOMS . '

11 s

WHEELS

FOO Fir,HIfR.S ■

JUST SAY YES

ShOWPAIHOA

7 21

FALLIN- FOR YOU

[(M.III UlUja lUMI'ifRSA^ ntPUBlICi

WHY 1 AM

UA» MATTHEWS UNO iBAMA RAGfi.'RCJUnWii)

DREAMS

HHANUI tAHilll ..AL1IBM}

THE FIXER

I'UHLJAV

USE SOMEBODY

KJKCS UHSOM ■

(IF m W WtMDERING If 1 mx\ YOU tOI 1 WMTT TOt

MEET ME ON THE EQUINOX

MATH CAB FOii CUTIE ■■ "

1 il GO CRAZY IF t DOH T GO CRAZY TONtG

SOMETHING BEAUTIFUL

21 3

JUST BREATHE

PEARl JAM '-' <■,■-•■■.-■■■ 1. hi

BACKWARDS DOWN THE NUMBER LINE

40 DOGS

BOB SCHWrpEH . ■ -i iCKOHAUA «(Hlt AKI1|

1 AND LOVE AND YOU

THE AVEH BPOIHEttS i AUERICAH C0IUUS1A>

SAY PLEASE

MBKSTIRS Of FDLA i ^.HAKQR^ LAi

NOTION

KINGS Of UON i._.i IMi^i

HEY WORLD

Mtwa nwtn 1 vtaMAU ii :'■.■)/ kij. it.' ■ iniA*iJ.. ><:'i/

BETTER TOGETHER (UVE)

iACI JDHNSM if'ii rlHC^F i SI jFR^Ai itEF^JBltCi

CHANCES

FIVE FOR HSHTIKG i A A'ARf .'COLUMBIA i

40 I Go to www.biltboard.biz for complete chart dsts

Dau for week of NOVEMBER 21, 2009 CHARTS LEGEND on Page

Cni

Billbwrd

•5H

HOT COUNTRY $dN6S"

ill

is ^
'1

J 10 13

1 11

^ n t<

^ 13 IS

^ 1* 16

J 15 ir

1» "

it" "

H
V

^ 21 »

• E

^ ia 22

J' IS 20
^ :2 24

||2

3 23

^. 24 2?

1 » a

Ji 25 25

J 33 39

COWBOY CASANOVA

. ■..>K/;i.CO,MnttOIID0,B.IMIESf

Carrts Undotwood

CONSIOEn ME GONE

.SJMIIOIIO,M-l»Hm

» ST»MIIW0W*10RV

Kennv Chesney With Dave Matthews

ONLY YOU CAN LOVE ME THIS WAY

Craig Morgan

SOUTHERN VOICE

ALL I ASK FOR ANYMORE

HISTORY IN THE MAKING

Danus Rucket

THE TRUTH

V ■ V3X (B J«ME5.fc-IWIIII0t)

Miranda Lambert

IJ£:*I£SrL*CVOMATKOSK>i

EIGHT SECOND RIDE

Jake Qvten

THAT S HOW COUNTRY BOYS ROLL

HURRY HOME

Jnson Michael Carroll

CRYIN FOR ME (WAYMANS SONG)

TITLE Artltt

'■^:..'.Au .iommtmi iwnMTawwtn/raoKOiiiwiAsii

TODAY Gary Allan

OUTSIDE MY WINDOW Sarah Buxlon

"JDiDK.tBURfil ■-■-I'

BEEH ON THE TABLE Jo9h Thompson

■' " ■■■■■ :■':^.| G . ■■

A LITTLE MORE COUNTRY THAN THAT Easlon Cofbln

DIDN T YOU KNOW HOW MUCH 1 LOVED YOU Kellie Picklef

■v. I; ■ iLlbLL.. Cl iSi'fiN*

KEEP ON LOVIN YOU SiMl Magnolia

.'.".LtlONi OMWICHIHE

SARA SMILE Jimmy Wayne Fealunng Oaryl Hall & John Oatea

■

■1?

BACKWOODS Justm Moore

n ' 1 .1 -I'j ; i iiOTfBi 9 vA^P'iv

LONG AFTER 1 M GONE Big Kenny

■ 1 BSW*1 O KIKI fVIRVBOUf li.l'"..'. !'■ . N-

HILLBILLY BONE Blake Shelton Featuring Trace Adhlns

EVERYWHERE 1 GO Phil Vasssr

-ifiti tt uwri'FHvH II -.1

■10

HELL ON THE HEART Enc Churcri

.I.1.UNI O CAflTC'. ■; ■

;©

LOVE LIKE CRAZY Lee B-ic-'

■i , :■ ■ '■ |i>

■10

19 AND CRAZY Bomshcl
." ' : 'jL'iJlilMlRWIMJUAA.KaS»UNS0N-K5HEMmt) ® i i '

■la

GIMMIE THAT GIRL Joe Nichols

AMERICAN SATURDAY NIQHT Brad Paisley

WHISTLIN DIXIE Randy HouRW

Ii nOUSER.l, IRlBBLEt e ll. -l'i.'M .-"II ■■!

LOVE LIVES ON Mailary Hope
■!,(hSli«tS1| © ■■.

STUCK Ash Bowers

THE CALL Man Kannon

|| " ■ ■ 'i OOHDiyi.J CJlUPBEt!.} e 6*P.U;*W.sr(!DU[>»i'«RlDijS

HOW FAR DO YOU WANNA GO? Ghxisna

'II" - lUflE n MVRICl e EWBlfMWiflhEa ^RCIS Wfl

COUNTRY LiVIN' Williams Riloy

1 ,MLLI*MS D ttOnuf TO«ENSl G (iOLDfH ..[

CHASIN GIRLS Rodney Atkins

■ii' 'I I'll,; TMEWin;. Df*Ni ©CIPB

HIP TO MY HEART The Band Perry

■■■ ■■ ■ I. ■■:;iRvn PfRRvB &E*liEnSi REPUeuC 'lA-ii'.-.'E

THERE IS A GOD Lee Ann Womack

1 ■.■'=■. 1 © wri 'laSH-.-.U

TOP COUNTRY ALBUMS

TOP BLUEGRASS ALBUMS

! ii

ARTIST

Title

i. .-■'ftJCii

CERT
PUX

ARTIST Title

'It-'HIHJ t HtllWn i' nSTniKltlNC LABEI iPRlCEl

, ^JCARRIE UNDERWOOD ^^^^ pi^^ q„ ,

VARIOUS ARTISTS

t ' '

TAYLOR SWIFT

Fearless

JOE NICHOLS

Old Things New

TIM MCGHAW

Southern Votco

UiUJI VARIOUS AimSTS
MUnjl »i H««B<rbl»iia.irj

^ XMiwimoiiicmiami

ZAC BROWN BAND

TheRxflidEMion

■

LYLE LOVETT

, Natural Forces

■

1^ LADY ANTEBELLUM

Lady Antebellum

■

BILLY CURRINGTON

Utile Bit or Everything

HEwANDA LAMBERT

^■muM'i '- - - -

Revolution

JUSTIN MOORE

;\ cmo ''U If!:

Justin Moore

^ SOUNDTRACK „.

imeh Montana* The Mom

■

JAMEY JOHNSON

That Ixnesome Song

•

JASON ALOEAN

Wtde Open

•

KELLIE PICKLER

Kellie Pickler

TOBY KEITH

American Ride

SUGARLAND

LIVE On The Inside

IBM

ALAN JACKSON

SorgsOlbw'k-dlnniTv

COLT FORD Through The Counlry

EEUS] DARIUS RUCKER ^0 Uve

■ 1

DIERKS BENTLEY

1 [ .ISM

Feel Thai Fire

: 9

LUKE BRYAN

Doln' My Thing

GLORIANA

TAYLOR SWIFT

Taylor SwitI

□

ERIC CHURCH

Carolina

SUGARLAND

Gold And Green

3ft

MARTINA MCBRIDE

Shine

|l«

REBA

Keep On Loving You

LORRIE MORGAN

A Moment )n Time

|,2

BROOKS & DUNN

#1s ... And Then Some

JAKE OWEN

Easy D"os li

T in

ROSANNE CASH

The UsI

BOMSHEL

Figtll LiKc A Girl

K£ITH URBAN

Defying GravHy

•

3f.

PATTY LOVELESS

Mountain Soul II

GEORGE STRAIT

TWang

•

RANDY HOUSER

Anything Goes

chrTsyoung

Che Man 1 Want To Be

■1.1

LOVE AND THEFT

World Wide Open

KENNY CHESNEY

Orealesi Hits ii

TIM MCGRAW

Greatest Hits 3

|»

RASCAL FLATTS

Unstoppable

■

KENNY CHESNEY

Lucky Old Sun

§22

SJGARLAND

■ ■. . ■ LUbN I'J -Ml

Love On The Inside

□

BIG & RICH

Greatest Hits

' 23

RASCAL FLATTS

Greatest Hits Volurrfe 1

COLT FORD

Country Is As Country Does

{ 26

BRAD PAISLEY

Amcncan Satuiday Nght

DAVID NAIL

hn About lb Coftw AJr«j

^^^^^

ARTIST

PATTY LOVELESS

Tit.e
Mountain Soul II

STEVE MARTIN FwCfDW riwSon35FQfTfier(*9moBiv

THEISAACS PelsaEs NAfaty^lnttTtSlACaKMllCdMDn

SAM BUSH

Circies Around Ub

STEEP CANYON RANGERS

Deni In The StiadB

OLD CROW MEDICINE SHOW

T«inBSS«e PushBT

S 54

STEVE IVEY

Unimale Blueo'3Si

THE DEL MCCOURY BAND

Family CaclB

RICKY SKAGGS SM Songs My Oad Loveit

LOUDON WAINWRtGHT III rty WK 1 Hj

miTF7lpciWfP»f^

CARRIE'S FAST RIDE

As luT lU'W jlhiitn hits BillhtJard's rt'tail
charts (sw Oxt ihc Qmntcr. pnav ^^).
Caitic UiidiTwtxHJ itUikL-» hi-i tdstcsl
rise to the summit on Hot Countr)'
Soijgs witli her eightli No. 1 , tlie most
b>' atiy solo fiemale Ihis decade. Up 3.4
million impressions in its lOth chart
wtrk. "Cowboy Casanova" also posts tJie faslesl No. 1 nin since
)iine. when Brad Paislej 's "Tlien" needed 10 weeks to reach the
lop. Atnoiig solo females in the Nielsen BDS era (since )3nuar>'
19W). Underwood is second to Faith Hill and Rcba McEntire,
who have nine apiece, while Shania Twain has se\en. )o Dee
Messina six and Martina McBride five. — Wade Jessen

I for week of NOVEMBER 21. 2009 l For chart reprints call 646.654.4633

Go to www.blllboard.blz for complete chart data t 41

umM

MONmmEO lY

COMPlLt

P BillbMrd

nicKcii

BOS

iliclsi

Souixlf

^TOPR&I^HIP-HOP

ARTIST

Illlf MfRI.ST aiSIHIBUltWi LA8EL

Kl MICHAEL JACKSON

itrttfiC

JAY-Z

IHE BLUtPRINT 3 -nr tjATir;', 5:;i^sri- '.G •

SHOT
lUT

AMERIE

IN LOVE 4 WU ttt-;> Isi iFtUOEF JitMfil322S4(UUB

RYAN LESLIE

■III TREY SONGZ

BEBE t, CECE WINANS

JSk

DRAKE

WHITNEY HOUSTON
1 lOOA TO TOU -1 . , =Er .

•

MAXWELL

HUICXSUMMERSMGMTC0luMiUAfi9tja^> Mil t •

•

THE BLACK EYED PEAS

THE E N D I'. 1 11 ■ [ii'i riti'liarMGfl

■

MARIAH CAREY

MtUCHtS OF AM IMPEIVEa Alffia OlUV OU^taMj

MARIO

DNA 1'-. iir.'b

TRIPLE C S

CUSTOM CARS S CTOES W-TVACHDEE J/M OliWlllAH.

!--■

BRIAN MCKNIGHT

EVOLUTION OF A MAN l 'AliRK M22 El +

K'JON

ICnARHUHD 1 Mf"..tlVI«SALREin»LC013l62^M1G

TECH N9NE

K 00 rr-.iiii,; 6T SBC

LIL' BOOSIE

tJVMD1MKTinVtMIIMBUll«L*&V^:^TW«tllMb

EMINEM

PIIACSI '.' /••'•I '■ J/'!l9AWHtJTFnsrafT 'Tl.i'( J' 1 Ji

CHRISETTE MICHELE

tPirHUNy : ' ■ iJt.Trt' D.'Uj •

RAEKWON

DMIT BUllI * CUBAN LINK PT II I L i M, i.i ■ :

VARIOUS ARTISTS

KID CUD)

FABOLOUS

,T.r%«*. u>M[iiiiiaj-(90nSI0MCEFJNinni-CUHS4'

BEYONCE

lUl WMkiancE .'i^JllWKIKniMWIMK^UAUM:

LETOYA

UOYIOWE :.'riI-.[ 97?59

JEREMIH

jtniMiH Ml'."- >iiiiT; nsr jam 0tM95* lDjUG

CHARLIE WILSON

UHClt CHARLIE f- Mll'ii:. llVt :.13e9 JLG

KEVON EDMONDS
WHomw .17 11 1

GHOSTFACE KILLAH
odtriBt ■UMVomEimNBaMiom:!) juv

PITBULL

RtBtLUTION Ub.moijHOuNt)iiJ MH')'

NEW BOYZ

MARY MARY

LEDISI

lUHN ME LOOSE l'iRVE FOfltCASt Ot?677iVG +■

LIL WAYNE

nw URin ■ (A^t IMVUtSML UnOMlin tV7>.UlK

Z-RO

COCAINI .1 rm'-( s:?4Z6i'RAP-A-L0T A HFE

MACK 10

SOFTWWTE HI].] HAIiGiN 067MI9

KERI HILSON

« t nnia umo. vrtur-wt «wimccn maaaw

•

JOSS STONE

COLDUH M[ '^IKGIN EXCAPITOL

JACKSON 5

Ul IPWIE CHHSTMAS COUKTKM MOtDWl 01 M4aUC

THE-DREAM

UM us MOHFr 1'^: UiaIXF JtM(nS79'IUiK

THE WHISPERS

IMANHFUl • 1' i. l

ArJTHONY HAMILTON

rwRiKlOKTAU'." II - ^t.-tSO SO Off 73387 J,G

RICK ROSS

umiiiMwiwu-' . . [ti<ij«Mmrr:T-cuM& +

PLAYAZ CIRCLE

FlfGHI m IHE I«£OFF un:Vt! JAM 012679MUMG

YOUNG JEEZY

THE RECESSION . 't DEF JAM 01 1516','IDJMC

PLEASURE P

M WtlOluniM V NUCU ODOm AIUMTC 5 ismAG +

VARIOUS ARTISTS

NOW 31 fMlAIVEnSALZOMBA 2Bei7.'30NV WlSC

SOUNDTRACK

JOE

SIGNATURE ■ ■ r-' r

IMPR0MP2

fllSWMAllI IS ' ' I iiftPHfUS

TITLE

*HT)ST ill.fi'fl'tjr rnOMOtlCiri LilfttLi

^HJ^.\H-"ll EMPIRE STATE OF MIND

■iMnfTmiB iivii-jiLicHi^ 1

r'Jn C V CM

DUKE " ■:■> :f)IJF ; STfitaxiLtTiE INtfRSCOPti

■

WASTED

i:ij[>:i kUhi Fur riJEt[niuuiKauM.M»y.!ioav'AWML<mxi

PAPERS

UIHIH i IL[.

REGRET

LTOYA FEAT. LUDUfU CA'^ir ji i

1 INVENTED SEX

TMV SOMZ FUT. DMKI ISOKG BOOK.' ATLANTIC!

MONEY TO BLOW

tmum runt ul vum « nw ii.'^- uani lm.ii-^ wj-^mt.

Kll IMRPR HMF

R KELIY FUT KEM HUOH 4.IIVE JLG)

UNDER

PIEASURE P " r i

1 CAN TRANSFORM YA

CHRIS BROWN FUr UL WATME « IMZZIEinZ 1 JiVE JLGi

RUN THIS TOWN

IKl 2 RIHANNAAKANTEMSTiR'X NATIONi

RARV RV MP
DMDT OT IViC

HCEMI FEAT NE VO i -■aDV.AFTERUATH.t»T{R5C0PE i

BREAK UP

HUM FEAT- GUCCI MMC * KM UMCTT HMHQ)

MAXWEU

MAXWELL '

13
22

19
7

SUCCESSFUL

(aw wi nri nn t Ul WW mie iiw iw<uMnM yooM
EVERYTHING, EVERYDAY, EVERYWHERE

tUBOLOdi ttAT n(fll HILSOh . ■ : SICflMDff MATMC)

1 GET IT IN

mmm fva. axa mm jSiuMtHDvuscwinKSTu iLOWinu

IT KILLS ME

HELANIE FIONA ■ .M'^RitA. UOTOWNj

5 STAR CHICK

YOGOm liri!^ j RUGl

DOESN T MEAN ANYTHING

ftLKUKETS ' ^'.11^1

I'M GOOD

CLIPSE FEAT PNARREU VMLUAMS <RE UP/COIUMBIAI

THINICIM' ARHIIT Vmt

MAmo Kr."..

SPOTLIGHT

eUCCI MMI FCAI. U5MH iMIW ASVllMW>LK\tH FlftOS i

CHALIE WT ; 4i:i ifvt BMIERYi

GANGSTA LUV

:©

t TRt G ' MOONSTONE/ JfrtiBAHEUri

GOTTA GET IT

JUVENILE I'^ylP [1 ATLANTIC)

DROP IT LOW

38
33

2
6

TIE ME DOWN

HEW 3tm FUT UV J ^SHOTTY/ASYUM/WAfMER BROS i
VIDEO PHONE

■EVOMCE ll^USIC tVORLD'COLUHBIA)

SWEAT IT OUT

TW-OnEAM -- .KIllAtlEF 'AM.UUMGl

HUbblAN KULfLkl Ik

RHUNM i' H '1' .'-M 1.-. Villi

BODY

MMQUCS HOUtTOII iVUSICWOFIKS.TU G t

I'M GOING IN

DM KM U, HUil niH on UCM).W1KM"AMa». MOm

SAY AAH

TKv nun tsovc book AiitNTici

arr

LOL :-)

HEADBOARD

MHCMc CMK ma. wno - pics (PQjs GmLrc& jrugi

THIS IS IT

HCHAH JACKSON FEAI THE iMXSOKS ^UlEiViaiUMBMi

SO GOOD

HVn (BAD BOV/AILANTKI

■J

■■■■Sil^liill

1 '.J

TITLE

AHTISt |iM>'H.NI' PROMOTION LABEL)

KIWHATCHA SAY

JASON DtnUlO itltLUtiA HEIGHT&'iVARWR BflOS |

SWEET DREAMS

BEYONCE 1. I' :ULvMbtAi

DOWN

JAY SEAM FEAT LIL WAYNE iCASH hrjirvmh^RSAL HTPunLICj

RUN THIS TOWN

J*Y.;. RIHAMHA B KANTE WIST iROC NATIONi

FOREVER

DRUE ihiHvi' i.a:,aum\i jMRmviMi iririRsctirfi

EMPIRE STATE OF MIND

mdinilB JAT I * ALICIA KEYS '.»0C NAIIUNt

PAPARAZZI

LADY BAM ;IHt.«i*JNtK0MLNI-i:i«HHVIKtt1NrtflacOttt

BREAK UP

MARIO FEAT fiUCCl MADE t SEAN OARRCn g.'RMG)

SEXY CHICK

DAVIO DUEITft FEAT AKM iGUM/ASIAALWERKSiCAPIIOL)

9
13

THROW IT IN THE BAG

FABOLOUS FEAI IW OWAM it)€Sl«I SKlfiMOtF JAMlOJMGi
MEET ME HALFWAY

THE BIAC« EYED PE»S i INUfl,SCOPt i

I CAN TRANSFORM YA

CHfllS BROWN fEAl LIL WAY)4E B SWIIZ BtATI i .HVI .ILC

IMMA STAR (EVERYWHERE WE ARE)

JEREMIH Ml ■ 11' ' - Ill

OBSESSED

MARIfVHCHHET

BE ON YOU

FLORIDA FEA! HE-YO if'OE &0* 6IL«^TIC|

REPLAY

lr«ilT,-! ■ 'iVWJrjtttOHSWmtiWMtHEFOSi

GANGSTA LUV

SMtia'OOGCFlAT THE OflEAM itXHAMr^UWUSBnYCWlOll

ID.

TIE ME DOWN

HIW tOtl FEAI RAT J ihHOt IV ASVLUUrWARIIfR BROS 1

ONE TIME

JUSTIN B1EBEH ii;:iAfO !DJMG|

BEST 1 EVER HAD

DRAKE ■ II I . -:,H MOStV.UNIVEflSAL UOIOWm

BABY BY ME

iOCEHi FEUT St YO Hill> »f lERMATH.'INIERSCOPEl

RUSSIAN ROULETTE

RIHAKN* I.i .11- .-.r.' ■;>jMG|

PAPERS

USHER L.HACE'AOl

WASTED

t4.i:iii>uMFf;iT niswiajMJuaHM •o-siavvMNnsmsi

DO YOU REMEMBER

SUCCESSFUL

EVERYT>IING. EVERYDAY EVERYWHERE

FABDIDIIS FUT KEDI HILSON lOf '^LT!! SIORUW JAMHUMGl

SHUT IT DOWN

Plieuti FEJti AKOK MR 'OSi POLO GROUNDS J AMQ)

DROP IT LOW

nrtM <ui cwa mtm • t:t\ii iMonaN «siHtuuoniKSCon

PARTY IN THE U.S.A.

MIIEY CYRUS *nn LYWOOD)

si?

BRITKET SPURS < JIVE JLG)

MONEY TO BLOW

UnHMH »Ut Lft DITNl t DMU KKx UUNtV.WMRSK IMIOMNi

SPOTLIGHT

GUCO MANE FUT USHER iMCAYi'ASYLlMVlAANER BROS \

I'M GOING IN

DIMI n«l U IMM » <aMjan riM.mrf^»iI«f>1M(>M MTTWii

OH YEAH

JAItKa Fl*l INUur DI>UU il Alnlul f

GOOD MORNING

CHAMILLIONAIRE .1 M 'Mil . ITiLRV UIIIVERSAL REPUBLtC)

YOU BELONG WITH ME

UYLORSftlfl ■.■■i.MiM 1 IN- uERSAL REPUBLIC}

BAD ROMANCE

LADYGAGA : : H(-_[,i, i'.-. MiNLf^LtHtRRYTHEtlHlERSCOPtl

DOESN T MEAN ANYTHING

AllCl* KEYS ;Vii" ^r'.u.i

TIK TOK

KEIHA MONEY RCA RMG>

BETWEEN THE BULLETS

AMERIE, RYAN LESLIE START HIGH

AHcia KevsRowhasM(inio.liMilWn-

Unan RSB/Hip-Hop than anv otiwr tttmk

sriist, as Jar-Zs "EmpiFe Stale o( Hind,"
on wtikh siK guests, rises !-l and becomes
tier sictti. Tied for mood place, with frve
No. Is apiece, are Beyonce, Hartah Carey,
KeYshia Cole and Honka.

42 I Go to www.billboard.biz for complete chart data

Amerie returns from a four-year hiatus as "In Love & War" debuts
at No. 3 on Top R&B/Hip-Hop Albums, marking her third consec-
utive top three entry. While able to maintain her streak on this chart,
Amerie's top 1 0 run on the Billboard 200 ends as " Love" bows at No.
46 with 13.000 sold. Previous releases "All i Have" (2002) and
"Touch" (2005) debuted in the top 10 with 89.000 and 124.000 copies
sold, respectively. "Love" is on its third single. " Pretty Brown," which
dips 78-88 on Hot R&B/Hip-Hop Songs.

Ryan Leslie makes a quicker return between albums as his sec-
ond set. "Transition." enters at No. 4 on Top R&B/Hip-Hip Albums
and No. 50 on the Billboard 200. With 24.000 copies sold, his sclf-
titled debut opened at Nos. 9 and 35, respectively, in February.

— Raphael George

S|
«5

TITLE

artist liUPfllNl; FFTOMOTION LABELI

BYBbAD HABITS

MAXWELL II I :MRIA|

PRETTY WINGS
MAXWELL "1

CAN T LIVE WITHOUT YOU

CHARLIE WILSON 1 1 '.' ' li .1 hi

DOESNT MEAN ANYTHING

ALICIA KEYS i\:> ■ ■ '.Vii

CLOSE TO YOU

HEBE t CECE WINANS ', L VAL ACO.i

WHAT I'VE BEEN WAITING FOR

BRIAN MCKNIGHT .">M-'i < -<•. i- 1 1

MILLION DOLLAR BILL

WtlJINEY HOUSTON lAHI^IA KUGf

ON THE OCEAN

KJON .iiC'SiiP "EH PfME. UNIVERSAL REPUBLIC)

THIS IS IT

MICHAEL JACKSON FEAT THE JACXSONS i ML ( f 1C CIK I IMfl

GOD IN ME

MARY MARY FEAT KlIRfW KMr SHEARO ^^ M

PAPERS

USHER il "'i.i.> ._t,<

BLAME IT ON ME

CHRISETIF MICHCLE - 1 lAM.IOJMG)

THE POINT OF IT ALL

ANTHONY HAMILTON i.'i:- IfR'^ MUSIC. JIVE .'JLG |

YESTERDAY

lONI BRAXTON FEAT TREV S0M6I lAHANTICl

1 LOOK TO YOU

WHnHEY HOUSTON (ARISTA. RMGj

KEVON tOMONOS .UAKEl

COIN THRU CHANGES

IIDISI r, ■ .1 1 [-iKiHSI VEfiVii

RELIGIOUS

H KELLY . ,1 ,1,1

jfJf.Mm AINT LEAVIN WTTHOUT YC

itTTTlST™ MCIH fO<VINE MILL ATLANIlCl

DON'T STAY
LAURA i;iBOR -tL^^NTlCl

•

1 WANT TO KNOW WHAT LOVE IS

UARUN CARET n^LANO IDJMG^

THIS TIME

rxwiUI IflOOUMAillfilltlMMWICK-ft'^lAMrfiN.PB

MY CHILD

ALI-4-0NE i t'.-. CWGl

5 IT KILLS ME

MELANIE FIONA ' iH; Ul'.'! BSAl MOIOViNS

DON'T MAKE EM LIKE U NO MOF
RUBEN StUODARD 1 1 -n KijHV REOi

3T RAP SONGS

WEEKS

OH CHT

TITLE

ARTIST HM»rllMT ,' PROMOIlON LABtLI

Kl jTI'iVfli EMPIRE STATE OF M

FOREVER

ORA«E H.'.Li". ..i':l 1 L:;HtAl.fU»JLlMli>: ■

RUN THIS TOWN

JAY Z niHAHNA A KANYE WEST <nOC NATIONi

WASTED

SUCCIHMIU) FUSOnOJDAAKOAUM.Litf^'JtKI.'^^UiM'

22
8

THROW IT IN THE BAG

FABOLOUS FUT THE -DREAM iDtSERT SIOFMDU iAMILLf,''
BABY BY ME

50 CENT FUT NE-YO • .Mn AFIEHMAIrtHlItft&Cli-

MONEY TO BLOW

WDMUIfAI lit WklW iOHAU rUSMIMMfVljIMKM

SUCCESSFUL

mwruT nciKHMiLlMinc . iri.vufMA^-WMV.-jaiin.EiL'

GANGSTA LUV

SNOOP WKiC FEAT THE CHE AM : '.IjLFT-it Tit Wl Ml- 1 .M

EVERYTHING, EVERYDAY EVERYWHE
FABOLOUS FEAT. KIRI HUOH IDE^T SICHMDEF JFtMti

BEST 1 EVER HAD

DRAKE tVOUNG HDNEV'CASK MDNEY.miVERSAi mVJH

SPOTLIGHT

GUCCI MANE FEAT USHER >MI!AY ASYLUU'WARNER e.

I'M GOING IN

minrui LliM'FWItnMJB1i<<AMiUlN>rA»-l«tV'JW'^-

TIE ME DOWN

NEW BOTI FEAT RAY J iSHOTTV.'ASVLUMVfARWR bt-

HOTEL ROOM SERVICE

PHBUIL '.' ' ' " llNOS.'Ji'RMGl

T 1*

BE ON YOU

FLO fliOA FEAT N£ VO ■ 1 1 ll>. ATL ANItC )

1 LOOK GOOD

CHALIE BOY 1 : ■ ..i r ,■ fiAIIERVi

ICE CREAM PAINT JOB

OQFIHDUGH .;ji,.!(l 1 1 1

5 STAR CHICK

YOGOIII -■ .iRriiiMi;. j Wufii

FRESH

BTREG '.■ml', irifi; 'vl RfWURyi

I'M GOOD

CLIPSt FUT PMARfiELL WILLIAMS il ■ ■ ■ M

WE BE STEADY MOBBIN

LIE WAYNE FEAI GUCCI MANE ifJC.I lIMMi

GOTTA GET IT

JUVENILE II \V \: ATLANItC)

■n

1 GET CRAZY

NICKI MINAJ FUT LIL WAYNE (YOUNG MONEY)

•

SHUT IT DOWN

PITBULL FEAT AKON .UH :iO^ POLO QftOUMOS J M

Dau for «mak of NOVEMBER 21, 2009

CHARTS LEGEND on Pag

Gapyiiynmd iiiaiuii.

ITCMEO ST COMPILED IV

SoundScan

BillbMral,

I^HOT RSB/HIP-HOP SONCS

it Sg

TITLE

GREATEST
e«INER'AIRPUY

Artist

\umHT ! PflOWOTiDII IW

EMPIRE STATE OF MIND Jay-Z + Alicia Keys

PAPERS U!=hCf
■ '.i: ■ 'M'"''.!* ^ (lAnaEIT X rjClTSCPl a M.lIMI^i O ■'. .- - 1. .

PRETTY WINGS Maiwell

'1 ' 1 ' MIJS7ti COi UMfllA

1 INVENTED SEX Trey Songz Featuring Oral(e

F=OREVER Drake Featuring Kanye West. Lil Wayne & Eminem

■

WASTED Gucci Mane Featuring Plies Or OJ Da Juiceman

' ■ - " ' " ^ h A WASHINGTON t © 'A^ ■ 'lO IC 'AARSffl BROS

■

BAD HABITS Maxwell

!i . 1 ■ • ' . . '1 ,■ 1 1 ',ii 1 J 0 COLUMBIA

■

REGRET LeToya Featuring Ludacrls

.- ' 1 'JSOK.J VALBltWE.l LUCKETT.R WWTSH J FRWXLIM.C BfttlXiESi ® CAPilOl

MONEV TO BLOW Birdman Featuring Lil Wayne t, DraKe
' lAMS A CRAMAM n CARTER. C GMOLSONI ® ' " -.1-' f.'i ii.i- r i ,- 1-; ,ii p.'il'}i|VN

0 11

BREAK UP Mario Featuring Gucci Mane & Sean Garrett
.'. ' iiKO iS (iARREIT S CRAWfOAO.H DAVIS) Ql J RMG

1 1?

GOD IN ME Mary Mary Featuring Kierra 'KiKi* Sheard

■ "'"'BElL.t AT KINS -CAM Pet LI T AIKINS-CAMPBtLlI O M< BLOCK' COLUMBIA

1 10

UNDER Pleasure P

lAIDi 1 1.i'iK.* DiXriS L BEREAL R NtV( J FRANKLlN.T JONES S STEPIitHSON.il CO(lPfR| Q AILANIlC

■
■

5 16

1 CAN TRANSFORM YA Chris Brown Featuring Ul Wayne & Swizz Beatz

'1 .' ■. ' ■ "■^i"' h 0[AN J 4 BERtAi D CAflllR) © JIVE. JLG

NUMBER ONE R. Kelly Featuring Karl Hllson

' ' |R KfUVR HAMILTON RXAUILTON.K I MIISQM © JIVE'XG

■
■

1 14

DOESN'T MEAN ANYTHING Atlcia Keys

- ■ " ■ il ^ * »[>S |A KF'S.H OROTlltllS JR 1 OUilKjRUli

BABY BY ME 50 Cent Featuring Ne Yo

■11 '. il 1 .IH J JOntS S SMIIH> © Stt*D¥.*Fli HMAIH INTERSCOPE

•1

.Si

■

r 13

RUN THIS TOWN Jay-Z. Rihanna & Kanye West

1 '. 1 ^ VitSI E WILSON, H lEHTVA AiATASi 9©0 ROC 'lATION

5 ?3
w

THIS IS IT Michael Jackson Featuring The Jacksons

■ '■ ' . ^ifi M WARREN iM JACKSOH PANiAi vjj EPIC COLUMBIA

1 17

SUCCESSFUL Drake Featuring Trey Songz & Ul Wayne

■! ■ ■ . ■ .■.!.( n SHFRIB TMEVERSQN.n CARTERi © VCIUVli MONEV CASH MUMf v.iiMWERSAL MOTOWN

■
■

^ 34
w

IT KILLS ME Metanle Fiona

MARTIN, H IITTIEJOMN. JR ,1 CARR.E SHULMAN) © SHC UNIVERSAL MOTOWN

■

\ 35

SAY AAH Trey Songz

' > : HRELL T TAYLOR iR M FEREBEE A ,TNEVERSON.TSCALES,N WAIU,Q CORELII © SONG BOOIVATlANTtC

) 27
r

CLOSE TO YOU Baee & CsCe WInans

. iT' V/.!jr\fJSi ® BAC'MAlACO

1 21

CAN T LIVE WITHOUT YOU Charlie Wilson

H'MAS,JfAU»IILEHOV|I.SLRUSSELLi © fM.ij i_'j

I 20

MILLION DOLLAR BILL W(-itnPv Hnustnn
-jWtL dtAlZ.* KtVb \h HfcVS.t; DfcAN.I* HARRI5.A W FElOtR.R FVSONi 'm

) 29

1 GET IT IN Omarlon Feat I" ,i r;
. tt\ WJk'V JJIK iFHCt>«ifjRrCWT,SRJ3GRAWlBBVTUVMBrnK.RMV1St © ^r.WiMVi

\ M

THROW IT IN THE BAG Fabolous Foaiutmg rtiu Dre.in

■ 11 C A STEWART,! WSHI ©O ' ' : ^ '

i 38
f

SPOTLIGHT Gucci Mane Fealunng Usiier
.1 " H'l;; u M.AVMONO J JONES) © MiJAV ASVt UM rti^^JfR ii-i "

1 25

ON THE OCEAN K'Jon
"1 iHPtSOM ©0 UPIlUP.'f)[H TVME UHIVERSiL RtPijfl. 1

i 28

WHAT 1 VE BEEN WAITING FOR Brian McKnight

■ -'llii'lli © HARD WORK.EI

■

1 26

5 STAR CHICK Yo GottI

I..' r, © POLO GdOUHOS'J.RMG

■

^ 30

1 LOOK GOOD Challe Boy

■ . i;.!,' , © DIRTY 3R0;JIVE,'S*ITEnY

■■

TRUST Keyshia Cole Duet With Monica

■1 !■. fAIri IK M COLt t TAYLOR D t AlFOROI © \\."-\\ l.f'-ifi IfrERSCOPE

■

) 36

BLAME IT ON ME Chrlsetle Michele

■...1 1 H-i-;"ii'i C KElLVl © tJtl jaU'lOJMQ

LAST CHANCE GlnuMrifW

1' :nr WWEllS) © NDTIFl ASYlUMVfAflNER BROS

EVERYTHING, EVERYDAY. EVERYWHERE Fabolous Featuring Ken Hilson

! ' 1 ifH^UNi © II- MM .i:.'t-i' III t ■ '■■

I 37

GANGSTA LUV Snoop Dogg Featuring The-Droam

■ ' ■..■. -■I .. :,n:rtAfir.c c bhoahus jfi 1 © un,.!,'' ■ . i - i-i' i ■■. i .m i;

THE POINT OF IT ALL Anlhony Hamilton

.'.BtLiHT |*HAMlLTON,IJAvaABRAVILAJ(JWHI(iHI| ® 1.1 M . . ,i l.G

> 44

1 M GOING IN Drake Featuring Ul Wayne & Young Jeczy
. • CAIN <A GRAHAM,0 CARIER.J W JENKINS) © YOUNG MONEY CASH MOMEY UNIVIr!

f «

FRESH b Trc G

■ T , i-r% P iBHUGHES.KOPATTOH 0 DAVIS.n WALTERSi © WOOflSlorit i . : ' ! ■

SOBEAUTIFUL Musiq Soulchild

.■:.,;CHil[ll HUISON, JR nJOHNS0*(,L HUTSON JH 1

. HARD Rlhanna FMhjrIng Je«zy

1 1 I ■. ■ II .■..■. i-ttfEKTYJ.WJHKtNSl SRP/OEF jAM.JDJUG

1 52

AtN T LEAVIN WITHOUT YOU Jaheim
■ AfliRifRO'iflr^wi-wAiiof.sumikitomai'&frti c««i.iiinAVi;

1 53

COIN THRU CHANGES Ltdlsl

1 . ■ ■ niOEOUTi © VERVE FORECASrVtRVE

■

BEST 1 EVER HAD Drake

■ i--jfl,irr(NtoiiMA/<otwiEfti ®yii.fftiWMvtfiSHMiM:y',.(ff,us<y.f«TOWl

1 51

WE BE STEADY MOBBIN' Ul Wayne Featuring Gucci Mane

■■ "■ ■ 11 ."■h;, ,0!J,R OAVISi not USTfO

■

THINKIN ABOUT YOU Mario

■

I 74

BULLETPROOF Raheem DeVaughn Featuring Ludacris

'-.■J-Lt:.HSytVAuGHN C BRIOCtb C MAHItLOi © jrvt/JLO

DROP IT LOW Ester Dean Featuring Chris Brown

iiESf DEiiN.C BROWNi © HARVEV MA^IOhZOME « STRtAMllNE.')NTER$COI»E

YESTERDAY TonI Braxton Featuring Trey Songz

■ C »M*SON JR iJFRANKS.JARMSTnONGMWMITE IBArTLE TBRJUdON) ATIAKIIC

EGO Beyonce

' /.'II lAM-"^ 11 . 11 Lf B KNOWIES (E WllllAMS,H lIllY. JR .BKNOWLE!il © UllSIC A>OR< DXOLUWBIA

■

I'M GOOD Cllpse Featuring Pharrell Williams

^(lE '.ri'ri.tjr^ Pi VULLIAMS G THORNTON I IMOHNION) © RE UP.COnmiBIA

1 GET CRAZY Nlckl Minaj Featuring Ul Wayne

■:ri!i .-.l M.Vii.I 0 CARTER) YOUNO MONrf

■r

SWEET DREAMS Beyonce

■II' -IN:. mcoiOVt'BKNOWLESJGSCHtFltRWWIlKIHSfllCOLOrtl © MUyC AOflLD'COlUMBlA

TIE ME DOWN New Boyz Featuring Ray J

■ ■. -Mitl V.D A THOMAS) a SHOTIY ASviLM WARNFfi BROS

■

TRY SLEEPING WITH A BROKEN HEART Alicia Keys

J BMAbKtR IJ bHASKEn,A KtVS.PREYNOiD:^ < MBK ; RMG

■

ItttmlniDis

■

lndi.llW9rn«lie SSS

HanatiCanrand ggjj

MiryJ.Btgclot

■

louitti'inxltiiDlOs ^2

(nislKtllKNKtoi ^9

BOSindSanfiun

Ribqailn

■

De(anbRl992. W^k

S TITLE

»i i i>[ii,'CEII tSO»GWR!TER)
RUSSIAN ROULETTE

VIDEO PHONE

MPRIMI PROUOTi.:

i"D 5 GABHEnABEYlCEl © M_ :

I SOMEBODY COME GET ME

A MdflTin .n CMl^J QllfC WHOOM rinti A UfltTINM HALllMl

Melanie Fiona

GOTTA GET IT

PRECISE (JUVENILE L EDWAROSi

G G CURTIS, SH (G G CURTIS SR ,H EDMONDS, J NtlTtESBtV)

SEX THERAPY

vmsii CIA cmiUT SAUCt {HTHC>tEC£AftJ jOKSAWWS(T<HMeeLSIjOTTUSjCUJO<.A'< ^
RELIGIOUS

IH£ PEVIftGRr* .R HlLYt OAWRINS A DlXONi

Robin Thjcke

R Kelly

LOVE COME DOWN

TIM MM rises U-

9 on AIM MB,

otiCRnK

JxksM'tlimitop

WutflntiiiKt

"BiiltHffie"S|Kiil

riw WMlu at No. I

MB/htp-lrop rjdic
u more atcegEn^ of
the SKOfK) m^\<i
iTom "Rattd H. "
wtikh b«& ttK No.
U bow of "Russiw
Roulette" (49-S6)
■■ htgfi-
.'i cr,

0 iiu. /It itwsoie

fMif De surprise

llMiniBlndiis

houwifonarMi-

oM leggac comp^lj-

tionieliasKlbyyP

Recofdsaffllnolhet

Otiiiilill)iim.wlKti

is mtaUc sol IMS

imtalWdi-«l-

iiMrtarntaHm. H«

nbatand priims
^TOfk Value tl"
with ttm(ut!os!! r-
inQ Drake. Due D«(
8. ttie album aht)
l>oasti wpearancrs
by JiKtIn TimlKi •
take, HeHy furuiio
Kaly Perry and
NitevCyttis.

LOL :-) Trey Songz Featuring Gucci Mane & Soulfa Boy Tell em

."■\ A PRICE (I Rf VERSOH I TAYLOR I SCALES 0 WAV R OAVISj O SONG BOOK^ ATLANTIC

TRY IT OUT

■.. -iiv'fN (R HOlSEY.K BURRUSS X OOTSONi

BETTER BELIEVE IT
MEDICINE

DJ Mr. Rogers Featuring The Parly Boyz

Ldura Izibor

• AaANTIC

HOUSTON.N C FISHER.C STOKtS)

Marques Houston

Waka Flocka Flame

SO ICEt, ASYIUU'WARNEH BROS

•a

MASON JR. rRnELLY)

Whitney Houston

Big Bank Black Featuring Kandi

ay r,ahTnHjt«caL*si?«nERsrtAnmiGiw*iEii!'A<*->(TA*i:i;hni

1?
78

Ul Boosie Featuring Young Jeezy & Webbie

iTCHWGHADNfV JR JW.KNKINS A'WII'.IAI/ .| © TEIill '.'.'-llir^ H^v^ BRv H

Plies Featuring Keri Hilson

Tht'-Dreiiiii

I WANT TO KNOW WHAT LOVE IS

Marlah Carey

NEVER KNEW I NEEDED

C 1U^\irr,v\f -YO (S SWITH.C MARUONI

• OEF JAM. WALT QW.

t': t ^viLLIAMS C RIOENHOUR.E SADLER H SHOCKLEEI

ift
■

Ne Vo ' ^

Hurricane Chris Featuring Mario -i- Plies

il\)iruiLUiM1UM0LU%:>LrjauiiSKCCKSiJWJiLA'ASi«lCti»i ©PGlDGflOun&JIMG

HELL OF A LIFE

OAN.'A (V J HAHHii J" I flHILLSt

SHISblON J ROTEM)

mLi1E.O CWimA EfOMM J A MlLSCLUYViTEWI£OK.OU>RM

Young Mci

WLie MKV WSf ' MJ< •

Y0UW3 UONEV CASH HONEY UMvER^f.. Mi l 'ivMi

BIG BOl STUNTIN

■, }■ KEHilERSDNl

ECHO

■NTINiTVn CAMPER n KELLY (R KELLV.J SUECOf.D CAMPER.C KELLV)

Young Black

air It MtNn

R. Kelly

SAY SOMETHING

vol USTEn (NOT LISTED)

TImbaland Featuring Drake

MY CHILD

Ttif <• f ;, I. FIGHTS in KENNEDY J JO«S,J PENNOCK.J KUGELL T M MCCA.RTHyK MARTIN)

All-4-One

NHS

•1

■12
9S

m
■

K
96

HID

■

L MDLMt S A 0 CURKE B U COXi

PRETTY BROWN

M ^nOERSE SERRAMOM LAMDOnX WADOELL S WLLUMSK LEWtS J ALLEV)

Amerie Featuring Trey buny/

STAYING IN LOVE

Raphael Saadlq

■
■

SLOW DANCE

CAN T HARDLY WAIT

I ^ AKEJ BEAMJHWUON K S lOWLI D SFMRY)

Keri Hilson
©MKLEYITM AT.I ■

t R L BREAUX S U ELUEHDAOUl L F SYIVERS III) © VAV'r

ALL THE WAY TURNT UP

Roscoe Dash Featuring Souija Boy Tnii

I'lART TNASM IM CARfYT RASH C A STEWART i

THIS TIME

■ ■■ . ■■ 'K jriHiisn\:
LIL FREAK YUGH UGH UGH)

K'Jon Featuring Lee Engi.i ul ,)r ft Avn

Three 6 Mati.i rtvit.

FED UP

OH NO

DJ Khaied Featuring Usher, Drake. Young Jee^y & Rick Hub
vtAifi>La/mw)jWjEf«C)ARoaERisiAOflAH«itAH«iijj»oimje^^ '■■

I". r>fB*nr,[ .■■ ihdmas a otsii

Chico DeB.i'go

BUY YOU A ROUND (UP AND DOWN)

RAMPING SHOP

INDEPENDENT CHICKS

Verse Simmonds

O ;.-.-.i I. I r, i- ii'l

"Vybz Karlcl & Spice
15

Cridi Hcdd

76
68
86
12

'H
76
84

BETWEEN THE BULLETS

JAY-Z HITS HOME WITH 'EMPIRE'

fueled b) jii"pla> that tollowedtiu- World Si*nes' Nov.4 riiuk'.)ii>-Z s'"Einpii^State
of Mind" Ix'tomes liis eiglith No. I on Hot RJiB/Hi[>-Ht)p Songs and t!u' tally's
200th diart-loppcr since the chart began using Nielsen SoundScan data on Dec. 5,
I')92. Tlie track, wliich UxarTie ihf New York Yankets llieine songdimiig llicSe-
lies. gatliered 6.2 million impressions tlie day after the team's vidor)'. an increase
of mow than 1 million from tJic day Ix'fore. It trailed Uslier's "Papers'" in the da>'s
that followed but tlie surge was enough for the track to reach the sumitiit when
the chart period ended. The track extends |ay-Z's lead for tlie most No. Is by a rapper. — Raphael George

for week of NOVEMBER 21. 2009

For chart reprints call 646.654,4633

Go to www.billboard.biz for complete chart data , I ,43

Copyrighted n-

:£
is

TITLE

AHIISI IM-'l.m PdOMOIlONUetl

M CITY ON OUn KNccS
WWl lOBTMAC ri|'1[FRflNt'EUl CUG

': 2 '

UNTIL THE WHOLE WORLD HEARS

CASTIMi; CRDWhS 1 Tilff iU„IJ|i.ij r.b

REVELATION SONG

PHItllPS CHAIG A DEAN tni

B
«

18
24

Ink WUHUb 1 WUULU sAT

SIOEMALK PROPHtIS ••ilVINI rt'ClBO-CUflH

BORN AGAIN

THIRD DAT (f«T lAClY MOSLET 1 SM-tJll41 l-l T,

[ }

QdllQ^Q HOLD MY HEART

nriTrTTi^l TtHTM AVENUE NORTH ^1 JlOHPlfi |

LcAU Mt lU IHt UKUba

CHRI^ AND CONHAD .

WMAI rAlIn ^AN WJ

HUTLtSS V T' T-' ', 'JAIL

MDDP REAIITIEIIt VDII

JONMT OIAZi-.il

Fio

HAIimw WEST {M< CMG

BEk

SING, SING. SING

CHRIS lOMLiN ;■ i -.C : :iPAHHOWEMI CMG

LAY 'EM DOWN

HEtDIOBREATHt ' ■'ilJCvWRD-CURB

HE IS

MARK SCHULT; .'. >.li-i:URB

HQW He LUVta

OAVIO CROWDER BANO ' IXSIEPS SPARROW EMI CMG

ALIVE AGAIN

MAII MAHER 1 PIG

HEAVEN IS THE FACE

STEVEN CURTIS CHAPMAN SPAMOUW'tUI CMC

IT S YOUR LIFE

FRAKCESCA BAniSIEtU lERVtNl WtmO-CURB

FOLLOW YOU

LEEUND WITH IRAHOW HUTH E^SENIIAL PLG

LET THE WATERS RISE

MIKESCHAM L J'^li

1 U NcbU A bAVlUn

AMONG THE THIRSTY i^tV

23
21

13
21

ULUHlUUb

NEWSBOYS ■

Tuu lie rf (J 1 bnAivcn

FMIL SIACET M r, -'l t.

Ht lb WIIH YUU
MMDISA SPAHIOW'EUI CMG

PHIL WICNHAM (EAT BART MtlUWO INO

FORGIVEN

^AIX/ATinN 1*! HPRP

LINCOLN BREWSTER irr[GR|T(

YOUR HANDS

JJItELlEH ■■v. )jr -;,[,U

THERE IS A WAY

NEWWORIDSON M

BEAUTIFUL ENDING

SARLOWCIRL II . '. . <>e

FROM THE INSIDE OUT

S(V(HtH DA* <iLUMUER i l : 'MilTH & KAIl

HEALER

AARI JQSE ',1' ' ' I

GOD-SHAPED HOLE (2010)
PIUMB i;., ^1'.

ON AND ON

CHASEN in <

GLORY TO GOD FOREVER

K( r.'i

HEARTBEAT

REMIDY DRIVE ■'■ Ki: i IIHU

'©

POCKET FULL OF HOCKS MVnHH iVDRD CURB

FOR THE FIRST TIME AGAIN

JASOH GRAY . I' ■

WALK ON THE WATER 1
•RinNICOLE -• n r.^ ■ 1

THE MEANING OF LIFE
HAWK NEISO" ' - " . '.-.I

HOSANNA

SELAH n.'ftK

SING

JOSH WILSON ' > :.-il'-li,V LUl LUG

I®
H

44
«

fi
3

ONE REASON

|;HT'4N« k VKlJliHAN IIMON'PlG

FORGET AND NOT SLOW DOWN

RllllHI K ■ . ■ liHfO GOIfE

1 AM LOVED

ABOUE THE GOtDEN STATE ->'.'.-i Kri'A LUl CMU

«•

NEVER SAW YOU COMING

BEBDNORUAN ' : ■ <: ■■

FORWARD MOTION

THOtlSAHOFOOI KHUICH 1 h ';M

DONT YOU KNOW YOURE BEAUTIFUL

SEABIRO 1 ^^-lii-'.l "1 1 Ml 1 l/i.

AGAIN

FLYLEAF AAM UCIONf iNKRSCOPf

LIVE LIKE WE'RE DYING

KRIS ALLEN ' < .11

WE WANT THE WORLD TO HEAR

BIG DADDY WEAVE U' '.i ' < ."!'

Wtth t.796 plays, tobyMac lands his first
No. 1 on Hot Oiristiafl AC S009S with ^titY
on Our Knees/' fialttng a H-week reign for
Pfiillips. Crai9 & Dean's "Revelation Song."
The list's new leader remains atop Cliristian
Songs (9.Z millun Impressions) and
CbristiMCHR(l.0S6plavs).

\TOP CHRISTIAN
F ALBUMS

TMt
OKU

sa ^ ARTIST

3a IBS TITU lUi'iiiril k NUMBLH ' DiSlflmuTiliG LAN(l

CEn. 1

A E3S3 Rl STEVEN CURTIS CHAPMAN

^0 Ellifl nRVUIUflY WILL Rise ''~^Ki 1 ' ' I Vi L ML,

1 5

ITi^liVtll VARIOUS ARTISTS

THE ALMOST

MONSTin MONSTER 100TH & NAIL *Mi IW IV .

2 11

SKILLET

AWAKf ■ ■ ' t .'SstrwMXMTtmCHn

CHRIS TOMLIN

GLORY IN lilt Hirrfif ST .■ -if^5P«iROW^iiM:w;

4 3

KUTLESS

IT IS WILL ! i . "1 ^ 1,'. ■■■1.

m%
m9

liil

SHANE t SHANE

— .J

5 7

DAVID CROWDER BAND

CHURCH MUSIC ■ 1 'i'5 EUl CUG

RELIENT K

IliHUl ■AL-u:ilSLlrA [KTAIl .DSSMWDaFS

VARIOUS ARTISTS

SOHGS L WOHSIIIP 50 '.[: l.R I - ;'4;o?'riM£ LIFE

B 55

MARY MARY

TiiBMO ' ■ ' t.Wi^u•»^M^^^^^IB^l^ ♦

CHRIS TOMLIN

HELILI LOVl ' ■ - AHHOW yjSalUlCMG

NEEDTOBREATHE

THE OUTSIDERS ■ j 1 giOZ WORD-CURO

BARLOWGIRL

EOUtAWan- '.■ - rffii-rtORD-CURB

27 9

GAITHER VOCAL BAND

REUNITED :,;.ll'iEa MUSIC GROUP 604^

15 11

SELAH

rOU OELIVEHME i 'Kl . '11 Jfl W0H0-CUH8

8 67

THIRD DAY

ntVILATiOH! I.I . ilWVaNT-INTIWITY

17 56

FRANCESCA BATTISTELLI

PAUL BALOCHE

GLORIOUS r ' ,. ; - H FilWinENT INTEGPlTV

MICHAEL W. SMITH

ANiWHAiLELiiLAH - ii ■ . : 1 i ■ ■ H"; r-.tTOn MEGWTV

TENTH AVENUE NORTH

CNTRANOlMKfWEXTH ' it 'I ICI/SmMDOMUGnrr

16 57

VARIOUS ARTISTS

LWNHinitm i'MKlE<«T(M7:<mOFWl|»

THOUSAND FOOT KRUTCH
MELCOME TO TK WSOUEWl ItCTH & fHA 47B)EM CAC

.®

HAWK NELSON

LIVE LIFELOUDI bL J -[111111 & NAL / JOG EMI CUG

18 14

PHILLIPS. CRAIG It DEAN

FEARLESS .'..1 JV.^ miiVIDtUr IMEGHlTy

26 31

MERCYME

10 r, ... . . ■-■ '.ItiifllTy ♦

36 2

mcoNUSTMAS Bais 1.1 f'i.yh y^mi ciut nnsim

22 11

MARK SCHULTZ

mm AEIVE /' .11(1 ciifif K'i'ii

23 25

MAT KEARNEY

CITYOfajLCAlWWIE . '• lAOGtMCMG

20 13

BRITT NICOLE

THE LOST GET fOUND .llnj/i JjSUtMICMG

32 24

DECYFER DOWN

CRASH , . IM-INTEGRIIT

31 50

JEREMY CAMP

SPEAKING lOUHFl THAN BfFOIlf REC G7BGEM (M6 *

28 11

LEELAND

LDVEfiDNIE€MOIBLr.lET|IUi I.MOSTOLT.CT^OTJTEffTTV

21 39

KARI JOBE

AARIJDBE '.l-L.H'IV i'.SD I'H'j^iULStmUGRlt*

aU A CUMA QAmei AM) nCR HOWCOMMQ fHBflS
JOT IN HT HEMT CAmiEEl UJSIC GHOIP W EU CMG

HILLSONG

fHTW . HCFT ■ LLAI UH-t..:f»-«IIEIiT!Y««l"««Bl"^lTH»ITT

29 7

PILLAR

CONIESSIONS: : 1 ' PfiEMOtNI INlEGfilTV

IS)

37 61

MATTHEW WEST

SOMETHING ID SAT bPA^ROW 45?0 i All CM6

PLUMB

nuim HnwT A wn CDuoiu ctjRD I9ISAV0IMUB

40 24

HILLSONG

MIIQAnSlTMWII lIML4.5HBMT«nf«anmT

30 39

RED

HCCEKE A HSTTHCT f . ;.. ',TEM«TE(HTT +

33 9

SIDEWALK PROPHETS

THESE SIHE^I TftinHS 1 " ' ^'AOTD<iB8

46 3

ERNIE HAASE S, SIGNATURE SOUND

f\lRTlt>-TM-<HMS>IDfl£TIIU i .nvrVQAOC

2b 5

TODD AGNEW

REED .. '.! '.: 1'. R.-.;;D['.T INIEGRITT

41 7

DIAMOND RIO

THE REASON .... . . ' r BS;3Bi

35 64

BRANDON HEATH

>^IAI*AT Mf. lOin.BWHEJTWlOTrTy

43 56

ANBERLIN

MiwsijHmiiLiin ■ ' I i^PuaicoiuiCEWCMG

47 14

JASON CRABB

JASON CHAilB ' .1 GROUP II4.E EMI CUG

KEITH & KHISTYN GETTY

AWAKEN THE UAWN - MUSIC 9l9Sa EX ♦

45 33

ISRAEL HOUGHTON

THEFTtWEROf ONE •Ml' i.l' Iffil lW!VIILNr.fEltGRn>

laimb Ham |09S h« Mghcslbow andlKSt
sales week on Tofi Gospel Albums, as "The
Haslei Plan" opens al No. 2 nitli T,OM
(opies sold. On Hoi tespel Songs (viewaMe
in lull at binboaEd.bU/diaib). Ilie set's
title liadi lead single arrives at No. 27.

LAST
WEEK

TITLE

ARTIST IMPRINT PROATDIlUN LAREL

1 J

KlciTY ON OUR KNEES

BD3T0BTMAC - ^I'Linilir cMlCUti

1 1

UNTIL THE WHOLE WORLD HEARS

CASllNCCflOWNS .. Il;'[- III ..Mnn PLC.

REVELATION SONG

PHILLIPS CRAIG A OEAN 'n

THE WORDS 1 WOULD SAY

SIDEWAm PROPHETS HRVLNT WOHO-CURB

LEAD ME TO THE CROSS

CHRIS AND CONRAD uSR

BORN AGAIN

THIRD DAT FEAT lACET MOSLET ESSENIIAtnC

HOLD MY HEART

UNTH AVENUE NORTH t l IJIllV PIG

LAY EM DOWN

NEEOTDBHEATHE Al...'.l... /<CRD-CUR8

HE IS

MARX SCHULTZ VJORO CURB

SING. SING. SING

CHRISTOMIIN .1. 1:1' ."f.«KOW tMI CFAG

n-I'l'JMI WHAT FAITH CAN DO

LOZQiH KUTLESS UtC TOOIH 4 NAJL

MORE BEAUTIFUL YOU

JONNY OlAi i'.

GLORIOUS

NEWSBOYS .'.

THE MOTIONS

MATTHEW WEST fARHCnV EMi CUG

IT S YOUR LIFE

FRANCESCA BATIISTELII ILRVENTWDRO-CUHB

FOLLOW YOU

LEELAND WITH BRANDON HEATH ERSLNIIAL PIG

HOW HE LOVES

DAVID CnOWOER BAND ' . 'i PS SPARROW EMi CkTG

YOU RE NOT SHAKEN

PHIL STACEY ! . . ' 'i I

ALIVE AGAIN

MATT MAHER ' . L.

HE IS WITH YOU
MANOISA . '.I..

WHAT 00 1 KNOW OF HOLY

ADDISON RDAO HI'

HEAVEN IS THE FACE

STEVEN CURTIS CHAPMAN l.PARRDW im CMG

SAFE

PHIL WICKHAM FEAT BJLRT MILIANO INU

GLORY TO GOD FOREVER

FEE ill.-'

LET THE WATERS RISE

MIRESUUm LUPH

THIS
WEEK

TITLE

ARTIST IMPnini PROMOTION LABEL

KlciTY ON OUR KNEES

Q^arOBTMAC F''|.|ll.LII|I !l.'l LUG

[mlml WHAT FAITH CAN DO

[^lEIliK KUTLESS 1. TOOIH A NAIL

BEAUTIFUL ENDING

BARLOWCIRL !'..!.. .. CliRB

HEARTBEAT

REMEDY DRIVE .'. . t

HOLD MY HEART

UNTIL THE WHOLE WORLD HEARS

CASTING CROWNS ' i I.";; L T I.L . tilON PlG

THE MEANING OF LIFE
HAWK NELSON I I : lOOTH 4 NAIL

FORGIVEN

SANCTUS REAL . .."Ilil.'i LMI CMG

ON AND ON

CHAiEN l-l

IT S YOUR LIFE

FHANCISCA BAItlSTELlI < . . i .'. hli'-UHU

FORGET AND NOT SLOW DOWN

RELIENT K I.I .'I'l . ..-i..!'.! '^ ILi

HERO

SKILLET AROLM INO

FROM THE INSIDE OUT

SEVENTH DAY SEUMBEA RFC 100111 A NAl;

MORE BEAUTIFUL YOU

JONNY DIAE

LAY EM DOWN

NEEOTOBPEATME .'.'..'.ini 1'. ' l:..i|!

FORWARD MOTION

THOUSAND FOOT KREFTCH TUOlH & NAIL

HOW HE LOVES

DAVID CROWDER BAJO SIXSIEPS.'SPARROW.'EMI CMEi

OUR TIME

GROUP 1 CHEW FERVENTWORD'CUFIB

HEAVEN

JARS OF CEAV SHAY MATTERS ESSENTIAl PI G

LET THE WATERS RISE

AHKESCHAin I HRH

OOtn YOU KNOW YOUDE BEAUTIFUL

SEABIRD ' 1 .... •

THE WORDS 1 WOULD SAY

SIDEWALK PROPHETS ILK'.tli: .YUHil LUHB

ANTIDOTE

8REITM .1

BEST OF UE

THE LETTER BLACK TOOTH A NAIL

FOLLOW YOU

LEELAND WITH BAANDOK HEATH ESSENTIAL PIG

IIILE iMi r-IINT A VUMHER (XSIfllBuTING LAO[L [

RIbEBE & CECE WINANS

STILL II UC .) 1 1 0$.'MALACO

HOT
Dtl

HOT
UT

TAMELA MANN

THE MASTER PLAN IILLYUAWI 8I3S

FRED HAMMOND

LOVE UNSIOPPAKLE ' HAMMOND. VERlTV ASSill.i'AG

BYRON CAGE

FAIIHFU 10 ftlllttfE l/isTO afirnCVEWIV W34ai J.G

MARY MARY

THISODNOM- ;Mi. ^. M lilMWi :'HOfl^* T,(»(r MISC ♦

ll'/MlVSi EARNEST PUGH

QjEIJJJ Liiii»iw»io:'.,--v' 'cxHsm ,

HEZEKIAH WALKER & LFC 1

SOULED DOT .-.M"' .Jlii, jLl.

THE WHISPERS j

THANKFUL ' :f. m'.' tlOB!

BRIAN COURTNEY WILSON 1

JUSI LDWt ■■■ ■"■11 ■ iNij ■ F'l M'l tI'!' ^H^in |

VARIOUS ARTISTS

wow GOSPEL 2a» .MFiD OfiiUM 0.ll^VIFUrr mT^i^^

J MOSS

JUST JAMES 1 (i.i*M GDSTO ClNTBtCVinTY 179ia'JKi

THE CAJO FAMILY
UjdiTlWtmuiEKOtiinCISNBBirsKMIitaCBraCAJIB

VICKI YOHE

nnju. TOW GUin tjvE THE unow. ^wtiM

ISRAEL HOUGHTON

TK POWER a CME U'\ [.'IT. ' 1 1. 1 IMh VSeAZWI UUSC

VICKIE WINANS

HOW 1 cor OVER i -iI'Mr JOV 8130

VARIOUS ARTISTS

Hi™ wvi wii-Ei' 1 ■i'ji>Tri«)SPDCEinBtwiTYsairtiiii

123

riilARVIN SAPP

IHIHSIT ■ ■ - 1 J JLU

'IS

VARIOUS ARTISTS

GOSFfLSBEST MEKWOMWCHORtEMOOGPageaiVn

LECRAE

REBEL l:-"l M '.-.l . IJM-. V-

THE ANOINTED PACE SISTERS

ACCESS GRAHIED !■■ l ir i.:-":!". If.fi:-.

SMOKIE NORFUL

HUE i 'iF I ■ ■ i " III'

YOUTHFUL PRAISE FEATUflWG JJ- HAWSTOM

HESiiNCOHH'sPfioMisE ..■!'. 1 i;nni r:imr.><i

DONNIE MCCLURKIN

WE AU AHE ONE jllVE IN DETROIT) '.'1 kiT>' SS,

LEE WILLIAMS AND THE SPIRTTUAL QCS

fAlL OH ME '.■ ii " J

YOLANDA ADAMS

SONGS

MEI

cs si

TITLE

ARTIST IUI>RINI PROMOTIOM LABEL

Kl CLOSE TO YOU

BSSUBE A CECE WIMANS b&Ci'MALACO

1 WOULDN'T KNOW YOU

j« ! pK-jii t ' n ~ (I i£ > -wow Juan iiwrtt w ^ ^ > jU • i. «.

THEY THAT WAIT

FRED HAMMOM) FEAT JOHN P KK f IVA»MC«DVUWn Jl

GOD IN ME

MwrrMAHY EEAT KiBBM-nrsiem waaxcoiMB

JUSTIFIED

SHOKIE NOfifUl i> WnES £MI GOSPEi

PRAISt HIM IN ADVANCE

HlUIVIH SAPP .1 I'll - IIG

RESTORED

J MOSS '■ ■ ■ 1 ri iH . i,b

GOD FAVORED ME

NEitHlAH A IK FEAT VtF.m UPC* U nOtERI m

WAIT ON THE LORD

OCftNlf Vlf.CUIHKI«FEAI KAflIN a*nK«*«l'<tHrTV.'Jl

ll-j.'iV'tli HOW ■ ^^'^ OVER

Qinm MCKKMMWSHfllHIOMMlJLCBl

RAIN ON US

EAHMEST PUGH ■ 1 1 i. . ■ -MiikE 'AORLDAmE

ALL 1 NEED

RRLAN CaUHIHET WILSON SI'IRIT HlSING, MUSIC W(

BROKEN VESSEL

JEFF hIAJORS FEAT LASHEIL GfllFFIN MuSfC 0»(

BACK II EDEN

DOMALO LAWREMCt i CO OiJK 1 WAIER.'VtRlTY Jtl

ALREADY HERE

BflUN COUfllHET WILSON ' "li<II Rl&JNGi'MUSIC W(

FAITHFUL TO BELIEVE

BYRON CAGE .h .Hi [[STRic VERIT'Y Jl&

1 LOOK TO YOU

WHIIHlr M0U5I0H AH^bU HMG

AWESOME GOD

THE BHtlWN SISTERS Mlii - iir,'

HELP ME BELIEVE

dlRIi F-HANKIIN :ii-; . 1 i;-CO Ct NTRIC.JLG

EVERY PRAYER

ISRAR HOIHiHION FEAURIMG MAfTF MART NTEOTVTV.ca

NOBODY BUT JESUS

SHIRIEV CAESAR fEAT J MOSS SHIJ BU.'LIGHT

THIS JOY

KKP IM) : Eiuf ncsDO! <inaiinc ma la MO H«NMr

I LOVE THE LORD

PHILllF CARTER* SOV . ',|r.. Of VICTORY

LORD DO IT FOR ME

AlVINOARtlNG i 1

GOOD NEWS

VANESSA BELl AKMSIKOHC - -..WAV.

44 I Go to www.billboard.biz for complete chart data

Data for week of NOVEMBER 21, 2009 I CHARTS LEGEND on Pag

§^HOT DANCE CLUB SO

NGS

i liii

TITLE

AHTISI M 'MM -'".. '."'.MION LABEL

5 » *o

TITLE

ARTIS) ll.l 'H'tJI ''HL^U'.' Hut LASEl

KIdid you see me coming?

^ ^HL>P SOTS ASTHAIWLRKS. CAPITOL

LOSING MY MIND

ALI KING iilv-V.-.

i '

F*CK YOU

LllYALl(Hr.V;Tn

32 5

WISH U LOVE

CHAD JACK A IIH LETTEEfl VS. FAWN l-M)E!>

y '

S.O.S. (LET THE MUSIC PLAY)

JOROIN SPAHAS U.

25 10

SUPERSTAR

DAVID MAY FEATURING MOISES MODESTO

> 6

DO WHAT U LIKE

BAD BOr BILL CEATUfUNG ALTSSA PALHCR NfllWEILH

26 9

STRAIGHT THROUGH MY HEART

BACKSTREET BOTS .' jl .lIj

PAPARAZZI

LAW GAGA lk.A'lll*.>lllfcNtD«fWrni£LINTDttCO«

23 12

FINE PRINT

NAOIA ALf ■>,■ ; * i", flEO

1 5

MILLION DOLLAR BILL

WHimtV HOUSTON AfllST* RMG

MISTAKE

HOB* 'i " ■■ T 11 -F

J 12

HANG ON

PLUMB' "1'

22 9

BRAND NEW DAY

CttmCIF PCIHGK ■ ' ■ ■ -lit

) '°

WE ARE GOLDEN

MIKA . ■ ', • ,Al unrfAvfi

39 3

YOU USED TO KNOW

ANDREA CAHMELl «'^v

) "

1 WANT TO KNOW WHAT LOVE IS

MARIAH CAHET ' J I i .'Mti

mat

45 2

DRAMA QUEEN (TEXTING U)

SIMONE DCMHY t- UUinV HARMS BAflRt HARRIS

PERFECT

DEPtCNE MODE M . Irl.lH'CAPIIOL

38 4

MANOS AL AIRE

KELLY FURTAM HtL::>t.il^ UlilVERSilL MUSC LATINO

) "

TURN IT OUT

AITAH TEATURING JEANIE TRACY AtAMAHOUSE

50 2

UlQlij MAKE ME

RELEASE ME

AGNES flnOV SIAR'NEM

43 3

ANGEL ON THE DANCEFLOOR

llt'.l v-fillxins lUIURIN^; liAIALlA riORiS CARRlUD

SMOKE

JUS AICK WITH PHI BAflANT RRIUMG MDM FMSl MQDA

47 2

WORKIN GIRL

SEXY PEOPLE

EOLEME 1 ■.-'I'li'

44 4

AINT NO STOPPIN' US NOW

lAtOAAH t DARdYL triOMNCAU 1^1

) ,e

BODY LANGUAGE

JESSE HCCARtKlY FCATUfUNG T-fMN HOLl¥¥M)OD

48 1

HEAVY CROSS

THE GOSSIP 1 1 jMrll-

) "

WAKE UP

SLIIMT ■< .'.M'lltR BROS

3S 14

SHE WOLF

SHAKIKA ' iiri- i.iiti,iC lATiN.EPIC'SONY MUS'C

;» "

FIGHT FOR YOU

MfHlGAN PUCE '.^ TIAfK

prrn

BRIIHEY SPEARS JIVE/JL6

1 It

SAD SONG

BLUICE LEWIS T Vr,' i li -

DOLLHOUSE

PHISOLLA t£trt« r.!.PITOL

1 20

THIS TIME BABY

EQOlI I "RESEriTS U H MARIS JM-''

GIVE ME LOVE

) 27

OUTTA HERE

CSMEE DtHICRS Htl.'lVUri IMtXS[:UI'[

46 1)

TONIGHT

CA;WEit ■■■ ■! : 'im:

LOVE SONGS

ANJUIIE n: .VR i'-WG

31 14

EVERYBODY SHAKE IT

RAIPHI nOSMIO FIATUnNG SHAMN OHSTiriCH EUlDVAIl

) 28

MISS YOU

HON PEHKOV Afi tE

EN EL MOMENTO

STFD-E i HYBI'D HfiamS f " 10 SjV

) «

BAD HABITS

KAIWtU 1 II ^.'-li.-.

49 3

LOVE & HAPPINESS 2009

RIVEfl DCEAll FEATtlfUNC MOU STRICTLY RMTTHU

) 33

PUSH N PULL

HtJHfU* 4 MMW VS SYUM TON* HT'tRISHSEA 10 SIH

30 tt

FAME 2009

KATURI MAUCKTM L SHOflE

1 7

SEXY BITCH

QAVn GUFTTA HXtUHMG MM (AM ASmAmSCAPtTa

COME BACK CLEAN

TIC CnrtlJU. METH3D fUTURIIK EWT NAIHEt 'IS' I REIHCAflraTE

^TOP DANCE/

P ELECTRONIC ALBUMS"

M
m

HOT DANCE
AIRPLAY

! §1

ARTIST

TITLE II.O'-i IJI & faUBER / OtSlfllBUTIM UBEL

TITLE

ARTIST <F/PHIIit PROMOTION LA6CL

.. HI OWL CITY

BBflomiiratMMMiLWMlljcoHm-mc

■: ■!

Kll WILL BE HERE

■09 TIUTO t SHUWI fOUND STSm ULTRA

1 2

LADY GAGA

IK RME STriiMlJC«MM0Dltl1HLWBGtCR rm-rj.

■

1 11

SEXY CHICK

OAUID GUETTA FEAIUHIHG AKOH til f/ A,^TaA,WE=iK^.CAma

VARIOUS ARTISTS

i» mm mai uu 3KI cusses ; ~ .

4 a

RELEASE ME

AGNES KV Afjn RilTf r.l'.il HfU

LMFAO

5 13

SWEET DREAMS

PwmnOOi ■■■(■ ■ :■ 1 1 ;, ■

BfTONCE '11 1 ■.vnHLlltULUMHIA

VARIOUS ARTISTS

7 9

PAPARAZZI

lAOYGAGA .F.'lli«.M»lIv£'CKnR>'T11CEmTERSC0PE

30H!3

WANT 1 " I 1 .

3 IB

THE SOUND OF MISSING YOU

AMEERAH -:il ^Tt

;

DAVID GUETTA

ahi LOVE 'iiv 1 "■ I'l'. 'riAu'Eiii'.^

to 7

KISS ME BACK

KIMSOZJI

TIESTO

KALEIDOSCOCE UU?,lCAt FRfEDOU ?DH? UlIrlA

6 17

EVACUATE THE DANCEFLOOR

CASCAOA ■■ ifi!' n--.

IMOGEN HEAP

ELLIPSE UEGAPHOHORCA S060S.11MG

8 19

1 REMEMBER

DEADMAU5 i KASNADE MAUSTXA^'AND PRESS.'UITRA

LA ROUX

19 4

HANG ON

PlUUlli

BEYONCE

SMOKE

JUS jad; with pw. qwaht featimng midwi nwsi '.thv.

SOUNDTRACK

SlUWDOG WILLKWAME MtK^COPE 0i;SO2.1GA

14 3

EVERY MORNING

tASSMUHTEH :->i>'<

DAVE AUDE

OAVE «(JD( PRESEKtS UITIU21H0 ULTRA ?I9:

■

B 4

PARTY IN THE U.S.A.

MILEYCTBUS f M'. lV.'. : h. m

FUCK BUTTONS

lAflO! SPO«T f.T^ S--'

13 11

1 BELIEVE

cmmmt mcnms aaje tmompuh =ed sttj^^^pctiy wf!w

CASCADA

EVICUATE THE OANCEHOM RnHEI>rjS r^Oljl

FIGHT FOR YOU

ttOfKAN PAGE !>- 1

LUIS MIGUEL

NO Cum A lA NOCHE ojji muEt latm $^1^1s

MEET ME HALFWAY

THE BLACK ETED PEAS : '. I- ^^SCaP!

DFADMAU5

FOR LACK OF A UTTEH NAME UAJJ^TRAP ;t74>U1U

12 a

RIGHT HERE
CAnWCNRfECE Hft^l Mf

FAMILY FORCE 5

FAMU ma U CMKIMM HMM tUG rn^TtOttf A WL

23 14

SHAME ON ME

ALEX SATz Funjac ijiwiiaicc ALEXMNin nmwxT (UTE^

AIR

lOVt I AinCKEOtOGV 6G3M. ASTRAIWERKS

20 3

EMPIRE STATE OF MIND

JAT-Z . ALICIA KEYS ■■ i' !.-l|i|\

DJ SKRIBBLE

lOIAl CIU6 HITS3IHRIVE0AHCE 90at dTHItlVE

17 4

REPLAY

lYAi t ■' 1 :^ tlfiGHI&flEPRTSl

BREATHE CAROLINA

HEILO FASCmATKWfFlRtESS JB1?7

11 20

1 GOTTA FEELING

IHI WACK EYED PEAS i M f e QPf

■(■■1 FAMILY FORCE 5

hAilli "CUP THE PMm AIM |EP| TTXi aa575 EXTQOni & IML

HOT

IMNA Ri]!n't VAi(

COLD CAVE
^HmiS love comes close MATAOOR S13*

22 3

GHOSTS N STUFF

0U0MAU5 FEATUfllM ROB SWRE MAUSIRAP ULTRA

ZERO 7

TEAHOHOST M.iNIlC i?a26<|.A6

15 3

READY FOR THE WEEKEND

CALVIN HARRIS -llfA

NEON INDIAN

FSrCHlC CHSSMS Lt!;t 110'

21 2

SEXY PEOPLE

LOLEW i:ii'MU_

TOP TRADITIONAL
JAZZ ALBUMS

ARTIST

Tint iMPRi-.T i Ni.i'.'j-. I .ilMTri; II

BTM MICHAEL BUBLE

cun LMi ' - '

2 ■!

BARBRA STREISAND

LOVE IS THE ANSWER ■ r . " ■ .

4 8

HARRY CONNICK. JR.

YOUfl SONfiS ■■! ■ ■ ■ .

3 2

PINK MARTINI

SPLEhOOR IN THE GRASS I' .

9 28

MELODY GARDOT

MY ONE AhD ONLY THRILL VtRVt OI^SSJ"

FRANK SINATRA

ivrw iF*"i» ■ ■ . - ■

10 3

WYNTON MARSALIS

CIWIMASJAi: JAW ,. -

DIANA KRALL "

OUIEI KIGMIS . .1 1 CJ.il Vli ♦

5 33

7 4

THE BRIAN SETTER ORCHESTRA
SOWS FROM LONELY AVENUE SL1R> W>Ci

8 21

MICHAEL BUBLE

lawwumi — M tarn 9m -tCTi ■ ■ •

[«

8 4

NELUE MCKAY
MHIIILJSUaBMrKimUIII0IKHIIWr.1F\^ .

SOUNDTRACK

:;HT aniKc mm why vera-w (wn »w'i

MICHAa FEINSTEIN & CHEYENNE JACKSON

12 48

NATALIE COLE

SIIU UMFORGETIABiE [HllLATCO Sl?3;0' RHINO

. IS

14 5

FRANK SINATRA

tainFi ETtit mm sura vww orw mcf.-^ ji^Bwoc

i^TOP CONTEMPORARY
V JAZZ ALBUMS

bii

1 33

ARTIST

TITLE IMPRINT & HUUBER . DISTRIBUTING LABEL

Kl CHRIS Bom

BBfl owKiTu miwpiaiiMii mnwittusc *

2 2

EUGE GROOVE

SUNDAY MOFIHING -JNACHit bl I'S

3 tt

GEORGE BENSON

SQNGS AND STORIES MONSTER 30364.'CahC U'l •

4 9

PETER WHITE

mm DAY n iifp CONCORD

5 11

NAJEE

MING OVER MAmn "(AOS UP 31^^

6 40

BONEY JAMES

SENO ONE YOUR lOVE CONCOfttT mi', ♦

HERB ALPERT & LANI HALL

ANYiHMC DOES IM LfMlJfin .WZ :il*.l! ftflCCRi

8 ?

KENNY G

SU^K HITS ^ UU6C OSrOH I.WMTNS cm.K ^

21 8

SPENCER DAY

KAGABONO'lTiASMEttACCMCOW) Aaailir'.UM i

9 2

EVERETTE HARP

l» ■

10 10

IMPROMP2

IT IS WHAT IT IS ■" '<■ '

TOWER OF POWER

r.flEjrAMEniCAKS0(JlBO0K lii.MT (I'l'i

11 30

BERNIE WILLIAMS

MQil'JC f UnWARD ■ "1 ■ '.■

18 24

PAUL HARDCASTLE

IHF COLLECTION ' 1 ''1:1 'i "HMIIM n

K-cmn

ESPERANZA SPALDING

ESPEflANZA ■!■■..> . ll^- iHO

# SMOOTH JAZZ

liii

TITLE

ARTISI IWPf^mT PRQHOTtON LAUL

1 16

151 BRIGHT

IS9 PtlER WHin PEAK.'CMQ

4 18

BURNIN

PAUL TAYLOR i -. Ll j

3 IS

TROPICAL RAIN

JESSY J - : .. . ,

2 27

TALK OF THE TOWN
OAHREH RAHH . ■ ■

5 It

LIVING IN HIGH DEFINITION

GEORGE BENSON CaNCORO LMG

e 19

SONGBIRD

TPilC CHAnillCO ■.•i«-.«i II"

9 23

TIJUANA DANCE

M.r. BRAUN ■ ■ ■ . ■ ItlHV

11 4

CHASING PIRATES

NURAH JONES 1 . '. 1 < H';.

10 14

SWEET SUMMER NIGHTS

NAJEE n;J!r- , ■

6 28

WHO WILL COMFORT ME

HELODT URMT - EPVc

7 30

GO FOR IT

BERNIE WILLIAMS 'UnDHM.HOCK RIQ6E

18 5

BOGOTA BY BUS

JEiiE CaOK ■ H tdJuSi 11

14 10

TOUCH

UIWEY JAUES CONCOnO/CMG

21 10

NIKKl'S WALK

JEFF GflUN E-

17 23

ON & ON

CANDY OUlftRl':.Mi: ; 1

TOP TRADITIONAL
CLASSICAL ALBUMS

1
2

» »o

2 S

ARTIST H

TITLE iMrRl-,) A NUA1BER niSTRIBUIiriC LABEL

Rl CECILIA BARTOLI 1
RENEE FLEMING

Uf li^SMG ' ■ 1 1 iTJ^/ERSAL CLASSICS GPOUP ^ ^

4 51

THE PRIESTS M

THE PRIESTS I : , : !■ » 3J960 SONV MWIilC JSP.

6 11

B. FLECK Z. HUSSAIN/E. MEYER

ncNEunoimiYnw Yi«uo]Kani)AUKraiTWF'7!;i

9 3

LANG L«NG VSDIM REPm MISCIU MAISKV
IDMRSnKWIf«3 ^y: -'ir.
PLACIDO DOMINGO
iMKiniT9tiw:iiv^:

5 35

ANDRE RIEU

LMBIOffifflei WIURIWIATTuroPf^

7 5

SARAH CHANG

BflUCMBRAHMS mWCIMCERrOS ' iih

•

8 S

JOYCE DIDONATO

flOSSM COUnAN IRE AYUSE .

12 02

JOSHUA BELL

MIILJAIIf lOLItSEASIAe

NATALIE DESSAY

MAO SCENES J 'l . ■

3 3

GUSTAVO OUDAMELUDS ANGBfS PHILHABHONIC

14 74
13 52

mE CISTEBCIWI L»>(KV()f"ST1FTi«CENKflEUZ"
[MM- Y^y: ■■:*nHL s;i.i

TucIaNO PAVAROTTl

TIC [ACTS EKCU01»41iTM«^ CLASSES GRai>

11 7

JOSHUA BELL ■§

iXirOEM««lllB»WIEOfIl':iW.'GAXLJ.*:-LRLf

A TOP CLASSICAL
V CROSSOVER ALBUMS

isi

ARTIST 1

TiTLE lAIPRIM MiUMPtR IYl TRlRUtlNa LABEL H

Kl ANDREA BOCELLI 1
HB3 MY CHRISTMAS ' < ' IITT'DECCA |

1 2

STIHG

3 6

JOSHUA BELL

2 52

IL DIVO a

THE PFOWISE . 1 If . .! +

i 12

MORMON TABERNACLE CHOIR

Hl% LPaSTYAW BEliS ' ' H'.Y fi WKRW.IE JCiH ^^iUe

5 23

DAVID GARRETT

DAVniMVIRtTT 1 1 ■. 1 ■tl V.imtftA CLAiaCS W.IP

6 53

ANDREA BOCELLI

INCARTO ■ ' DtCCiY » ^ .

7 5

CHARLIE BAGGETT ^

1 ONIY OREAM OT YOU I^Slt Hi

to 35

SARAH BRIGHTMAN ■

SYMPHONY LIVE IN VIENNA UAMHATIAHZTBBTINjG® |^

8 2

THE CANADIAN TENORS B

THE CANADIAN TENORS :>f CCA 0I3SO9

11 28

PAUL POTTS H

PASSItlSE ' :rj COLUUBIA 4743B>'GOMYyUSJC

9 43

GREGORIAN H

MASTERS OF CHANT CURB TBOISm

12 33

MORMON TABERNACLE CHOIR ■

::n: -KiL'aNrvEitfTiiESMiaiiMnBwaEooina

13 2-1

ESCALA H

ESCAIA M 11 L T74?3'S0NV MUSIC

16 20

NEAL E BOYD H

MY AMERICAN IHUAAl lfXA0l?B97

Ov^RLD ALBUMS

■

ARTIST U

TITU IMIiRlNT A MJWUER niSTRlBUTlllG LAB£L 'M.-

1 9

KIrodrigo y gabriela 1

Ipffci 11 tt ' 1 /. -■ : ii ' .UO *• \

2 17

CELTIC THUNDER

TAKI Ml HOMl . . 1 lM..t.ULk UIJOBfi'DECCA IB

3 20

VARIOUS ARTISTS

njimGf[)'<CKAw« saHasiUK)UMirHEiiM0i<«n}itio®

5 S4

CELTIC WOMAN

Tw ooKH ar-Ki EiiiENrw tatiflnni HNHllMinMU

1« 4

THE IRISH TENORS

CHNISTUAS .

6 80

CELTIC THUNOFB

*cr iwu 1 ' ■ ■ ICCA

It
r-

4 3
8 6

LOREENA MCKENNITT

AUtlHTHWAWMWYSSEY .11, . .1 'iUlbW

BEBEL GILBERTO

ALL IH ONE 1 . ' -, ] .b

I-

9 4

DANIEL 0 DONNELL

PEACE IN -HE VALLEY JCKWtLL 61.'DPTV MEDIA

7 6

THE VERY BEST

WAHW HEART OF AFRICA GREEN OWL 007

12 t

JESSE COOK

THE HUMRA FOUNDATION COACH HOUSt ?O02/fl

NA PALAPALAI
NANEA .

14 0

KOLOHE KAI

THIS IS THE LIFE '■.■■"■\ IDIi

13 2

RUPA & THE APRIL FISHES

ESIE MUHDO .. l.M '.fl-tiA IS

11 49

RODRIGO Y GABRIELA

LIVE IN JAPAN J.1II :u H *

for week of NOVEMBER 21, 2009

For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 45

iiiclstn

SDS

niclsc

Sounds

f»

■'^

18)

t"l2

[ID

:«

•E»

>IW

^®

l«t

I*-

TITLE

KHTIST iirt".-|rr nsOMmiCS LABt-.l

LOOKING FOR PARADISE

ESCLAVO DE SUS BESOS

UAtflD eiSBAl . ■ _ .'.IC LAIIKQ.

TE IRA MEJOR sFn Ml

JQAH SEBASTIAN ' "^f bftLBOA|

HAY OJITOS

IHIOCABLE -j:-: : .'N> MUSIC LATINl

LOB A

SHAKIIU It

liOVV MUSIC lAIiNt

SU VENENO

AVIHIURA H!!.' If," A'lll)

LO INTENTAMOS

ISCIHO/A fU

TE VES FATAL

(L IHOMO Dt MEXICO ■ "HOVISA.'MUSIVIilA)

Ml CAMA HUELE A Tl

tItU H llAMIIItiD IFAIuniNG ZIQN 4 lENNDX

^M^M ME GUSTA TODO DE Tl
lAltOA flHiCQOO 'H.r;L". rL a, ^
GRACIAS A Tl

WlSm 4 YANDtL iW> VIACHtlEi

SUFRE

lOS [lAHFUS Ot lA SIERRA ;

MANOS AL AIRE

•ifm HtHTAiX) _■ ._

YA ES MUY TARDE"

LA AflROLlADORA UNOA EL UM

■H MUSIC t.Aimoi

I iDtSJliDIMOHSAi

FELIZ
(AHr GARCIA I

RECUERDAME

lA QUINT* ESTACIOIl .

,VTINl

Ml COMPLEMENTO

LOS HUHACAfJES DEI MOHTE

DERECHO DE ANTIGUEOAO

lAOflir.lNAl eAH[>A £t IIMOH ' MIVIT^A i

Nl ROSAS Nl JUGUETES

PAUltliU «UB10 ' :i lAIISOj

ERES TODO TODO

JUIIOM ALVUHtf T SU MORItNO MkU lASLI

LA GALA BAZA

LA ARnOLLADQRA BAWDA II LWOW iDlSAl

CELOS

Nl CON OTRO CORAZON

PEDRO f ERKAdOf i i ' : 'lii;VISA|

EL 80RRACH0

CKUPO uoum HE OURANGO iDlSAi

ADIOS

JESSE i JOY ,-, ■ i. , IjAi

COMO VOLVER A SER FELIZ

tUIS MiKlClUt '■"'I

I GOTTA FEELING

THE BLACK EYED PtAS uriTERSCPPEl

TU DEFECTO
ESTUVE

ALEJAMORQ FEflMAHOU IfOWOVISAi

ENCONTRE

COWJUWTO AiTARIItCER I PISA ASl i

SE ME VA LA VOZ

AlEJANI)(»()F(HK*M[t(; H MUSIC LAIl

HOTEL ROOM SERVICE

PITBULL ■ ■ ■ I 41 - ,1 mC\

CAMINOS DIFERENTES

HOBEHTO TAPlA ■ '■ ■. ■ i|

LLUEVE POR DENTRO

lUISIDHSI M'.!"-". M ,: :_!jV!JfiOj

TE AMO

CUMBRE MOHTENA ' ', i V 1.1" (C. t MifJ j

EQUIVOCADA

IHALlA ' !■ 1 AHII}

PAPARAZZI

lADY PJkfiA ■ I'lRHYTBtlWrtftSCOfl:

sIn querer

EDHIT* HAJAIilli _■

SENTIMIENTOS DE CARTON

DUtLO - ',

DOWN

JAT StAW fEATURNG H MWYME [U-'^H Wrf^rV YttifiRzJ^ I^EPi.flii

SOY TODO TUYO

LOS tUCANES DE IIJUAM .'Fn'jnviSAi

CIAO BELLA "

D0« OMAR ■ ■ ■■

GRITO MUNDIAL

DAODf fJlMKLE I ■ n ; >

CELEBRATION

MHOUhh* -■. ■ ■ I ■

AL DIABLO CON TU AMISTAD

EL CHAPfl DE 5IHAL0A .I'^M

SIN EVIDENCIAS

BANCIA US ■ . ■. I ,

Ml MUJER

CIELO AZUL. CIELO NUBLAOO

PI SAOO I ; ■

ROMPIENDO CADENAS

ANA BARBARA ' :

iUctandraSanzHnsMshNHtliteiBcciftlw .
Ho. T on Hot Utti Sengs (ISi fflWon
Ustener impressions) as "LooldnB for
Paniisc" rises 2-1. He K onty the sblh irtbt
toluwttutiMnyconseaittwchart'toppm |
and bw first slna Mcfcy Nvtln lud four
ftr^ No. bin 2000-03.

■

2 22

HOTtmi
DIHII 1
1

i 24

4 9

3 3

7 32

« b

6 5

8 7

10 35

19 63

9 3

13 25

26 20

IG 8

11 3

AVENTURA

iHf LAST ■ ■ L.VIt'. ?[)8DQ?:0t|V HftftC:

MARCO ANTONIO SOUS

IIMDEWWCOA)mWO80U»KKMSA3M;i&tMf *
EL TRONO DE MEXICO

HAST* Mt MNAI . '.'I i

WiSIN & VANDEL

lAHEWOLUCiIKi ■

Lbs TIGRES DEL NORTE

LAGRAItJA ' . . ' ' •

DAVID BISBAL

LARRY HERNANDEZ

leranco coRnioos 'rk^- ij M..- .r:..i... i'i.l

IfJ'iVill GABRIEL

VARIOUS ARTISTS

RADIO (TITOS u nisc-o DH AMOMWOb* r^vs:\rA.i
DON CHETO

El KTME DE USTEQfS -TiriO 863?

TITO -EL BAMBINO"

El PAIKOH ■ ■;' ■ ■ ;if,' F

GILBERTO SANTA ROSA

LOWJ^n r.iHiruih jiMwilcts -■ '"<.mritiaef I
LUIS FONSl I

VARIOUS ARTISTS |

StJPER*! COhLAMllSlCAn»B»CTFOr<MSAi.Vltj&iWE

ESPINOZA PAZ

»DND CANTO PtflOLDIMTtKDWOSftiil-DiAT-jcCjl'.n.vi

LAURA PAUSINI

PRIMAVERA ANTICIPADA

JOSEPH FONSECA

NELLY FURTADO

MIPIAN'.' "i '.*US«:iWWDC1331im.1

EL COMPA CHUY

GEHTE PEllCnOSA ■■ ■ if, I AUS Wt3

LUIS ENRIQUE

CICIOS TOP STOP 8<)10*

LA OUINTA ESTACION

SINFRENOS ^1

EL TRONO DE MEXICO
HIMASGCUEUS '.\:t

VICENTE FERNANDEZ

NECESItO OE Tl ■ ::S2

GRUPO MONTEZ DE OURANGO

El BonniCHD ■ < M-1

EL TRONO DE MEXICO

OESDE LA PAEHJA (h tflVQ i - iCSaUMLE ♦

HECTOR ACOSTA

^WMSTI ElTIRTIi - ' 1 .IIC'KSIIM!

■

LUIS MIGUEL

MARISELA M

Ttl EXITOS INMOftlUES IM ri' ' 1 ^|

LOS ORIGINALES DE SAN JUAN
)u«caM<nQ**iiM[i ' ■■ ■

TIERRA CALI

SinilE^W. : ,. . ' . rj i-M.'ll/M:

LOS BUITRES DE CULIACAN SINAUM

NO lEMGAS MKQD " .■- r. . li i:.:i'^i£A i5*i;a(jULE

DADDY YANKEE

■

TERCER CIELO ■■

MAKANO |M

IE AMO -/ALU; IE *M031 UMlt

PATRULLA 81

a«IE CiAWANn MSEJPtflEWTBIKW r:>US^, EAUEAl

LOS BUKIS o»
UWE0UMAM1E SI UHifl EmOt HWCMSA 3K«SaU4i HI

CONJUNTO ATAROECER B

CONTIEia PARA SIEE^PRE MSA 72\iOT\lttlt ^|

MARIACHI HERMANOS BARG1AS

CANTOS T AlASAMIAS tNL/.'Ob HAKAJAS it^VIHA +

■

REIK

ON OIA MAS -1' ■ VLHIi ■'loUl;.- I^usa; LATIN ♦

RICARDO ARJONA

5T0 PISO \-.R L ATI'.* ^'f.f.i,^

YURIDIA H

NADA ES DE COLOR ROSA :rjl,'Y lAOSIC LATIN S;4]7

CONJUNTO PRIMAVERA B

SEJW OUEAlMTE Kl SUPER EATTOS .'V. EXIMI

JULION ALVAREZ M
CONBANOA .

CONJUNTO PRIMAVERA

.1IMHHITMU iam-Mlhm:i iiaEmS'iM'Ajd&iiiSUAi

■

ROCIO DURCAL H

DOEIO ' :QV¥ (.lUSIC LATIN

VICENTE FERNANDEZ B

PRIE^fHAFILA i ATIS A^

VARIOUS ARTISTS

LOS SUPER UNO S ■■ m;.;

■

LOS PRIMOS DE DURANGO

SIHO PAHA FANS IS HITS Ai; l.r.U .it.H.MJWlE

■

GRUPO MANIA

Sf PECO LA MIMA W U&A3ilG XXneSCMV hldC Utlfl

■

Nam tmorio Solis notdie his i;th to; Ave
iMail on Toil latin MbuiB as Ms Mel sd,
"Has D« Kara biloi*i Sots," boM al No. 3
(King sigMlv kss llan 3,000 coglts). Ht
now has UK most lop nw dcMs in Oie
diairi l6-|«ar Mslory; Luk NIgiiit «l Us
tamnteeadikaveU.

If,

REGIONAL
MEXICAN ALBUMS'

IfSiijui

-iH^IfliBuriHC lABtll
I MARCO ANTONIO SOUS
Mu n MMCO MrroHD ns K ri

EL TRONO DE MEXICO
HASIAMiniMl '1.

□
□

LOS TIGRES DEL NORTE

LA CRAWA h ■, .. 1. !,!.■ .

LARRY HERNANDEZ

i6HAflCOCORMJ(lOS''''. ■-'■■.l Mji'. ■, . IKl;l.■.^f.^^

VARIOUS ARTISTS

HAWlEXItl):^ \\ IllSC(H!Ei AM0I0nDISA7?41S7lME

DON CHETO

El KTME DE USIEUES ' -ir. ■ i"

VARIOUS ARTISTS

Sl«fl •! tWUlMUSIUM MllXI) 1 '.■ .■ J .- t;, .I'.'t.

■

ESPINOZA PAZ

tt) HO CAMTa PmO ID IKTEHTIMOS AJ^OGA 730SUM£

EL COMPA CHUY

GENIE PEllCftOSA '.■Il l' 1 » 'i 5^719

EL TRONO DE MEXICO
ALMAS aiMELAS ( , ■■. k .- .-a ■ .iUlt

VICENTE FERNANDEZ

NECESItO OE Tl \- ■: h. i flliN

GRUPO MONTEZ DE OURANGO

(I BOflHACHO " ■ ■ ■''.([

EL TRONO DE MEXICO

LOS ORIGINALES OE SAN JUAN

IUC1 UHVUl IHtMO MHKUMNK lUK UUfD«»SIMl

TIERRA CALI

16
®

18
20

B
B

14
18

12
9

LOS BUITRES DE CUUACAN SINALOA
NOnNGAS HItDO ■ .'. Ml', , ■.'.!

PATRULLA 81

aniEDUMANIE 3DSUf>EHEXntlSiK>ii;zi3SSEX'lM.E

LOS BUKIS

StRIE OMMAHTE » SUPtfl EOTOS M'JFJ Bi?1iini.M.t

CONJUNTO ATARDECER

CDNIICO PAIU SIEMPRE .1 ■ " lir,'.t

MARIACHI HERMANOS BARGIAS

CANIOS ( ALASAMIAS !)\SCOS fiAHAJAS &S9<VIHA *

[

i§
o

§1

ARTIST

TTTIE I'.ii'RiM DISinteuilWl LABEL)

Kl AVENTURA

BIR39 TW LAST l«ll UtAl LATN aaOKONH MU9C UOR

,2,

GILBERTO SANTA ROSA

JOSEPH FONSECA

LUIS ENRiaUE

CICLOS li ■ 11' .-'lilt +

HECTOR ACOSTA

GRUPO MANIA

a Ptia LA MANIA '.li KA^^*i Ml* lATTi

VARIOUS ARTISTS

10 TROPICAIES OE HUH. NOV T SlfNTK VIHA Ato

VARIOUS ARTISTS

SUPER IS MEGA HITS M/.' llilj OIIUDUMLE

VARIOUS ARTISTS

IMMUKiHHWECTLOMjaiMinwJW '

VARIOUS ARTISTS

TSiLBERTO SANTA ROSA

BCAWLaQKUUUA ■ j : ■■ +

OMEGA

EL DUENO DEL Flow " f ■ ■ r tuU* UuaC LAT Ti

VARIOUS ARTISTS

FIESTALATihA : .'lii^Ot/r MUSiC LATIN

VARIOUS ARTISTS

«lUOlKlUFaXfl0Ul->. • L-lll HCUAVrfTMIZlAtM

VARIOUS ARTISTS

ftW:iWTADEAAKinvaL< u'. 'JhO>tJf»nMEJBCLAm

■

VARIOUS ARTISTS

IUI<TICI»>[A:«OnT1 lUMTl AHHt-^.M' M/XUm

VARIOUS ARTISTS

SACHATA « I S VOL ? HE IE 01 1 fOSUMLE

VARIOUS ARTISTS

MutiiAiTMiiM .,11 >! iHnuias AN^«n^m<M«iAin

VARIOUS ARTISTS

TITO RODRIGUEZ

A MM MO MS MUSC EL MOUMMal IWIA IJCUMMIISCA

SB S£

ARTIST

TITLE IMPRIKT OlSIRIBUIINC LABEL |

WSt EDNITA NA2ARI0

BBS SOT SUTEY UUSIC LATIN SS«34 j

DAVID BISBAL

SnMHMAITtu. 'Af H'Ad U.SC lATWOIIUOl lAAE ^

JUAN GABRIEL

W CMKWMES F«S ANKOS ItlAlAi '£& STTn^ use lAJn

A
w

LUIS FONSl

PAlAaHAS «l SRETO) 1 TJVTPfAL UUSC LATMO IJMU $

A
w

LAURA PAUSINI

PRIMAVERA ANTlCtPAOA .' . 1 U.R lATINA SI6B27

NELLY FURTADO

ME PLAN M liM.' i' ■ M r I .■I'lV: il'TtaUrtE

LA OUINTA ESTACION

SIR FREMOS II' M : 1

LUIS MIGUEL

NO CUlfU A LA MXI«- CUje ltM»S AARmiAmASaira

•

MARISELA

n EnTOS INHORTALES IM B614

TERCER CIELO

A
w

REIK

UNINAHAS M/ .ill .i SOFTY UUSC UllIN $

RICARDO ARJONA

STO PnO WARNER lATINA SI6W9

YURIDIA

MUA ES DE COLOR ROSA ^DFIV MUSIC I ATIN 5T4S7

ROCIO DURCAL

DufTO II t .1. -iiiioi! :rr,i Mi. : i latin

NOEL SCHAJRIS

UNO NO ES UNO L IJ V MUSIC L A1 llJ SSi9D

PAULINA RUBIO

GfTM CITY POP JM." RW lASL LATHO DTHTSUtt *

KANY GARCIA

BOLnO DE ENTHADA I LI-, i M SiC LATIN 17140

TRIO LOS ANDINOS

ANIOIOGIA NAVIDEHA 1 A l^'USIC 7A6

VARIOUS ARTISTS

SUPER IS ■. Ill MUSIC LATIFJO 0173151 L«L(

MARISELA

7DEXIT0S IHMEIRIAIES VOL 7 H.' 1 1- "i

/-V

§1

ss
is

ARTIST

THLE Eif,»rRiiii ■ ni!;TRiai!Tif([i labei i

KlviriSIN & YANDEL

SBS UE REVOtuaM i-i ' LI'V-KCIE D1?9fi7.>UMLE ^

TITO "EL BAMBINO"

El PATRON -1 1.' 1

DADDY YANKEE

iMjHro IK (UMw wiMDmiKxiu ,Awit.MOCtEaniaMMf

MAKANO

ir AMD ; .-i|jA,j.(.i r.'.ALIIETE 4M031,'VWE

VICO C

BABILLA l.'AKIEIBiAN a4a(l6'EMI lELEVISA

CALLE 13

LOS DC ATWU <«« COMMBO %f <TE £Kn W£IC l/n

FLEX

LA EVOIUCION ROMANTIC STYLE EUl lEL^SA 6701 7

DON OMAR

100H M[ 'l 111 .-UHr'UULE

VARIOUS ARTISTS

LATIN URSAKKIMGZ MftCHEIE 01711B.'UMIE

V/ISIN & YANDEL

a DUO OE LA WSTORA FREStI II jeASOW MUX, LAIW

ALEXIS a FIDO

aOWH TO EJUTTM SOW MUSIC LAIlN 43S61

DJ NESTY

on*! T nmi nrnnn u «N WBHB w uotn cn ^TttMi

KINTO SOL

CARCEL DE SUEHOS viRU:, MACHETE D1?717iiiULE

FRANCO EL GORILA

WELCOME TO THE JUNOU AY MAD<Tf D1?S4UjM<

TEMPO

FREE TEIWO I llWn BDICOSONVMISK; LAIW ♦

EDDY LOVER

RKM & KEN-Y

THE ROrAUY LA REALEU PMAVACHm 01?0?2UML£

ARCANGEL

EL ffNQMEMO MAS. f ; OW. MAC METE 1700?0 UMlE

YOMO

M( OESIIHY SLACK PEAOI Tito

MAGNATE & VALENTINO

QUIHO PEfVECTA VI IiAACHETE 0U17B.UMLE

BETWEEN THE BULLETS

TITO'S TOP 20 THREESOME

"Mi Cania I iuclc A Ti" by Tito "tl Bjiiibino" claims a fifth wtx-k at O
sTimmit (2- 1 J oil Uliii Rhylhrn Airplay (viewable at billboard.biz/chart
with 2.7 million audience impressions, up 1 3%, while "Hi Amor," in
i9tii wet'k. rises 16-15 with 1.2 million, up His latest single, "Fel
Navidad." from tlic revamped "El Patron: La Victoria." debuts at No.
with 1 million, up 438%. Tlie last act to post Uiree top 20 titles as a Ic:
artist was Wisin & Yandel in the |une 21 . 2008, issue. — Rauly Rami\

46 \ Go to www.billboard.biz for complete chart data

Data for week of NOVEMBER 21, 2009 I CHARTS LEGEND on Pag

BillbMrd

^ UNITED KINGDOM! ^ GERMANY

ft «

DOESNT MEAN

(THf OFFICIIl

UK CHARTS CO 1 MOVEMIIK B. n«1

ii ii

(WEOlACOIIIftOLl IIOVfMEIIII I00«

EVERYBODY IN LOVE

1 NEW

PnjtSTER

ICH • ICtt OOUfSTIC POP

FIOHT FOR THIS LOVE

CHI1TI COli

2 1

BODIES

ROBBIE miLJlMS . -tm

MEET ME HALFWAY

r« BLACK mo cms interscope

3 NEW

SECRETS

ONEMniBLC '." ' :|V l>.!:'tKC::t:

DOWN

n.-sf»tTuiwr™«L.-.'!'.*.'i'"f,'_'_'i -L-'.Lu.

4 3

SEXY CHICK

DAD'O Dl>iI1« FT tion GUU'VIPGIN

■i

BAD BOYS

muNmt Bup.u FT ao nu svco

a }

HEAVY CROSS

THECDSSl" :flUWIA

NEW

TIK TOK

a 9

PAPARAZZI

mcrSJUil ■■■

HAVEN-T MET YOU VfT

Mii:(iA£L fiUHLt ; ---iWE

7 4

HELLO ITURN YOUR RADIO ON)

QUEENSSERR' SIWttiT!:M C-lf VFN1F

WHAT ABOUT NOW

a (

ALLES KANN BESSER WERDEN

XAVIEH NAJaDU ^1* JL>:i

new

END CREDITS

CWUf A raTUS FT PIM 1 ITRTKIO

9 7

IF A SONG COULD GET HE YOU
lUJIIT LARSn ViRGIM

■AOfKMUNCE

10 1)

HEY DU

SIM uMVEHSAl

O CANADA

BILLBOARD CANADIAN HOT 100

iSNEP.tFDf> TII{ LIVIl NDVtMBLFI 1« iODi

memuaouHOKiMi Nov»BEitii m

ii ii

lARIAI NOVEMBER B IMS

JAIMERAIS -ELLEMENT

TIK TOK
KEUA ■ t.' M

1 4

TIK TOK

KtStiA "1 '.- '

LADY HELOOV

TO II f RUfn DWAVAV

SEXY CHICK

DAnn CUETT* FT AKIM ; ' .1" ■

8 1

MEET ME HALFWAY

THE HACK EIFn PEAS IN";FI5C'3Fe

SEXY CHICK

QAVO BUfTTAFI AKON r.,iv virr.i',

FIREFLIES

3 16

BAD ROMANCE

LAW am ^--i'.i If tniyfi^vr^tifr^sf '"

1 GOTTA F«ELIHG

TME MACI EYED fAS INTE^ISCOPE

BAD ROMANCE

4 2

THIS IS WHO 1 AH

VAMESSA AMOflDS' 'IK'FR ^.['l

NEW

COME ON

JAVIMULA ■ '.t'jF]

BHlTHiY SCt^HS iKf -: JfO MUSIC

9 3

SEXY CHICK

OAvn euETiA n auh Guy.-viRaita

EVACUATE THE DANCEFLOOH

MEET ME HALFWAY

THl BIAM ETED PEAS WEfSCiyt W«flSAl

8 9

DOWN

i» K« Fl Ul wmc USH KMV.W6ISA1 HRBUC

COMME DCS ENFANTS
JOEUROE PIUJ-F

WHATCHA SAY

iUM emiUI BELUQA tElGHIS WANNER

7 S

BULLETPROOF
UBOUI ^. -ni

OM NEST PAS COUCHE!
CDUICTtf METBH ajRPLAY

PARTY IN THE U.S.A.

WKIET CTRUI HOtlYVlOnO WrtR5*L

STAftSTRUKK
10HI3 PHOIO FIHIW

MMHHUSH

mmmn oolis men.-':d''£

RUSSIAN ROULETTE

njHAHM ^ DEI jAU'UNI'ftRSAL

9 6

PARTY IN THE U.SJl

NILE' CrfiUi 'IK, .'/.'HOC

LAS8E-TOI ALLER BEBC

COIUCTIF METIS U UNIVER5A1.

EVACUATE THE DANCEFLOOR

CASCADA " Mr VM 4«fMlU^

10 8

■Rimrr ikars ji'i^.'jlc

OSRAIN 1

IFMLUKlSEHj MV1MBER t IBM

(PRSMUSICAE. MEDIA) HDYEMMfl II. HPS

Tl VORREI SOLLEVARE

tUtA CON BULUMD SANGIOMI SUGAR

QUE NADIE

■UHUCL CAIMAKS DM CON MNU VALE

1 GOTTA FEELING

THE ALACK ITEO PtAS INTEnsCOPf

1 GOTTA FEELiNG

TME RIAC i*in PEAS INT£flSCO*t

BODIES

BDHK WAUNM CHnYEAllS.'VIHeiN

LOOKING FOR PARADISE
mnumi uu n auci* an wfrta tnos

L AHORE St OOM
HOfMI SON> UUS<C

AYO TECHNOLOGY
■MOW HnWEHl.N MUIIICH

LOBASHE WOLF

tWUUM [PIC

CROHICAS OE LINA LOCA

a BAMUO SlhADOR

SENZA NUVOLE

UfllANDM AMOMHt IPK

'i*

LOBA

SHAIMA SOHV MUSIC L AUH IPiC

CELEBRATION
HUDRM WARhER BROS

HALO

BtTDKi MUSIC WORIDXOUWHA

SEXY CHICK

MTO CintA F' kKIM GUH'VineiN

RECUEROAME

u mam EtncioK son wisK

HAVEKT MET YOU VET
MKMAaBUILI ^JJ.'REPftlSE

■

ESCLAVO DC SUS BCSOS

OAvm MIAL MUf

1 22

BECAUSE OF YOU

■nm AHAnnE ON! little iNLVJ,H

KALEM8A (WERQE - WEROE)
lunuu lOM laiuu fAemc

0 BRAZIL

(APM'NIEISEH) mVEMBER II, 7M1

new

VARIOUS ARTISTS
PROMFUU SOU LiVHE

MEW

ROBERTO CARLOS

ELAt CAMTUI MIBIIO CAflLOS SOKY WJSIC

VARIOUS ARTISTS

nVEII A VIDA HACKMIL iOU LIURE

MEW

MICHAEL JACKSON

■ICMAEt JACKSON'S THIS IS FT f PIC

VICTOR E LEO

MRianAS -.-If;- MiISjC

BEYONCE

1 AM USHA FIERCE WWlACOUHBIA

IRMAO LAZARO

VAI MUOAR 5CM klVKE

BELO

PfllMVfU SOKV MUSIC

REGIS DANESE

FA2 UH MKJSNE HI MI»W MIDA IINE

ANA CAROUNA

HIM >m MUS/C

EUROPEAN
HOT 100 SINGLES

IHIElSINMLBDAflO] HOnHIER tl, tM

SEXY CHICK

0AH1D CUfTTA FT AUH eUU.YIRGIN

)

1 GOTTA FEELING

im BUCK eYEH PEAS IWIEftSCOPE

BODIES

mwc wtuiAW i:)tnYSAj.is.vin6iH

EVERVeODY IN LOVE

JLS EPIC

J AlUERAIS TELLEMENT
JEMA UE MERCURY

MEET ME HALFWAY

TW BLACK EYES PtAI IhTERSCOPE

FIGHT FOR THIS LOVE
CHERTL CGlf P^LYDM

HEW

PFLASTER

KH + ICH ODMESTIC PCP

LADY MELODY

TDM FftABtH.««Ml1WI QMAVAV'U

DOWN

JVMi FI UIMnC CASi kDCYAMCRM. BEfUUC

EVACUATE THE DANCEFLOOR
CASCAO* ZGOLAND.itSRALATIIM'AArw

SECRETS

OOERE PUBLIC MDSUV/INTERSCOPE

PAPARAZZI

UOaCA ' tJ£OlAtOBB>TO«Trtj: •■

RELEASE ME

AftNtt C'JPENEIAGEN<3 BEAT SLUE^'AAIV*

HEAVY CROSS
THE BOESIP CCLUMBIA

HAVEN T MET YOU VET
MlCIUfl BUILE lU'REPNISLWAHMER

NEW

TIK TOK

KfSHA ■ : MMEY'KA

BAD BOYS

allkahom buw n. no NBA svoi

BAD ROMANCE

mcYMM ■ . .■ 1 ii .:it._'(;iir.. .-.

t«

CELEBHAIIOH
MAOONM 'VAKNLI' UKlj-i

to DIGITAL

INIELStN SOUNDSCAn

IKTEHHATIONAll HOVEMBER 71. 7008

EVERYBODY IN LOVE

A.S :

FIGHT FOR THIS LOVE
CHERYL C?IE

MEET ME HALFWAY

THE BUCK tnO PEAI iMEfiitOPE

HEW

TIK TOK

KEIHA ■■ .J ML-IEV.'HCA

DOWN

il- StUI " J, Wm CKtt lAJtViJf filUI, .

BAD BOYS

AUIAHORA BUKE FT. FU> MA SVCO

HAVEN T MET YOU YET

MICHAEL BUBIE K3.'R:PRfS£

END CREDITS

CHASE 1 iFAIUS FT PLAN B UtRCl,av

EMPIRE STATE OF HIND

,itT t . ALICIA Ki'S i' -.'im

NEW

BAD noHANce

UOTai«."-i>^-Ut»aA.UOt?«>1»£*ItH^^'

ItaMlsknalwatttASIsNo.
ImtttUSii^iMliitthi

iMoatf time Hils Ntik "Fvi!n
bodv in Love." The act earl : : r I il
UelgpnlUi-teilAgaln."

I IRELAND

^ NEW ZEALAND | Q FLANDERS

...

hdtehiiii I im

VIVA LA VIDA

dflNAOURT nUCKl NOTEMSER 1 ZDDl

FIOHT FOR THIS LOVE

CNBim COAE.-'CIL'C'JH

EVERYBODY IN LOVB

M LP1C

BAD BOYS

AKIAtlDAA Bunilf FT FLO mU i.YCG

WHAT ABOUT NOW

WEiHlll '

MEET ME HALFWAY

THE BLAU (no FIAS '1IERSC(P<

, UICHAEL BUSLE

CRAZTLOVE 14X'REPRIM

T CHERYL COLE
' 3 WOROS i'OLYE>D«

SAW DOCTORS

TO WIN JUST ONCE - BE n OF UMnmiSAL

. ALEXANDRA BURKE

^ mncoM s*co

MCOmPUBUCnMLTD) HOVTMBERn Kffi

lUiriUTOP Of K| HOVEMIfll 1 1 . MOI

TIK TOK

HEIHA - I..-

MAMASE'

■

WHATCHA SAY

JASLW IHIIUIU .-.■■i-llM RHUS

PAPILLON

PARTY IN TME U.S-A
MIIETCYRUS i:i:'4EV

LNVOI

AtJrHTHE HIMEIED KE^EUDS

DOWN

MY SUM F1 ULWntCA9<U[MVlM«»LieUU

SEXY CHICK

OAVID GUEITI FT AJUM GLV .mGiS

MEET ME HALFWAY

TME BUCK (TED PEAS INTEASCOPt

1 GOTTA FEELINO

IH( BUCK (YIO PIAl IS'tl^ii ltPt

' 1

FOO FIGHTERS

GREATEST HITS t" -

CLOUSEAU

71JAAH;U .'.Hir.i

, MICHAEL JACKSON

' MiCMAIt MCKiON J THIJ 0 rl U,J Eric

MICHAEL JACKSON

MICKAEI JACKSON 3 THIS IS FT ttli EPIC

GIN

HOlY SMOlf '.il.i'.-:fl5A,

FOO FIGHTERS

(IREATfSI HITS -I *

NEW

DAVE DOBVN

flCUDE YOlt JO TEARS Of «T8 SlFil" VJ^ir

SOUNDTRACK

JllS-«n EUROSOM 7BM i ^'itc.

HOD STEWART

T>lt GRtAr AMtFtlCAM SOULMDK

EDITORS

M INS lUHT wa « THS CVEMK 1. 1'.'l 'I/.- r.

EURO

DIGITAL SONGS ^^-i

ii
1

INIEIEEN BOUNDSCAN

INTERNITIOIIALI ttOVEMIED 11. MM

EVERYBODY IN LOVE

MEET ME HALFWAY

THE BIACI ETED PfAS IMEDSCOPE

FIOHT FOR THIS LOVE
CHERYL COIE PD.OOR

TIK TOK

«SHA F.Ail MOIKTfflCA

DOWN

jLl sunn LLWrtf "^-i-t>»f>i«|PBjy.(tPAi:

1 GOTTA FEELING

THl BUCK EYEO PEAS INTERSCOPt

BAD BOYS

AUUUMN NMCI FI Fit MA SVCO

BOOICS

MMM WIllMM CHRVSAUSWRBW

SEXY BITCH

OAviu GunrA r mm ^lUUvwaiN

EMPIRE STATE OF MIND
JAT-I + AilClA KEYS ROC 'Wm

HAVEN'T MET YOU YET
■ICIU£L BiniE '■ . . -a'P-.H

BAD ROMANCE

UlCiVMiL ■■ ■ , ■ 1'

END CREDITS

CHAJE 1 STATW FT PIAH B UJRCUR-

NCW

HAPPY

UOKA LEWIS SYtQ

PARTY IN THE U.tJ^

MiLiv cnus hcillvmod

ALBUMS

IWLHHWLMIAHD) NOnMHR II. HOI

MICHAEL JACKSON

HICIlAfL JACKSOH S THIS IS IT ^1, 1 l-' .

MEW

BON JOVI

THE CtRClE ■■ ' ■

MICHAEL BUBLE

CMITLOVI ■ . 1' . V-

RAMMSTEIN

llE6f liF FUR AUt DA M0TnRUW'.tFi5*,

NEW

FOO FIGHTERS

GRtATESF HITS 'ii .,

STINQ

V IN A WimBrS NHMT ^HiRRVTREF. 3G

CHERYL COLE

J WORtli

MUSE

THE ftSSISIANCE ".'.L 'ilLuM 1

THE BLACK EYED PCAS

TWIND Wi'...

HEW

SLAYER

WORLD PAIHTQI BLOW AMERICAN

DAVID GUETTA

out ICHT . ■■■ .1" . ■.

MADONNA

CELEBRATION ' ■ iflOS

XAVIER NAIDOO

ALLES IJJtyi BIS»R WRDtH MlO-tO

; 14

SIDO

KSKI BERLM 'jlhi.',

WHITNEY HOUSTON
liOCATOVOtl ARISTA

EUROPEAN
AIRPLAY

MOnMUn It. nos

1 QOTTA FEEUNO

Tm SLACK EYED PEAS IHTERSCOPE

SEXY CHICK

MVID UmA n Um GUH/VIR6m

PAPARAZZI

BODIES

MOAM WUIAM CHftYSAJ.ISA'IReiN

EMPIRE STATE OF HIND

JAVI t ALICIA KEYS Rr.">:-' ' If;

EVACUTE THE DANCEFLOOR
UiCADA ■ .- . ■ ■■-.iliv

HOTEL ROOM SERVICE

mBiJu.Mii i:l<^ POLOGnouNO J

MEET HE HALFWAY

m BLACK ErtO PEAS IKIEnSCOPC

J AIMERAIS TELLEMENT

WHEM LOVE TAKES OVER
OAVIOGUETTAn «!Ll'R0l»li3

RUSSIAN ROULETTE

INMAI»NA;:.i'.:iri[l

PUNHOUSE

WKLA^ACE.'JLC

1 WANT TO KNOW WHAT LOVE IS
MAlttAH CARIY ir^.AHO

: 14

AYO TECHNOLOGY
MILONV K)MiNLJK. WJN)CH

SHE WOLF

SMAKIM SOKY MUSIC lATIM EPIC

I for week of NOVEMBER 21, 2009 I For chart reprints call 646.654.4633 Go to WWW.bMlboard.biZ for complete Chart data I 47

■■' -.r.flJIUmBi
■XAPI.HLCS

HhFJ I'UY llAFIQeFI >-,AlVCnSl

Go to www.blllboard.biz for complete chart data

Data for week of NOVEMBER 21. 2009 I CHARTS LEGEND on Pag

Cni

K)09 BILLBOARD TOURI

D AWARDS

le sixth annual Bi'lboard Touring Conference and Awards, the
emiere gathering for the concert industry, took place Nov. 4-5
the Roosevelt Hotel in New York. The two-day event featured
mels. discussions, networking opportunities and an awards
ception that targeted promoters, agents, managers, venues,
lonsors and production professionals. The conference put up
cord attendance numbers this year, drawing registrants from
segments of the industry for discussions on the most critical
iues facing the live entertainment business. The 2009 Billboard
•uring Awards are based on worldwide data reported to
llboard Boxscore for the period of Oct. 1. 2008, through Sept.
). 2009. Madonna's Sticky & Sweet tour was the big winner,
king home honors for top tour and top draw; Madonna's
anager Guy Oseary won the top manager award. Other winners
:lude Kenny Chesney's Sun City Carnival tour (which was the
:th straight time that Chesney won for top package), ii Divo
le breakthrough award) and U2 (top boxscore for the band's
ows at Croke Park in Dublin last July). Vans Warped tour
under Kevin Lyman received the Humanitarian Award, and
:zy Osbourne was named Legend of Live, The event was
onsorod by Eventful. Ticketmasler. Verizon Arena. Ford Cen-
. Mozes. Pioneer Coach, Wells Fargo Theatre and Time Warner
ible Arerra, among others, photos: courtesy of luis garza.. jowdy

OTOGRAPHY COnt

Live Nation COO of glob^il tounng
Gvrry Elarad accepted awards tttn
Madonna's Sticky 8. Sweet tour
(top lour and (op draw) .ind U2 at
Dublin Croke Park (too boxscofs).

^ A|i§r

_ . f^^^^ Billb<

Billboard executu f director of content and ores

Billboard ewecuti* director of content and progromming tor
touring and live entertainmem Ray Wttddell (far left) moderates
the keynote Q&A on Michael Jackson's This is it" saga witti
(from left) AEG Live CEO Randy Phillips and AEG Live/
Concerts West co-CEOi John M»gl«n and Paul Gongaware

INSIDE TRACK

PANIC PLANS NEW ALBUM

A relatively light year of touring for Widespread Panic
has let the band concentrate on a new album to follow up
the 2008 •■Free Somehow."

Bassist Dave Schools reports that the group "convened
at our home studio in Athens. Ga.," this year, returning to
producer John Keane for the first time since the 2003
"Ball" to work on fresh material. "We committed about six
or seven ideas to tape, as the whole band, to start work-
ing on it, and I know there are a lot more in the hopper."
Schools says. "They're not songs yet. Some have shown
up as worked-out instrumentals and melodies. Words
haven't found their way in yet. The stage we're at now is
developing those things."

The band plans to return to the studio in January to
continue working the ideas into songs, and Schools pre-
dicts that an album could be out "some time before sum-
mertime, maybe late spring. " Meanwhile, he expects the
group to refine those ideas a bit while it's on the road
this fall,

"I wouldn't be surprised if some of those ideas work
thetr way into jams," Schools says, "maybe make an ap-
pearance as actual songs if we get them together That's
kind of the way we do things."

NOVEMBER 21. 2009 I

v.billttoard.biz

t'^r 200.000 votes were cisl lor the EventtuI Fsns' Choice
.Mth the Jonas Brothur-j tJkin<) hcmw.' the ori^o Frctn left
r:j[hr_-ts booktHQ agcnt Brian Manning of Creative Artists

A ji t .< y CAA ni.in.iging p.irt ncr/hoad of music Rob Light and

Eventhil CEO Jordan Glazier

Cni

^BACKBEM,

EDITED BY KRlSTIf

The Professor -Artists
roup International president
Dennis Arfa (right)-hoids
forth witli niodcr^itor ,ind
Eventful CEO Jordan Glazier

An eitte group of miin.igers teamed to discuss the role of tiriisaHfcnager on j
panel moderated by Billboard editorial director Bill W«rd« FroffiTeft Reo^-ght
Management president CEO Will Botwln Vector ManacjeTicnt co-O'csident Ken
Levltan. lOth Street Entertainment president Allen Kovac Music World
fcnlt-t.iiniii^nt pr.?Sider>t CEO Mathew Knowles, 50 f-*.m:iy*-i'>ein tnan^iger Dave
Holmes Werde and FIdtiron Manngemeni manager Mike Martinovich.

2009 BILLBOARD TOURING CONFIERIENCE AND AWA^n

CopytKiN 2009 by Nielvun Bw"-\\ M»-a>.i. I"c All iiyWs h'miivik) Nq p-wt of thu pubM.tiiCfl mjiy b* r«prodUG*«L tlOrM m Miy tt-Xii^.n! vyit^m Ci tiriii-.(Tii[|<-;j m .111, finiii lii l)y My, nui'An-.. iilvir'ifiK irvi Mrtiin.ii, ij(k<1cj< Oiiyiny, n'<(xijin9 or 01
(1SSN0O09-2SIO:USI>t0W-)OO>ripul>lnh(K)we«lilvnC«pt (or tlWlirM wp*h<n J«nu«ry. by NwbM luXntU Nvdia. Inc. 770 Br(Mdw«v. N«W York. N r tO005-9S95 SubKnptiOn tale annual 'alP, COfrtinvfital U S S290OO. ConllnMUl Europ* 2M pounds Billboard, Tom >t Houie, Sovereign Park. Market HatborougK LeKintr '
EnqlAnOLCie 9tf. ftegl»l«rect » a n«>np«pe* m ine BrilMh Poi* OHice Jatran IO9.0O0 fvn Peiiadlalt DOtug* paid at Nrw Vork. N v„ and at additional rruiling otticcs Poilnviiter. PIoo«d sgnd changes o< adctrculoBiMMMn]. P.O. Boi SS95. Northbrook. IL 6006S-I&95 CurrnnI and bachcopip^ ol Billbo.vd ar« avaii>Mil»on mi. •
from Kraui Microlorni. Route 100, Miflwood. NY IOT4ftot Xtroi Unlwrvty Mictolilmi. P. O. Boi IMA. Ann AftMX. Mt 48106. For repnntt contacts Doog KItfie. BBo IhoVGSgroup com, t-BO0"29O-S4e0, mt. 131 Utwtet Canadun Publication Mall AQr«*inent No •(003)7?9 rvlLtfn undvliverdbtv Canadian acMre»« to DHL Glotial Mail
BatbRd»2.HiiuuaugA.ONL4TIL2 Vol. U1 liw 4« Pmted «i the U S A Fw group wbictwtianinfotnMlorv call (M6-6S4-M6S For sublet For any otMr wlarmatlon. call 646'6S4-44O0

50 BILLBOARD NOVEMBER 21. 2009

Our World Live & Billboard Presen

BillbMir«llive^

BILLBOARDLIVE.COM

LIVE m

A Truly Interactive FREE Online Concert

November 19th, 9:00PM EST

Visit BillboardLive.com To Watcli Tlirough The World's Only Five-Screen HQ Player

It's an HD world... what's your angle?

Produced by Ron Weisner & Tzvi Small
Executive Producer and Founder Michael Williams

To Advertise, Contact: branding@owl.tv

BJOH
MAYE

LIVE FROM THI

eaCOtlTHEATR

NOV 17 @ 9P|8<

PRESENTED B

AVAILABI
EVERYWHERE 11|

WATCH ON FUSE H
FUSE.TV/JOHNMAYE

ENTERTAINME

Cni

ENTERTAINER OF ThI YEAR | FEMALE VOCALIST OF THE YEAR
ALBUM OF THE YEAR • FEARLESS | VIDEO OF THE YEAR • "Love Stc
^jjjj^ INTERNATIONAL ACHIEVEMENT AWARD

PHOTOGRAPHER: JIM HAGANS/CMA

TaylorSwift.com I BigMachineRecords.com

Cni

BillLoard

ON THE CHARTS

THE BILLBOARD 200

BOHJOVI/

iHtcincu

TOP INDEPENDENT

JASON UDEMI/

WDEOnN

TOP DIGITAL

44
44

BOHJOVr/

TOP HOLIDAY

ANDRCABOCCUJ/

HEATSEEKERS ALBUMS

TOP COUNTRY

1 CAHIIIE UNDERWOOD/

TOP BLUEGRASS '

1 puny LovuEss /

MLH.fli^lN SCiJl 11

TOP R4B/HIP-HOP

MICNtEl JUXSOH /

•^^ Miriii.[L .A^KswiS iHSBirnoJWiMai

TOP CHRISTIAN

FLTUAF /

TOP GOSPEL

BEB£ A CECE WIUMS /

sua

TOP DANCE/ELECTRONIC

OWL CITY/

TOP TRADITIONAL JAZZ

MICHAEl BUBLE '

1 'lA;-> 1 '['vT

}P CONTEMPORARY JAZZ

VARIOUS ARTISTS ;

1T|il\ if 1. ^ :-,[ ■I.VMCPtDWLft

P TRADITIONAL CLASSICAL

CEClUft RARTOLI

P CLASSICAL CROSSOVER

ANDREA BOCELLI

TOP WORLD

RODfltGO VGASRiaA/

TOP LATIN

ALEMNOmiMZ/

pivuusa EH<Ksa

]» SONGS

PAGE ARTIST /IITLl

THE BILLBOARD HOT 100

JAY-Z 4 ALICIA KEYS/

EWnF:: '.-im Of MM)

HOT 100 AIRPLAY

JAY Z + ALICIA KEYS/

™p«U 5TAIE Of HNO

HOT DIGITAL SONGS

OWLCtTV/

HEATSEEKERS SONGS

DAVIOKAH/

Rf 0 UOHT

MAINSTREAM TOP 40

JASON OERUU)/

ADULT CONTEMPORARY

TAYLOR swrn

ADULT TOP 40

KINGS OF lEOH

ROCK SONGS

BREAKING BENJAMIK/

ACTIVE ROCK

* BREAKING BENJAMIN /

HERITAGE ROCK

, ALICE IN CHAINS <

CHICK WtORMl

HOT COUNTRY SONGS

LADY ANTEBELLUM /

AINSTREAM RtB/HIP-HOP

JAY Z + ALICIA keys;

RHYTHMIC

BEYONCE /

ADULT MB

1 MAXWBX/

1 swwsns

HOT RAP SONGS

JAY-Z 4 ALICIA KEYS /

lOT R&B;HIP-HOP SONGS

JATZ * AUClAKElfS/

! \<y-i TiT itl UiW.

CHRISTIAN SONGS

TOBYMAC /

i.-|yM^..itw»«ES

)T CHRISTIAN AC SONGS

TOBYMAC /

1- r.'.'UHWiEES

CHRISTIAN CHR

TOBYMAC /

1 rvi.'..'n".SFFs

HOT GOSPEL SONGS

BEBEACECE WIKAMS/

lOT DANCE CLUB SONGS

LILY AILEN

HOT DANCE AIRPLAY

TIESTO & SNEAKY SOUKD SYSTEM/

■ ■All . ■! I*4f

SMOOTH JAZZ SONGS

PETEH WHtTE/

HOT LATIN SONGS

DAVID BISBAL /

HOT MASTER RINGTONES

JAY Z + ALICIA KEYS/

;M('itt ;.i-i!.':(-wifi;)

HIS WEEK ON .biz

i ARTIST / miL

TOP POP CATALOG

«1

CASTING CHOWKS

OP MUSIC VIDEO SALES

»1

THE KILLERS

.;■■■! 1 i ■.' .lm.-.. .L-iI iwu

HOT VIDEOCLIPS

JAY-Z -f ALKIA KEYS /

iUr\li I WI! 1^ WW)

TOP DVD SALES

•1

G.l JOE: THE FUSE OF COBRA

CONTENTS

IPFIJOXT

5 FACE THE MUSIC

EMI's fate hangs
in the balance as
ovYner Terra i
Firma tries to
address debt.
8 Digital

Entertainment

12 Global

13 The Indies

14 Latin

15 Q&A Tina Shafer

ON THE COVER Kns Allon .ind
Adam Lambeft phologrciphoci
by Robert Sebreo

FKATl l{i:S

COVER STORY

16 SHOW TIME Less than a year after the
■ American Idol" wild child burst onto the
scene in an explosion of glitter and leather.
Adam Lambert readies his first album.
Plus; A Q&A with "Idol" victor Kris Allen.

21 THE EVOLUTION OF LEONA

LEWIS On ■■Spirit." Leona Lewis w.is tlie
U.K. s girl next door who conquered the globe.
Now. on 'Echo." she's taken charge of her
image and her songwriting— and is ready for
a world tour

24 BLAK IS THE NEW ROC The Black
Keys team with Damon Dash, Mos Def and
RZA for a hip-hop labor of love.

SPECIAL FEATURE

27 ON THE RISE Australian sales edge out
of the red. with digital leading the way.
Plus On The Road

MISIC

33 WAR' MACHINE

30 Seconds to
Mars gets its fans
involved on "This
Is War. "

34 Global Pulse

35 6 Questions:
Sting

36 Reviews

38 Happening Now

IN i:\ i:i{v
issi

4 Opinion

40 Marketplace

41 Over The Counter

41 Market Watch

42 Charts
57 Executive

Turntable.
Backbeat
Inside Track

rrnrniffrniiiiiafwr B ■ M L!l JSU fcl^I^ I

Or lipp

NEW BILLBOARD.COM

Check out new, exclusive
content on Billboard.com,
including video interview/s
with Adam Lambert. Sting
and Leona Lewis. Plus, take
a look at the photo gallery
for the Photos of the Week
—it's updated every Friday
with the week's best.

MUSIC AND MONEY

LATIN MUSIC

The Billboard Latin Music
Conference & Awards will
take place April 26-29 in
Puerto Rico at the Conrad
San Juan, Condado Plaza.
Don't miss the most
important Latin music
industry event. More: bill
boardlatinconference.com.

NOVEMBER 28. 2009 www.billboard.blz I 3

BilllK)«ird

EDITORIALS I COMMENTARY . LETTERS

OPINION

Under The Influence

Online Access To Music Can Help Fuel Creativity And Innovation

BY STEVE PURDHAM

For years, the debate over the Inter-
net's impact on the music industry has
centered on piracy, which has put a siz-
able dent in the wallets of artists and
labels alike.

But Duran Duran bassist John Taylor
recently shifted the discussion lo a new
area, arguing that the Web is hurting artis-
tic creativity.

In a speech delivered at UCLA in Oc-
tober. Taylor asserted that online plat-
forms like YouTube and Twitter were
ruining music, suggesting that the un-
precedented access to musical influences
stretching back decades is having a neg-
ative impact on the creativity of modem-
day artists.

By being influenced by music from the
past, Taylor seemed to argue, aspiring
musicians will dilute innovation. He also
maintained that consumers, able to hear
the music of their heroes at any opportu-
nity, will quickly tire of it — negatively af-
fecting the longevity of music.

All of this is patently untrue and quite
the opposite to what we are trying to
achieve at we7. a streaming music serv-
ice that provides consumers with legal
access to millions of tracks.

Modern-day music is a patchwork of
influences from previous genres. Such
(racks as Procol Harum's "Whiter Shade
of Pale" demonstrate this explicitly. The
track has an organ line influenced by |o-
hann Sebastian Bach. Far from under-
mining the power ofihe piece, the
Bach-influenced organ line made the
song one of the enduring musical clas-
sics of the '60s. Similarly, the Last
Shadow Puppets, a side project of Arc-
tic Monkeys frontman Alex Turner, re-
leased a debut album last year that
referenced the music of '60s stars Scott
Walker and David Bowie and was met
with critical acclaim.

The online arena is a vital stepping-
stone for any artist trying to find an au-
dience. Scottish singer /songwriter Sandi

FOR THE RECORD

■ Universal Music Publishing
Group became the worldwide ad-
ministrator for the Warner Bros.
Entertainment music catalog in
2009. A story in the Nov. 21 issue
was incorrect on this point. The
story also misspelled the name
of Rondor Music Publishing.

■ John Mayer's musical direc-
tor is Steve Jordan. A story in
the Nov. 21 issue was incorrect
on this point.

Thom famously drew thousands of on-
line fans to concerts streamed from her
kitchen, which led to a record deal with
RCA and an international No. 1 hit, "I
Wish I Was a Punk Rocker (With Flowers
in My Hair)."

Similarly. Lily Allen started with a My-
Spacc profile and an audience of tens of
thousands before she signed with EMI
imprint Regal Recordings and produced
two hit albums and a slew of top-ranking
singles. Without the channels now af-
forded to unsigned artists, would these
two have made it.' Possibly, but it's far
from being a likelihood.

Innovation isn't stifled by access to
music If anything, great new music often
emerges from the ashes of previous mu-
sical movements. Punk was a direct reac-
tion to the music that preceded it. in the
same way that Brit pop paid homage to
the songs of the '60s and 70s. The sug-
gestion that consumers become tired of
their favorite artists through overexpo-
sure can easily be challenged by looking
at the recent U.K. download and we7
streaming charts, where long-established
acts like Fleetwood Mac, Journey and
Shirley Bassey all made an appearance.

In terms of the dues owed to online
music by established artists, there's now
an argument that the reason there arc
such premiums for tour tickets, long
after an act's records have gone out of

production and the original fans have
developed families and expanding waist-
lines, is because their music remains rel-
evant and accessible through online
channels. U.K. music festivals are now
awash with veterans of the '60s and '70s.
because music fans in their teens and
20s are not only aware of Neil Young,
Bruce Springsteen and Tom |ones but
have downloaded their music and know
the words too. It's a situation that was
unthinkable a decade ago.

A key factor in the latter-day relevance
of new acts is the ability to find, discover
and share music online. When a fan dis-
covers the original recording of Leonard
Cohen's "Hallelujah." it's a personal rev-
elation. When that fan can share it across
social networks and on his or her blog, it
can be the catalyst for a revolution-
Streaming is increasingly used as a means
to preview tracks, letting consumers sam-
ple and explore a wide variet>' of music —
which can only be a positive for all artists,
especially those not promoted through
mainstream channels.

Ultimately, music couldn't evolve with
out artists having access to new influences
and audiences. Our aim is to provide sus
tainable access to every great track de
manded by consumers.

Steve Purdham is cO'founder/CEO of
U. K. music streaming service we7.

WRITE US ■ Share your feedback with Billboard readers
around the world. Send correspondence to tottanra Wllboard.com.

include name, title, address and phone number for verification

SUBSCRIBE . Go to billboard.blz/subscrflM or call
800-653-8372 (U.S. toll free) or 847-559-7531 (International),

BIU.BOARD I NOVEMBER 28, 2009

EDITORIAL

OtWJTV EIxroR Loul* Hm -1' • M -:~

SENIOR EDTOR Ann Donahu* ■- t.-^ .■,■=•:'

SPECIAL FEATURES EDITOR^ Ttiom Dulty 646 e&4M7te

INTERNATIONAL BUREAU CHIEF: Marh llUhltUiHl 0TI-4d-207-42l>«55

MUSIC EDITOR^ Cortnvy Hardlnn • J- ' ■i4^5a?

BtLLBOARO BIZ EDITOR; Clwl» M. WalU) f 4f f,'^ .1004

EXECUTIVE OIRtCTOfi OF CONTENT AND

PROGRAMMING FOR LATIN MUSIC AND ENTERTAINMENT; L«<ta ColM 'Miwm] 3t>S'S6
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR TOURING AND LIVE ENTERTAINMOIT: *mf WMM iNasr^de) 615
EXECUTIVE DIRECTOR OF CONTENT AND

PROGRAMMING FOR DICiTAL/MOBILE Anlony Bnwio : -i ■ i iOJ-J71-1M2
SENIOR CORRESPONDENTS: Ed Chrltlman •
Gall MHeMn . 1. 1 ■ n'l Tom F*rguuin '

SENIOR EDITORIAL ANALYST: Clwin PMjptoi
CORRESPONOCNTS: Ayala ••n-Vatiudl -
INTERNATKJNAL L«r» Rrandto - ■ Wolt9*ng Sf>*lv ■

GLOBAL NEWS EDITOR Andra Pain* 1 : . < ■
COPY CHIEF: ChfU Wood*
COPY EDITOR: CtttHtM TtUM

ASSOCIATE EDITOR. SPECIAL FEATURES: E«<« N*gy > i.
CONTRIBUTORS Jim BMamwi, Lanv BlumMiMcL Juliana Korantano, Karrt MtMO,
D*<>»rati Evan* Prlea, Paul iaitoti. Slav* Tralmaiv AnaUaiia Ttioukai, Kan Tuekar

SPECIAL PROJECTS MANAGER: KrlMlna Tunil

BILLBOARD COM

it 44-207 43-

MItchall Palara i;!-S:S-2.'

BtLLSOARO.COM EDITOR: JESSICA LCTKENANN <^
BiLLBOARD.COM NEWS EDITOR: Dawld J. Mnca r It
BILLBOARDlCOM associate EDITORS: H

^ F*. 305-864-3277
.- ^777. Fa« fc12-9440-77aB

DESIGN ft PHOTOGRAPHY
CREATIVE DIRECTOR CHRISTtNl •OWER-WRt6HT

PHOTO EDITOR: Amaila Halvarton SENIOR DESIGNER: Gr«s GratKiwy

CHARTS A RESEARCH
DIRECTOR OF CHARTS SILVIO PIBTROLUONaO
ASSOCIATE DIRECTOR OF CHARTS. Raphaal Oaorg*

SENIOR CHART MANAGERS: KalUl CauMatd ' tm^ e>.ii;._vvi 200. C*a. Corr>o>iMMVfS D>

■ ■ iriTepsfwiiar.t. Inioifial. Pop tAtalOQ, SouncRrackf. LA.)
WK»*J*»«n' -I'. ^iion.Coi^try.Ooipel. Na»hv*e)

CHART MANAGERS Bob Allan < PoxKOr*. Na»IWIlg). lUpllMl — BfH {BlOW, R4BAllt)
Gordon Murray (Can-cdy Oar>c«/B*ctronie. Jan. Naw Aoa, ttingnoi
Silvio Rtairoluon9o (Tn« Billboard Hot lOO Digital Son^s). Mat M

Gary Trust -i-t AnamatW. Owrt B— t H»aiWlh»n SOngV M

Alai vitouit* ~ j^vcal. Kid Audio. Video)

INTERIM CHART MANAGER. Rauly Ramlm (L«tM
CHART PROOUCTION MANAGER: MtcUal CuaaOA
ASSOCIATE CHART PRODUCTION MANAGER: Alei VHmHi
BJLLSOARD RCSCARCH MANAGER: Gordon Murray i,AG-b^-lf,S3
DIGITAL

VICE PRESIDENT. DIGITAl.: JOSHUA ENGROFP
DIRECTOR. MARKET DEVELOPMENT: Eric Ward
MANAGER. MARKET DEVELOPMENT Juftln Harrli

AOVtU'iSING SALES
VICE PRESIDENT, SALES/ASSOCIATE PUBLISHER JEREMY LSVINE ' i. ' 54-4627
NATIONAL SALES DIRECTOR/DIGITAL A CONSUMER 0«r**> Sanlnar < 6S4-46I6
ORECTOR. BUSIWSS DEVELOPMEKT ft EAST COAST SALES. PRINT: CMMBVMr MM»6'
EAST COAST SALES DIRECTORS. DIGITAL Antonio Amah. ■ 1'. ...^-4686
D«CTDR. SPECLAL FEATURES A WEST COAST SALES: Akl KaiMto 325-S2S-2299
MIDWEST SALES DIRECTOR, DIGITAL Alarw ScMlfha . To 514
WEST COAST SALES DIRECTOR. DIGtTAL CaMy Dannaliy , r

NASHVILLE: Laa Ann PtKMogto - i' <■ CynlhU Haltow "^■2-02KO0'

ADVERTISING OIBECTOR DETROIT: Kalhy Varflo . ;

ADVERTISING DIRECTOR EUROPEAJ K FradartC FmmccI i - i . 1J .-6075
INSIDE ACCOUNT REP- JaH Sarrvtta : •
MANAGING DIRECTOR/LATIN G«ne Smith
LATIN AMERICA/MIAMI Hard* Ottval
ASIA-PACIFIC/AUSTRALIA. Linda Maikh ' .
JAPAN: AklK*nato

MANAGER OF SALES ANALYTICS: Mima Gomai '-4(> 6S4-469S
ADVERTISING COORDINATOR: AkcKBrKba Harti t.4o-&S4-5Sei

MARKETING

SENIOR MARKETING DIRECTOR: LILA GERSON i ^i. 6&t'4£29

EVENT MARKETING MANAGER: MIcola Cartoon* ' 16-6S4-4634

SENIOR MARKETING MANAGER: JameiCraii - >■ »<i4-S4e9
MARKETING MANAGER Karri Baraman '.'..I-.1LI7
SALES/MARKETING ART DIRECTOR: MalUia SutkaUD
SALES/MARKETING DESIGN MANAGER; Kim Oraalnfl

AUDIINCC MARKITINO
AUDIENCE MARKETING DIRECTOR: NEIL EISCNBERG
ASSOCIATE AUDIENCE MARKETING DIRECTOR: Umda Lmh

SUBSCRIPTIONS .".■ '■=•■: j:""". '.■ I '~ i I'l "■-:f:-'^'-?5il l-ilptnaiionjl i c- nDba,

LICENSING. EVENTS • REPRINTS
VKE PRESIDENT, BUSINESS DEVELOPMENT ft LICENSIMCk ANDREW MM 1 t-.^ ni.ria
EXECUTIVE DIRECTOR. CONFERENCES ft SPECIAL EVENTS: HICHELE JACAHOILO
SPONSORSHIP/eUSINESS DEVELOPflENT MANAGER Cabata HarquM b46 f.Sd 4&4
SPONSORSHIP SALES MANAGERS Matthaw Carona 646 6^4 ^
SPECIAL EVENTS DIRECTOR. HarRarat O'Sltaa
SPECIAL EVENTS MANAGER: LHa UAMonio
EVENT CLIENT SERVICES MANAGER: CourlrHy Marfct
DIRECTOR, LICENSING ft CUSTOM MEDIA: Diana OrlKoll t^JO-t
MANAGER. INTERNATIONAL UCENSING ft SALES: J
MA6A2INE REPRINTS: Angt* VanGordar > i h4f.;i tat ITS oi BB«llti*VG&9(

PRODUCTION
PftODUCTKlN DIRECTOR: TIRRINCI C. SANDERS
ASSOCIATE PRODUCTION DIRECTOR: AnViony T. »
ASSOCIATE PRODUCTION MANAGER: I

QPI RATIONS

GROUP FINANCIAL DIRECTOR: BARBARA GRtENt*MiCII >^f> 654-46??
HUMAN RESOURCES DIRECTOR: BILL F1NTON
LEGAL COUNSEL MARK MILLER
DISTRIBUTION DIRECTOR: Lou BradflaM

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: Oana P«rra 646-654-4696
VICE PRESIDENT. MANUFACTURING AND OlSTRieUTION. itnnMvr Onago
VICE PflCSIDENT. AUEHENCC HARKETtNG: Jomhm Whaattay

NEW YORK: T7G S'<.viilM.av

Ma vcrk. HY ICXJOJ
Pnorw- 646-fiS4-4500
EO* Fa. 646-654-4681
AOv. PaiL M««S4-4799

ei«0 . Los Angela, CA 90056
PtKsna: J23-US-2SOO
Fa. 32J-525-2394/2395
MAMt lOICrdndon Bi«d

LONDON: Entfaavou

IW SMrtestwry Av«..
LorOsn WC2H BTJ.
P^orw 011-44-207-4;
Fa« Otl-44-207-42O-

Fan 305-361-5299
SENIOR VICE PRf SIOCMT, TMI INTtRTAINMINT GROUP

niclsen

Mm SEMOR VKE PRBOENT, hUMAH RS
Nt Mch; senior vice PRESIDENT, BRAND MEDIA: AiK
■Ifcaw; SENIOR VICE PRESIDENT MEDIA ft ENTERTAINMENT
Nialsffl fluunnt M«<lia Wrf-: SENIOR vice president finance Siom Googin; SI
Vice PREilDOIT, RETAIL: David Loac»«nar, SENKJR VICE PRE
CONTENT Scon McKwuiai: SENfOR VtCE PRESIDENT, 8UM.DING ft DEUGN Jo* RwidaH:
VICE PRESIDENT. CENTRAL SERVICES Mary Kay Suatali. CHIEF OPERATING OmCER,
ENTERTAINMENT Naww< AMMlbaum; VICE PRESIDENT, MANUFACTURING ft DISTRIS'
JanrMTar GraflO; VICE PRESiOENT, LICENSIHC Andramr »«n; VICE PRESIDEt^T. CLIENT Mil
Sua Tramblav; VICE PRESIDENT. AUDIENCE MARKETING Joanna Wlwatlay

Cni

TOE

lEWS
ROM

•> MTV NABS
!IGHTS TO
ACKSON DOC

TV Networks has
:quired the
<clusiveU.S.TV
ghts to the
ocumentary
'Michael Jackson's
lis Is It." The
>ncert movie took
more than $200
illion at box offices
orldwide in the first
</o weeks of release,
jch sister networks
; VHl.BETand
illadia will also
ive rights to air the
m. "This Is it" was
lot from March to
ineand includes
>ncert rehearsal
id behind-the-
enes footage as
ickson prepared for
s planned
)meback stand in
)ndon.

: PIRATE
AY DROPS
RACKING
ERVICE

le Pirate Bay
rvice has been
jnificantly altered,
th the operators of
e BitTorrent tracker
ying that there's no
iger any need to
ovide a tracking
rvice. However, the
'ate Bay will
ntinue to host and
Jex torrent files,
hough it will be
.s directly involved
the download
3ces5. The removal
the tracker
rment could be an
:empt to get
)und a legal threat
the service.

>>ROCKIN*
'INES

nes That Rock, a
rtnership between
> business
inagement firm

0 and Mendocino
ne. has launched
first three
tck'n'roll varietals":
rty Licks Merlot,
>od stock
ardonnay and the
rk Side of the

on Cabernet
jvignon. RZO
inages acts like
! Rolling Stones

1 U2. The wines
t available at
ies-that-rock.com
i will be offered
'etail worldwide
2010.

Tips on how to design
a great artist site

Gftu mil

IPhone lifts online
music sales In Japan

^Rotio mmm

Indie Latin publicists
take on new duties

l«ThiR9«!1P

New York Songwriters
Circle branches out

BY ED CHRISTMAN

FACE THE MUSIC

EMI's Fate Hangs In The Balance As Owner Terra Firma Tries To Address Debt

Terra Firma's recent ofTer to inject / 1 bil-
lion ($1.7 billion) into EMI Group was a
bold move b>' the U.K. private-equity firm
to shore up its Investment in the strug-
gling major label.

But the outcomeof this latest maneu-
ver could be that tlic firm shares owner-
ship of EM 1 with creditor Citigroup or is
forced out altogether. And thai, in turn,
could have implications for a prospec-
tive and long-speculated tie-up with
Warner Music Croup (WMG).

Neither Terra Firma nor Citigroup
would confirm media reports that the
former's offer was made in hopes that
Citigroup would forgive a commensu-
rate portion ofTerra Firma's £1.7 billion
($4.5 billion) loan to buy EMI.

Of course. Citigroup isn't about
to forgive any debt, because the
Terra Firma cash injection
wouldn't give it any more up-
side than it has now.

Right now. it's out £2.7 bil-
lion, and even if an equity in-

jection by Terra Firma could eliminate
EMI's worries, all it would do for Citi-
group is push ofFthose worries until 20 1 5 .
That's when EMI balloon payments come
due on Terra Firma's two term loans: £\ .5
billion ($2.5 billion) for the bridge loan
since converted into a term loan against
EM I's healthy music publishing business
and/1.1 billion ($1.8 billion) forthetenn
loan against recorded music and music
publishing, according to Terra Firma's
flnancial report for the fiscal year ended
March 31. 2008.

So what was Terra Firma chairman
Guy Hands thinking? Hands may be
banking on the fact that Citigrouphas al-
most certainly already written down the
value of the EMI loan and that it was a
recipient of the U.S. government's
Troubled Asset Relief Program
bailout money.

The only way Citigroup is
likely to forgive any ofTerra
Firma's debt is if it gets equity
in EMI. In fact. Citigroup did

such a deal earlier this year with Source
Interlink, the parent of music wholesaler
Alliance Entertainment. After Source I n-
terlink Btcd for a prepackaged Chapter 1 1
bankruptcy eariier this year, its equity own-
ers were forced out and replaced by a bank-
ing consortium led by Citigroup and 1 .P.
Morgan, which agreed to covert nearly S 1
billion in debt into equity, leaving the
wholesaler with a much cleaner balance
sheet and much lower interest payments.

Could the same scenario play out be-
tween Terra Firma and Citigroup? If the
two sides were to hold talks on a dcbt-for-
equity swap. Terra Firma would try to
keep as much equity as possible, while
Citigroup would likely push for a Source
Interlink-like conclusion. Since the debt
is divided almost equally between
recorded- music and publishing assets,
the talks also could center on whether
Citigroup gets control of one of the as-
sets in exchange for a debt-to-equity swap.

An alternative scenario is that the two
sides begin playing a waiting game. Citi-

group might simply sit back to see ifTerra
Firma defaults on its loans, while Terra
Firma banks on revived revenue growth
at EM I and an improved global economy
with more abundant credit tliat would
allow for a more favorable environment
for restructuring debt.

But if it is a waiting game, Citigroup
may have to make itself comfortable.
EMI officials are privately saying that
the company's performance is improv-
ing. EMI Group's earnings before
interest, taxes, depreciation and amor-
tization grew to more than ^200 mil-
lion ($333.3 million) during the fiscal
year ended March 31, up from EBITDA
of/U)3 million ($271.6 million) in the
previous fiscal year.

Moreover, while Terra Firma has had
to periodically inject equity into EM I to
remain compliant with its covenant-light
loans, sources suggest EMI's recently
improved performance thanks to cost
cuttingand recorded-music sales buoyed
by the label's reissue of the Beatles cat-
alog has negated the need for additional
equity in this quarter or the next.

What does all of this mean for a po-
tential merger between EMI and WMG?
Until WMG paysoffits nearly $2 billion
in debtor unless EMI's debt issues are
resolved, the deal won't happen.

WMG recently issued nearly$l.l mil-
lion in notes, due June 15, 2016. to replace
bank debt, which give the major more flex-
ibility with less onerous financial covenants
on its loans. But it still leaves the company
with the same amount of debt

Nonetheless, if EMI's debt is elimi-
nated through a Citigroup takeover, the
label could remain independent or con-
sider a merger with WMG. Warner would
have the inside track on any pairing with
EMI because the two larger majors, Uni-
versal Music Groupand Sony Music En-
tertainment, would face tough antitrust
(juestions if they tried to acquire EMI.
WMG, which says it declines to com-
ment on rumor or speculation, woidd
also have an advantage over other poten-
tial non- major- label EMI bidders because
it could gain the most economies of scale
by doing the deal.

.biz

MOBILE: For 24/7 news and analy-
sis on your cell phone or mobile
device, go to: n>ebil*J>lllboard.blz.

NOVEMBER 28. 2009

www.billboard.biz I 5

Cni

>>>VEVO SETS
LAUNCH DATE

The Vevo online music
video service is exf>ected
to launch Dec. 8,
according to sources close
to the company. The
launch will kick off with an
invite-only party at
Skylight Studios in New
York for key executives
and advertising partners.
The ioint venture between
Universal Music Group and
Sony Music Entertainment
is a YouTube-powered
online destination for all
music videos and other
video assets from the
labels involved. There are
no details yet on whether
other labels will join the
venture by the launch
date.

>>>REPORTS:
MYSPACETO
ACQUIRE IMEEM

MySpace has reportedly
signed an agreement to
acquire ad-supported on-
demand music service
Imeem. According to
reports TechCrunch and
paidContent, a letter of
intent has been signed.
The TechCrunch report
lists the price at $1 million
in cash, while paidContent
says the value of the deal
is far higher. Sources have
told Billboard that imeem
will, at least in the short
term, continue to operate
as a separate service,
much like iLike, which was
recently acquired my
MySpace. Other sources
say the imeem customer
base, catalog and

advertisers will eventually

make It to the MySpace
Music site.

>>>EMI,NORAH
JONES JOIN HULU

Hulu has partnered with
EMI to offer a Norah Jones
channel on the site. The
deal will, at a later date,
add content from other
artists on EMI imprints
including Virgin, Capitol
and Blue Note. The joint
online venture involving
NBC, Fox and ABC mainly
offers free TV shows and
movies but is now adding
music videos. EMI confirms
that it will offer all of
Jones' videos as well as
concert footage and an
interview.

Compiled by Chris M.
Walsh. Reporting by
Antony Bruno, Ed
Christman. James
Hibberd. Andre Paine
and Ray Waddell.

Pi=RQNI

R^dio, newspapers and local TV stations — all ha\
experienced plummeting advertising and have yi
to see their digital initiatives pay off, according t
RoyccYudkofT.co-founder/presidcntofABRYPar
ners. a private-equity firm that specializes in med
and communications investments.

Yudkoff said areas of interest to investors at \\
moment are non-advertising-dependent companie
such as information and data distributors.

Top media executives and decision-makers gath-
ered to share their thoughts on the challenges
facing the industry at the third annual Media and
Money Conference presented by Nielsen and Dow
Jones, which was held Nov. 12-13 at New York's
Roosevelt Hotel. (See Backbeat. page 58.)

V^/HAT'S NEXT FOR ONLINE CONTENT

The first wave of Internet development focused
on access, then platforms ranging from Facebook
to iTunes. observed AOL chairman/CEO Tim Arm-
strong. The Web's next focus, he said, will con-
cern content.

Web video and social media will be key elements
of those efforts, Armstrong said, noting that "we see
social as a great way to distribute content."

Asked about advertising sales strategies surround-
ing content, he said AOL likes bundling audience
segments together across various Web sites. 'Build-
ing niche properties is valuable." he said.

Online %'ideo content needs to be more engaging
and offer less of a passive viewing experience, said Rio
Caraeff. president/CEO of Vevo, the YouTube-powcred
online music video joint venture between Universal
Music Group and Sony Music Entertainment.

"What Vevo is trying to do is to improve the qual-
ity of the experience, create more engagement and
more interactive features in and around music
videos, and build a new distribution model." Cara-
eff said.

^^^^^^^ tni

GETTING CONSUMERS
TO PAY FOR CONTENT

"We can't survive as a media industry if
everything gets down to free," warned Herb
Scannell, executive chairman/co-founder of Next
New Networks.

Among those trying to create paid-content mod-
els is Steve Brill, co-founder of |ournalism Online,
which is assisting publishers in devising ways to
charge readers for online content.

Once more consumers start paying, advertisers will
follow. Brill predicted, reasoning that advertisers are
willing to pay more for paying users than free users.

Time Inc. Digital president Kirk McDonald said
that charging will become easier as "consumers re-
alize you need a certain amount of authority to cre-
ate that lean-back content."

MORE MEDIA M&A TO COME?

As cable giant Comcast nears a deal to acquire N BC
Universal, News Corp. president/COO Chase Carey
said he doesn't think it will spur 'a hot period" of
mergers and acquisitions in the media industry.

Carey said that after media companies endured
"a challenging time," there has been "a little bit of
pent-up activity." But he said he viewed other recent
media deals, such as Disney's purchase of Marvel,
as transactions "driven by unique events," not the
beginning of new media M&A boom.

The most troubled companies at the moment?

CREATIVES NEED BIZ GROUNDING TO<

Although best-known as a judge on "Amet
can Ido!,' Kara DioGuardi is also a hitma
ing songwriter, an A&R executive .
Warner Bros. Records and the co-owne
co-founder of the music publishing cor
pany Arlhouse Entertainment.
In a keynote interview with Billboard ec
torial director Bill Werde. DioGuardi explaini
how gaining an understanding of entertainment i
dustry economics, such as the value of owning cop
rights and running your own business, has hetpi
her career.

Working at Billboard from 1993 to 1998 hclpt
acquaint her with the music business before goii
out on her own. she said. " ! was educated about whe
revenue streams came from. Eventually 1 bet on m
self and I knew, unlike many artists who can't p
the rent. I d make a living."

While DioGuardi kept her publishing, she st
had to share money with co-songwriters and pr
ducers, even though she was the one getting the
the work. "1 thought to myself, 'TTiis is silly,' " si
said. So she launched Arthouse as an investme
and to nurture young writers.

DioGuardi eventually sold a minority inter*
in Arlhouse to Bug Music, which gave her a pa
ner with deep pockets and expertise in admin
tering copyrights.

Despite the industry's recent challenges, mut
is still in demand and publishing is the core oft
industry, DioGuardi said, noting, "It's always abc
the great songs." •

Additional reporting by Ed Christman. Evan Lucy
and Lucia Moses.

360 DEGREES OF BILLBOARD

LATIN MUSIC
CONFERENCE HEADS
TO PUERTO RICO
The 2010 Billboard Latin Music
Conference & Awards will take
place in San Juan, Puerto Rico,
marking the first time that the
two events will be held outside
the continental United States.

The 2l5t annual awards
show, presented by State
Farm, will be broadcast live
April 29 by NBC Universal's
TeJemundo network. The show
will take place at the new,
state-of-the-art Coliseo de
Puerto Rico, under an agree-
ment involving Telemundo,
Billtx3ard and the Puerto Rico
Tourism Co. It will mark the first
time that any major Latin
music awards show has been
held in Puerto Rico.

The Latin Music Conference,
widely recognized as the most

important Latin music event in
the world, will take place April
26-29 at the Conrad San Juan
Condado Plaza.

Billboard's move to Puerto
Rico has been discussed for
several years. The island is
one of the hotbeds of Latin
music: Of the 17 acts that
have reached No. 1 on Bill-
board's Top Latin Albums
chart during the past 12
months, five hail from Puerto
Rico and boast a large sales
base in their home market.

The Puerto Rican govern-
ment sees the conference and
awards as a major economic
driver Puerto Rico Tourism Co.
director Jaime A. Lopez says
the company will invest $2.2
million in the events, estimat-
ing that they will generate as
much as $12 million in revenue
for local businesses.

"All the activities related to
the event are expected to gen-
erate 12.000 hotel nights to
create a direct impact of $8.6
miHlon, plus there will be a mul-
tiplying effect that they will
have in sales and other activi-
ties," Lopez says.

Billboard has been increas-
ingly expanding into other
territories. In October. BPP
Promocoes e Publicacoes
LTDA began publishing Bill-
board Brazil, a monthly Por-
tuguese-language magazine
covering Latin America's
largest music market.

"The move to Puerto Rico is
a very exciting opportunity for
Billboard, as it extends the in-
creasing International pres-
ence of the brand and allows
us to expand the Billboard
Latin Music Conference audi-
ence," Billboard publisher
Howard Appelbaum says.

The move to Puerto Rico is
also a homecoming of sorts
for the show's longtime ex-
ecutive producer, Tony Mo-

Hola, San Juan: Telemundo president DON BROWN, Puerto
Rico Tourism Co. executive director JAIME A. LOPEZ.
Billboard executive director of content and programming f(
Latin music and entertainment LEILA COBO. Billboard LatI?
Music Awards executive producer TONY MOJENA and
Billboard publisher HOWARD APPELBAUM (from left)

Jena, a native of the Island,
and for Telemundo, which
was founded in San Juan.

"It's a win-win-win situa-
tion," Telemundo president
Don Brown says. "The Bill-
board Latin Music Awards are
our premier event. And we're
coming home to Puerto Rico."

The Latin Music Awar
which are broadcast in rm
than 35 countries, are the c
mination of the long-runn
Latin Music Conferer>ce, wh
will feature keynotes and
terviews with top Latin a
and is expected to draw m'
than 1,000 attendees.

6 { BILLBOARD ' NOVEMBER 28. 2009

;3iilitiiil[il.

NYOURSOUl

lASTER YOUR CRAFT

]& ASCAP "I Create Music" EXPO puts you
ice to face with some of the world's most
iccessful songwriters, composers and
I iducers who willingly share their knowledge
I d expertise to give you the know-how to take
ir music to the next level. ,,

THE MUSIC CREATOR CONFERENCE
APRIL 22-24, 2010 • LOS AMCELES, CA

Renaissance Hollywood Hotel

■ Celebrity Q & A's • Master Classes I
Songwrlting & Composing Workshops
Attendee Song Feedback Panels • Networking Opportunities
State-of-the-Art Technology Demos
Leading Music Industry Exhibitors
Publisher & Business Panels • DIY Career Building Workshops
Showcases and Performances • One-on-One Sessions

www.ascap.com/expo

1 I '

- UPI=F

BY ANTONY BRUNO

'Reality' Bytes

New 'reality': Augmented-reality videos, such as one demonstrated above for John Mayer,
represent a way for fans to customize music videos.

Artists Start To Embrace Augmented Reality To Boost Fan Interaction

Ask any label executive what
new technology excites them
most and many of them will
have the same, ready answer:
augmented reality.

Simply put. augmented real-
ity is the process of overlaying
graphics, animation or other
computer- genera ted images
over a real-life video. A simple,
early example of the technology
is the first-down marker that
sports broadcasters add to their
live shots of football games.

In the music industry, it's
taken the form of interactive
music videos. Participating
artists ask fans to visit their
Web site, where they can down-
load and print out an image
needed to launch the aug-
mented reality application.
Once held to the fan's webcam,
the image launches a video
player on the artist's site that
will stream whatever footage
the artist has recorded into the
scene captured by the webcam.

For example. John Mayer
used the technology for the on-
line video of the song "Heart-
break Warfare," from his new
album "Battle Studies." Fans
who download the " Battle Stud-
ies" Ic^o and hold it to their web-
cam launch an Adobe Flash
player that plays the music video
with the fan's image added to
the background as an extra.

Sean Kingston did some-
thing similar. alto>A'ing fans to
film themselves dandng and/or
singing his single "Fire Burn-
ing" while an animated Lil' Sean
character performed alongside

them. Aussie rockers Lost
Valentinos assigned each band
member a different logo so fans
could choose which one they
wanted to see in their music
video and perform next to. And
David Guetta used the technol-
ogy to let fans discover an ex-
clusive track from his "One
Love* album during a daylong
series of online events as part
of a "One Day Online With
David Guetta" promotion.

Other acts have become in-
volved through the augmented
reality campaigns of consumer
product brands. Earlier this
summer, customers who bought
a bag of Doritos with a special
logo printed on it could hold it
to their webcam while visiting
the Doritos Web site to launch a
video performance by Big Boi or

HERE IN
f^Y CAR

Few vehicles on the
road can connect to
the Web. But that
may soon change if
the technology and telecommunications companies
behir>d the new LTE Connected Car concept vehicle
can bring their vision to commercial reality. Their car
of the future would use a high-speed wirefess Inter-
net connection to essentially turn the vehicle into a
mobile server, playing movies on demand, hosting
muttiplayer gaming sessions and streaming music from
Pandora and other services.

Powering these capabilities are the members of the
ng Connect Program, which includes Alcatel-Lucent,
Samsung and Toyota. They also teamed with Atlantic
Records to develop artist-specific apps for the sys-
tem, including Twitter updates and other fan-artist in-
teraction, 8s well as TuneWikI for lyrics. —AB

Blink-182 that "popped" out of
the bag. Users could move the
bag around in front of the web-
cam to change the position of
the performance and add their
own background to the scene.

According to Mick Manage-
ment marketing director Kris-
tin Zovich. whose agency ran
the John Mayer augmented re-
ality video campaign, fans are
beginning to respond.

"We found a really positive
reaction to it." she says. "It's
just a different way to deliver
content to fans so it's not just
'click here and go to YouTUbe.'
It's a little bit more creative."

However, it will Hkely be
some time before augmented
reality videos become main-
stream. For starters, it's still a
clunky technology to use. Users
need to give permission for the
artist's Web site to access their
webcam, but even when they
do, pop-up blockers and other
security technology can inter-
fere with the connection. Inad-
dilion, lighting issues and low
webcam resolution often results
in unrecognizable images.

But the largest barrier is sim-
ply the relative lack of webcams
among potential users. Accord-
ing to Parks Associates, only
18% of U.S. households with
broadband Internet access
owned a webcam as of April.
Analyst firm Research and Mar-
kets expects that figure will in-
crease, forecasting the global
market for webcams to increase
from $1.8 billion in 2008 to $3.2
billion by 2015.

ABI Research, meanwhile,
points to the rapidly growing

smart-phone market as hav-
ing great potential for aug-
mented reality applications,
driving the global augmented
reality-related revenue from
$6 million in 2007 to more
than $350 million by 2014.

"1 see it much more mobile-
based, just because of the util-
ity of the ability to just aim and
get information." ABI analyst
Larry Fisher says. "It's just eas-
ier to use."

Fisher points to such uses as
aiming a phone's camera at
buildings, businesses or points
of interest to launch an app that
will provide various types of ac-
tionable information about that
location on tlie phone's screen-
Many new mobile phones now
have advanced video cameras,
high-definition display screens
and wireless broadband Inter-
net access needed to make aug-
mented reality a viable option.

That could have a number of
valuable applications for the
music industry, such as getting
information at concert venues
or in retail stores.

But no matter whether the
augmented-reality future is on
desktop computers or mobile
phones, those in the mixsic in-
dustry already dabbling in the
technology foresee a long fii-
ture ahead.

"There is some longevity to
this technology," Zovich says. "I
don't think by any means this is
going to be a flash in the pan. This
will be something that will be-
comemoreconimonplace." • ■ - ■

For 24/7 digital news
and analyils, see
blllboarcLblz/dlglUI.

BITS & BRIEFS

MIXMATCHMUSIC
UNVEILS DIYAPP
SERVICE

MixMatchMusic introduced a
new service called MobBase
that helps artists create their
own iPhone apps. The serv-
ice allows participatir>g artists
to design apps that include
their own music, videos and
photos, as well as a news sec-
tion, blog posts, touring in-
formation. Twitter updates,
discography and a merch
order form. The setup fee Is
$20. Vkrtth up to $15 per month
in support costs depending
on the type of content deliv-
ered through the app on a
regular basis. More than 20
acts and labels have signed
up, and digital aggregator Irv
dependent Online Distribu-
tion Alliance has agreed to
promote the program to its
membership.

UNIVERSAL TEAMS
WITH NOKIA FOR
NEW RELEASE
PROMOS

Universal r^usic Group Inter-
national and Nokia have
teamed on a music promo-
tional partnership called
Nokia Play 2010. Under the
deal, Nokia will help promote
new releases by UMG acts

through exclusive conten
sponsorship of live event
arKi other nrurketing consic
erations. The first artist I
benefit is Rihanna. Nokia wi
stream a live performarK:e c
the singer from Londo
through its Web site, an
Nokia's Comes With Musi
customers will be able t
download her album "Rate
R" with an exclusive bom
track, remixes arKJ other e)
elusive content as part c
their subscription.

SALES OF STAND-
ALONE WEB RADIOS
EXPECTED TO SURGE
I ntemet radk> will be the drr
ing force behind growin
sales of devices that streai
online audio to stereos ar
other listening devices, a<
cording to analysts at Futur
source Consultir>g. The cor
pany predicts that tt
stand-alone Internet rad
market will grow from le
than 500,000 units sold ta
year to 5 million by 2013. B
that market will be au'
mented by r>etworked aud
systems that stream music
home stereos. The compai
expects Internet cormectrvl
to be standard on all hon
audio devices by 2013.

HOT MASTER RINGTONESi. BHIbwin

•i

■ciHcn

TITLE

m EMPIRE STATE OF MIND

FOREVER

NEED YOU NOW

FIREFLIES

MONEY TO BLOW

PARTY IN THE U.S.A.

PAPERS

REPLAY

WHATCHA SAY

DOWN

The ringtone lor trie No 1 country song on lasi
week'! chart, "Cowboy Cmanova," movot itf
to No. is ir> its sixth chart week tt is now the
Mghest-peaking ot any o( Carrie Underwood*!
lour charted lonev 'Before He Chejits*
reached as high as No. 16 In January 2007

MEET ME HALFWAY

TOES

«a

BIG QREEN TRACTOR

TIK TOK

COWBOY CASANOVA

DO 1

1 GOTTA FEELING

PAPARAZZI

WASTED

r,. rn VJW ilAnMePUESOKUMJUKaiUH

ONE TIME

BILLBOARD I NOVEMBER 28, 2009

n«iiaie«n.aMrv<c«ol MwtMnMoMa&CM OMrt • — ,

CTtA - Irw Wmru A>*otM>on (no M»<M* tMailanvnifil f 9ivn

cru

Cni

LEGAL MAITIERS

COURT RULES LABELS' LITIGATION
CAMPAIGN NOT A 'SHAM'

by BEN SHEFFNER

/as the recording industry's litigation cam-
aign against individual file sharers a legiti-
late use of the federal courts to seek redress
>r the devastating effects of Internet-based
jpyright infringement? Or was it all a big
;ham," an extortion racket in which large cor-
orations indiscriminately sued helpless de-
?ndants based on weak and unreliable
/idence, hoping to force quick settlements?
Industry proponents and critics will be de-
iting those questions for years. But for now.
id much to the labels' relief, a federal court
lied recently that the labels didn't act improp-
ly in filing more than 7.000 lawsuits against
:cused infringers, largely vindicating their
)ntroversial litigation tactics.
The case in question started out routinely,
s with all of iheir lawsuits, the labels first had
identify the proper target. They began only
th an IP address and the Kazaa user ID
otenkito," detected by their Internet-trolling
rensic investigators at McdiaScntry. who spied
is user "sharing" 1 .288 song files. The labels
en sued the " Doe"
signed to that IP
Idress and issued
nbpoena to Veri-
n.thc subscriber's
tcrnct service
ovider (ISP|. Ver-
on provided the
bscribcr's name,
nya Andersen,
d the labels filed a
w lawsuit against
r in her home
lie of Oregon.
U nlike most de-
idants. Andersen
Jn't settle. The la-
Is took depositions and examined her com-
iter. but they couldn't tie her to the illegal
wnloading, so they dropped the case. The
ige. obviously mifTed that the labels had put
idersen through the wringer but couldn't
ovc their claims, awarded her $103,175 inat-
neys' fees — one of only two cases in which
: labels have had to make such payments.
But Andersen wouldn't drop the matter. She
cd the labels, the RI AA and MediaSentry. al-
ing a massive conspiracy to abuse the fed-
il courts by suing innocent individuals with
probable cause. And in a move that consid-
bly upped the ante by potentially subjecting
' labels to millions of dollars in damages, she
ight class action status, purporting to rcpre-
t all of those "who were sued ... or were
eatened with suit by [the major labels], for
lyright infringement . . . who have not cn-
^cd in violation of copyright laws." Ander-
I's theory was that an I P address coupled with
)lder "sharing" songs is insufficient evidence
n to file a complaint, let alone prevail,
n a major victory for the lal>els, U.S. District
urt )udge Anna Brown ruled Nov. 12 that
n though they ultimately lost the case against
dersen, they had enough evidence at the out-
to bring it. The evidence gathered by the la-
s and MediaSentry "was strong enough to

Wholher or not one

agrees with the
labeLs" Icgnl stnitej*} ,
(*()pyrij*ht owners
have every rij*hl to
brin^ lawsuit.s in
good faith ba^etl on
the available forensic
evidence.

support 'a chance' that the defendants had cor-
rectly identified an individual engaged in wrong-
ful activity." she wrote. And more broadly.
Brown observed in her 27-page order, "The court
. . . concludes on this record that plalntifThas
not established defendants filed a series oflaw-
suits based on a policy of initiating legal pro-
ceedings without regard to the merits."

Andersen's case isn't entirely over. The court
hasn't yet niled on her claims that accuse the
labels of continuing to litigate her case even
after the evidence demonstrated that they should
have dropped it. And Andersen's motion to cer-
tify the case as a class action remains pending,
though last week's order, which rejected the
theory that filing a lawsuit based on I P addresses
is improper, makes it considerably less likely
that a court could identify the common legal is-
sues that are a prerequisite for a class action.

"Judge Brown's ruling certainly vindicates
our evidence-gathering process, finding it gave
us the right to bring a case against Ms. Ander-
sen,' RI AA senior VP of litigation and legal af-
fairs Jennifer Pariser
^ .<y says. "Since the only

thing Ms. Andersen
had in common with
other defendants ac-
cused of copyright in-
fringement was the
evidence-collection
process, it makes
sense that the class
claims also should be
dismissed."

Andersen's attor-
ney. Lory Lybeck. dis-
agrees, saying that
the labels* "monu-
mental abuse of the
federal judiciary" is still susceptible to a class
action, citing survey evidence that he says in-
dicates more than one-third of downloaders
were too young even to have their own ISP ac-
count. Lybeck says he is "looking at all options,"
including seeking otlier plaintiffs who were al-
legedly wrongfully accused and could act as
class representatives.

With fewer than 100 remaining pending law-
suits, only a few of which arc being actively liti-
gated, the labels' campaign against individual
infringers is winding down. But countersuits
like Andersen's remain a danger. Luckily for the
labels, Brown's ruling confirms what several
other courts have already held: Whether or not
one agrees with the labels' legal strategy, copy-
right owners have every right to bring lawsuits
in good faith based on the available forensic ev-
idence, without facing massive liability should
they happen, on rare occasion, to lose a case. • ■ • •

Ben Sheffher is a copyright attorney who has
represented movie studios. TV networks and
record labels. Shejfner currently works as an
attorney in the NBC Untvenal Television
Group, which is 20% owned by Vivendi, the
parent of Universal Music Group. He is the
author of the Copyrights ei Campaigns Wog
(copyrightsandcampaigns.blog5pot.com).

NOVEMBER 28. 2009 1 www.billboard.biz | 9

vttal dlgilB

lie.

Muse Album Distnbucion Visit Qur site for details

via Cards . www.digi-cards.com

Soundscan ready f ".''..h.uI Sales: 1 (305) 938-0234 x 703
Co^ingthlsFaU 6e, a QUirt ou..e wtfav.

DigHcards 2.0 The Digital World's

(Fastar Oownloads, Mare Data. Mcbile Capablo) Leader in ff.g'

7500+ attisis around the world have s«rilched loQdigi-cards-

Music Albums Dislr.Dulion Via Cards VVoiWwidc Palonis Ponding 2O04-20O9

The Digital World's
Leader in
Media Content
Download Cards

Subscribe Today!

BillbMlfd

'^vw w. b i H boa rd . b i z/s u bsc r^^^

CALL 1-800-658-8372 or 847-559-7531

2010 INTERNATIONAL S

AUDARENA GUlUE

COMPLETE DATA ON OVER 3,500

VENUES WORLDWIDE COMPRISING

6,000^ INDIVIDUAL FACILITIES.
INCLUDING AMPHITHEATERS, ARENAS,
STADIUMS, SPORTS FACILITIES,
CONCERT HAULS, EXHIBITION HALLS

AND NEW CONSTRUCTIONS. PLUS,

COMPLETE LISTINGS OF COMPANIES

OFFERING SERVICES TO THE

■ TOURING INDUSTRY IN THE
FACILITY BUYER'S GUIDE.

ORDER NOW!

ONUNEat wwy»J)nlerbHlboiird.(;Qm or
CAU BOO-562-2705 (U.S.) ot 818-487-451

Billbnard

DIRECTORIES

Billb»ariL

LIVE

• TOKYO OSAKA •

World's Premier lub a Restaurant

Mario

ChfiSBlte MIchale

Oz Noy featuring James Genus / Dave Weckl

8.T Express

Bobby Brown / Johnny Gill / Ralph Tresvanl

Kurt Carr

David T Walker

The Slylistlcs

Arrested Development

Al Mckay Allstars plays music of Earth. Wind & Firs

The Ventures v^ith special guest Nokie Edwards

Ledisi

NOV16-17

f^ovia-19
Nov 21-22
Nov 26-27
Nov30-Dec 5(2ofr

Dec.6-7

Dec14-15

Dec20-26

Dec27-28

Dec 29-31

Jan.8,

Jan,8-9

Nov 26-28
Dec,9-10
Dec 17

Dec.11-16(1:

Dec 30-31

Dec24-26

Jan.7-9

Jan.6

H fi p s II I n

CMTtniS lillH

Booking Contact

Billboard Live Japan

5055 Wilshire Blvd. suite 700. Los Angeles. CA 90036
Tel:323-525-2212 fax;323-525-2273
Email: billboardlivejapan@gnnail.com

URLiwww.billboard-iive.com

Billboard Live
OSAKA

Herbis Plaza Ent B2. 2-2-22.
Umeda, Kita-ku.
Osaka, 530-0001
+81 (6) 6342-7722

Billboard
TOKYO

4F Garden T
Tokyo Midtov
Akasaka. Mir
Tokyo. 107-0
+81 (3)3405

HOW TO

CREATE A GREAT ARTIST WEB SITE

by LAURA O'CONNELL, CREATIVE DIRECTOR, GUPTA ME

's easy for bands to simply rely on MySpace and Facebook for their online presence. But a
'ell-designed Web site offers almost limitless opportunities for fan interaction, communica-
on and monetization that social networks can't. Laura O'Connell, creative director at Web
esign firm Gupta Media— which has created Web sites and online content for Pink, Fall Out
oy and the Bonnaroo Music Festival— offers her advice on how to put together the right mix
f style and substance to get the most out of your site.

IIPFROMT

FANS WANT MEANING, NOT
ARKETING

hen creating a Web site you may have a cer-
iii goal in mind (selling CDs or showcasing

\\ video), but you have to keep the artist
id their persona in the forefront. Whether it's
rough specialized font treatments, poignant
ugcry or bare-bones acoustic videos, the site

uld embody the artist and their style,
iehard fans will get the CD or watch the video
cntually. Your Web site is a chance to make
ronncction in a meaningful way with poien-
il new fans, so don't scare them ofTwilh an
)vious sales pitch.

SHOWCASE YOUR CONTENT

m've accomplished the hard task of getting
meone to your site. Don't lose them by bur>'-
g your content under a confusing interface,
ihrn- is something you want your audience

to know or see, put it out in the open. The top
end of a Web page is the "money area" and that's
where your best content should be. Having to
click on a rocket that flies past the screen or
even to a different page for a song sample is
not good. There arc a lot of sites out there with
fantastic content that never go viral because
the right people never see it.

3. HAVE AN INCENTIVE

If you want people to blog. tweet and other-
wise talk about your site, they need to feel that
it's worth sharing. Offer users something that's
free or exclusive, but don't make them jump
through hoops to get it. Asking for their e-mail
is fine, but not the e-mails of five friends. There
has to be a balance between what you give ver-
sus what you're asking for in return. The pur-
pose of the incentive is to start the
conversation, not end it. Getting a free song

or seeing the first cut of a video gels people
talking, and more importantly, sharing.

4. STAY RELEVANT

Most people use and experience the digital
world as something that is timely, useful and
personable. They are checking on what's hap-
pening within theircommunity on their local
news site, what's happening within their in-
dustry and interests on
blogs and media sites
and what's happening
with their friends on
Twitter and Facebook.
Keep this in mind
when you are creating
your site. There's no
point in revisiting a
site that is static, so
stay relevant for your
audience by posting
new content and infor-
mation at least once a
week, if not daily for
more emerging acts.
Let them know what's going on. and more im-
portantly show them that they can come back
for new and useful information.

Additionally, give them the tools to update
the site themselves. Embrace user-generated
content. Make Twitter available on your site so

Your Web site is a
chanc'o to make a
connection in a
meaningful way
with potential new
fans, so don't scare
them off with an
obvious sales piteh.

your fans can Twitter for you. If a user missed
a concert. let them see how fans from their area
enjoyed it by letting fans upload photos to your
site. Engage them by using the formats they use.

5. MAKE THE MOST OF FREE ASSETS

Unless you're a wizard at search engine opti-
mization, the odds are fans searching the Inter-
net for information about you are landing on
MySpace. Facebook or
Wikipedia first. Make
sure that these sites
mimic what you are try-
ing to do with your site.
That means maintain-
ing a consistent tone in
your online presence in
both design and mes-
sage. When you post
content to one, make
sure it's available on all.
or at least make it
known on all that new
content is available. The
idea is to have all these
online outlets working together rather than in-
dependently. Fans will learn about artists in the
most random of ways, so the more you can con-
trol that experience and make it consistent, the
faster people will understand what you're try-
ing to convey. — Interview by Antony Bruno

Get your message front and center with the

Billboard Country Update*

he Country Music Industry's Must-Have Source for Weekly News and Chart Info!

"Loved the first edition. Great job!"

- Becky Brenner, KMPS Seattle

"What a nice surprise to get Billboard Country Update today.
Great job on the first Issue."

- Joel Raab, Joel Raab Associates

"Great content!"

- Crash Poteet, KSCS Dallas

NOVEMBER 28. 2009 I www.billboard.blz I 11

"Love the new venture. It's awesome. I can tell you did a lot
of research. Well done!"

- Bob McKay. Bob McKay Media

Reach top country radio programmers and other key
country music influencers every Monday!

TO ADVERTISE, CONTACT:

Lee Ann Photoglo • 615.376.7931 • laphotogloa gmail.com
TO SUBSCRIBE: www.biilboard.blz/enewsletters
• Formerly the R&R Country HotFax

GLOBAL
NEWS
LINE

www.brllboard.biz/global

>»CIAM BACKS
GERMAN SUITS
AGAINST YOUTUBE

The International Council
of Creators of Music
(CI AM), part of global
authors' rights group
CISAC, is t>acl<ing legal
moves against YouTube
and parent Google in
Germany. A civil copyright
violation case launched
against YouTube by
composer Frank Peterson
is due to be heard soon in
Hamburg's district court,
while various authors,
artists and independent
publishers and labels have
lodged rights infringement
charges against Google
with the public prosecutor's
office in Hamburg. In a
statement, CIAM said the
actions will clarify whether
Google's directors "can be
personally called to
account for illegal
distribution of music on an
unprecedented scale."

EUROPEAN
INDIES JOIN IMU

U.K. indie labels Wichita,
Moshi Moshi Records and
Bella Union and French
label Because Music have
joined forces in IMU, a new
London-based venture
aimed at helping indies
license content to brands
and ad agencies. IMU has
been set up in
collaboration with the
labels, although they do
not have equity stakes in it.
The labels' rosters include
acts like Bloc Party, Simian
Mobile Disco, Fleet Foxes,
Justice and Florence & the
Machine. "We're open to all
genuinely independent
labels and have recently
opened up conversations
with management
companies," GM Ruth
Clarke says.

^> RIAJ'S ISHIZAKA
HONORED

The Japanese government
has awarded the Medal of
Honor with Blue Ribbon to
Recording Industry Assn. of
Japan chairman/CEO Kei
Ishizaka in recognition of
his contribution to the
development of the music
industry and Japanese
music culture. Since
Ishizaka began his music
industry career in 1968. he
has worked at Toshiba-EMI
and PolyGram and was
chairman/CEO of Universal
Music Japan until Nov. 1,
when he Isecame its
nonexecutive chairman.

Reporting by Andre Paine
and Rob Schwartz.

BY ROB SCHWARTZ

Apple Of
Their Eye

Labels Say The iPhone
Is Helping Boost Online
Music Sales In Japan

TO KYO — The i Phone effect is ringing in changes in
japan's digital music market.

Apple's new 3GS iPhonc has been doing blockbuster
business since its launch in junc, following a major
i Phone marketing campaign that coincided with a rise
In online music sales.

Universal International japan managing director
Kimitaka Kato is convinced there is "a correlation be-
tween the i Phone boom this year and the rise in on-
line music sales . . . I tliink we'll continue to see that."

Meanwhile. Warner Music japan's sales at iTunes
"have definitely been increasing over the past few
months." label spokesman Tetsuya Ikeda says. "This
is simultaneous with the iPhone boom in japan."

Apple declines to provide sales figures, but market
research firm G fK identified the 32G B 3G S i Phone as
japan's top-selling mobile handset during September.
While GfK wouldn't divulge unit sales figures, Nobi
Hayashi, author of the 2007 book "iPhone Shock"
(Nikkei Business Publishing) and widely acknowledged
as one of japans foremost Apple experts, estimates the
model moved about 300,000 units in September.

The rollout of iTunes and the iPhone has coincided
with an increase in online music sales in japan, ac-
cording to sales data from the IFPI. which classifies
iTunes music sales as online sales rather than mobile.

In 2004, the year before iTunes arrived, online sales
accounted for 4% of japan's mobile-dominated digi-
tal music market, with 507 million yen ($4.9 million
at 2004 rates). By 2007. one year before the iPhone's
arrival, that figure had risen to 8% of digital sales, or
5.4 billion yen ($45.8 million at 2007 rates). In 2008,
(he year the first-generation iPhone 3G arrived, the
online share rose to 10% of sales, or 8.5 billion yen
{$82.1 million).

The market-share gains for online music sales came
despite continued growth in mobile music sales during
the .same period. But sales during the first six months
of 2009 suggest a shift in market dynamics, with mo-
bile sales declining 2% from the same period a year ear-
lier to 39 billion yen ($430 million), while online sales
rose 1 3% to 4.6 billion yen ($50.8 million) , according to
the Recording Industry A.ssn. of Japan.

RlAj spokesman Masaki Suenaga downplays the
sales impact of the iPhone. "Consumers are buying

Head lines: Japanese consumers awaiting the iPhone's arrival in 2008 spent days standing in line so they
could be among the first to own the handset.

full [digital] album releases with extras like photos."
he says. "This is the most important factor for the
strength of online sales."

But Hayashi says he sees a clear link between the
iPhone and online music's rise. I n addition to the suc-
cessful launch of the 3GS model, the iPhone has also
benefited from savvy marketing, he says.

Mobile operator SoftBank. Apple's exclusive iPhone
partner in japan, launched an "iPhone for Everybody"
campaign in February that offered monthly subscrip-
tion rates that subsidized the cost of the 8GB 3G
iPhone. making the handset effectively free. The 32GB
iPhone 3GS costs new SoftBank subscribers 960 yen
($10.61) per month for the handset on top of caUing
and data plan charges.

"The SoftBank 'iPhone for Everybody' campaign
started in Febniary," Hayashi says, "and online music
seems to have done well in the same time."

japan's Telecommunications Carriers Assn. re-
ported thai SoftBank had attracted the most new sub-
scribers in September, adding 108,000. SoftBank
ranked third in market share with 18%, or 21.3 mil-
lion subscril>ers. Market leader NTF DoCoMo, which
accounted for 50% of the market with 55.2 million
subscribers, added only 66.000 new users in Septem-
ber, according to the TCA.

Mobile industry analysts also say iTunes' rela-
tively low prices for single-track downloads have
helped boost online music sales. Tracks generally
cost 150 yen ($1.70), compared with 300-400 yen

GET IN LINE: APPLE IN JAPAN

2001: Apple's launch of the tPod raises the com-
pany's proftle In Japan to new levels. The hard-
drive music player successfully cuts into sales of
Sony's MiniDisc and Discman players, which had
long dominated Japan's portable audio market.

2003: Japan's first Apple Store opens In Tokyo's
Ginza district. Some 5,000 enthusiasts line the
street outside waiting for the opening.

2005: The ITunes Music Store Japan launches.
Apple claims sales of 1 million tracks in the site's
first four days.

2008: Apple rolls out the IPhone in July.
Prospective customers begin lining up outside
the Omote-Sando SoftBank store in Tokyo five
days before the phone goes on sale.

2009: The Mobile operator SoftBank
launches its "IPhone for Everybody" cam-
paign in February, making the 8GB model
essentially free to subscribers. In Septem-
ber, the new 32GB 3GS model becomes the
month's best-selling handset in Japan, ac-
cording to the market research firm GfK.

—Tom Ferguson and Rob Schwartz

($3.30-$4.40) for a full-track download from a ii
bile carrier. "Because prices differ greatly, we min
have to consider a new price strategy," which cru;
include lowering prices on mobile tracks, says N.i
hiro Fukao, GM of sales, marketing and digital
Universal Music japan.

Still, the iPhone and iTunes sales face growth t It
lenges. For example, the iPhone isn't compatible \\ i
leading Japanese digital music stores like Mor.i.
Morawin.jp and Music.jp. Also, Apple's technical sp<
ifications mean iPhone users can only access iTuii
through a Wi-Fi network, which is problematic it
country where free Wi-Fi access is uuich rarer than
the United States or Europe.

If the iPhone "could access [iTunes] through 3G
would certainly have a great impact." Fukao says.

Meanwhile, competition in the smart-phone ni;
ket is expected to increase with the pending arrival
such new models as Motorola's Droid (avail.il
through DoCoMo).

Along with the iPhone. "they will increase the luii
ber of music consumers and iiclp increase downloa
overall." predicts Nobuhiro Sato, president of S
owned mobile/online digital music retailer Label G.i
which operates the Mora and Mora win sires. Sato s.i
the popularity of the iPhone hasn't hurl the sites' s.il

Label sources estimate that iTunes account
more than 50% of Japan's online music sales, with i
Mora sites jointly accounting for up to 25% and smal
sites making up the remainder.

The competitive position of the iPhone and iTu i
is likely to strengthen in the coming nunuhs. ait
speculation that Sony Music is ncaring a deal \\
iTunes that will finally see its repertoire made a\.
able at the online retailer. (Sony did not comment

Others are already tailf)ring their digital markell
to reflect iTunes' strength. Warner, for example. I
introduced a range ofexclusives ranging from boi
tracks, videos or photos for i lunes-only compilatK
to bulk-buy discounting.

Increased iPhono-driven iTunes sales could a
give internalioiial repertoire a much-needed boosi
Japan, where it has been fading in recent years (B
board. April 4). According to Warner's Ikeda. iTm
"definitely moves more interiialional repertoire c(i
pared to mobile music stores — and Warner's sahv
international music have been increasing since t
iPhone/iTunes boom has taken hold."

12 I BILLBOARD I NOVEMBER 28, 2009

BY MARK WORDEN

IILAN— Warring factions at Italian publishers
nd autliors' society SIAE have called an un-
asy truce after the re-election of president
iiorgio Assumrrta— but members warn the so-
iety's financial performance must improve if
he peace is to hold.

While Assumma was re-elected unopposed
t a Nov. 6 meeting in Rome of 51 AE's 64-mem-
er representative assembly, 25 delegates ab-
tained from voting. Two earlier attempts to
onfirm Assumma in the role, on June 23 and
let. 27, both failed, with the earlier meeting
larked by a mass walkout of delegates un-
appy with both Assumma's presidency and
le society's 2008 financial report.

The assembly's "La Nuova SIAE" (The New

AE) grouping— composed mainly of major
ubiishers. prominent writers/composers and

rger independent publishers critical of As-
jmma's four-year tenure— says it dropped its
pposition to his re-election in order to pre-
5nt a permanent split, which
3uld have resulted in the so-
ety being placed under gov-

nment control.

But La Nuova SIAE, which
3d the majority of assembly
elegates at the 2007 elec-
ons but has suffered a num-
sr of defections since, insists

ssumma and new director

/hich SIAE are you on? AFI's
EOPOLDO LOMBARDI (right)
nd FEM s FILIPPO SUGAR

CEASE FIRE

Italian Collecting Society Stays United— For Now

general Gaetano Btandini, elected by SIAE's
nine-member governing council Oct. 26,
must now put the society's financial af-
fairs in order.

"Like any business, SIAE must
increase its revenue and reduce its
costs," says delegate Filippo Sugar,
president of publishing group FEM
and chairman/CEO of Milan-based
Sugar Music, a leading indie
label with a targe pub-
lishing catalog. "We will
offer our full coopera-
tion in endeavoring to
solve the society's
problems."

SIAE says it col-

lected €671 million ($996.4 million) in 2008,
with music accounting for €475 million
($705.3 million) of that figure. But, while
total collections were up 5.7% from
2007 (music rose by 4.6%), the
society still reported a pretax loss of
€12.4 million ($18.4 million), although
SIAE's accounts attribute this to the
loss of €35.2 million ($52.3 million)
stemming from the collapse of
Lehman Brothers. SIAE was
placed under government
control for four years in
1999 after reporting a loss
of 53 billion lira ($53
million at 1999 exchange
rates).

Members were also
alarmed by a decline in
collections from digital
licensing to €5.1 million
($7.6 million) from €7.2
million ($10.7 million) in
2007.

"Most collecting
societies redistribute
royalties rapidly," says
delegate Toni Verona, GM
of Modena-based indie
publisher/label Alabianca.

"But SIAE often keeps the money for as long
as 16 months. The interest the money gathers
by sitting in the bank is used to finance the so-
ciety's considerable running costs."

Verona also claims "at least a third" of SIAE's
85,000 members earn such minimal royalties
that "the money spent on administering their
membership is greater than the amount they
generate for the society."

The Italian government must still confirm
Assumma and Btandini's appointments. In
the meantime, both have declined to talk to
the media.

Members of SIAE's other main faction, "La
SIAE di Tutti" (SIAE for Everyone), which
largely comprises smaller publishers and less-
well-known writers/composers, insist the
new management is well-quatified to address
the problems.

"Assumma is an excellent 'super p>arte5' [im-
partial] president with a good relationship
with the political world," says delegate
Leopoldo Lombardi, president of independ-
ent publishers' group AFI. "We are confident
Blandini will prove a capable manager."

Lomt>ardi and Verona both agree that one
positive aspect of the dispute has been an in-
crease in dialogue between the factions.

"We now have a relationship," Verona says.
"They, like us, now understand that if SIAE con-
tinues like this, it will eventually become un-
governable. Between now and the next SIAE
elections in 2011, we must all work together to
change things." ••••

ElereAndNow

ew Services Simplify Direct-To-Consumer Sales

first, singer/songwriter Coffey
nderson just wanted a way to save
voice.

1 was singing on the street in
iita Monica [Calif.) all day long, and
I'd sell a lot of CDs, I'd be
)arse,'* he says.
Looking for another way to expand
audience. Anderson started post-
p videos online. He
en started working
th Ustream to hold
video chats with
s audience, seeking
eir input as he
)rkod out new tracks,
t he still didn't have
iniv k means to sell
III the tracks they'd
tched him labor

The
Indies

CORTNEY
HARDING

Anderson then discovered Audio-
one of a growing number of di-
t-to-consitnirr sales tools. Working
fi Audiolifc. Anderson was able to
1 songs to fans directly on his Web
(icofFey.com) only minutes after
d watched him record them. Now

Anderson says that not only do his
fans not have to wait for a proper
album release to buy his music, they
can create customized versions of al-
bums, select which version of a song
they want to buy and even buy per-
sonalized songs, which he sells for
$19 a pop.

Direct-lo-consumer sites are giv-
ing independent artists
and labels the opportu-
nity to fully control what

they'll sell, and when.

The technology also
gives them the ability
to collect information
about who is buying the
goods — information
they don't get when their
music is sold through
Amazon or iTunes.

"The biggest value of selling direct-
to-fan is that the artist or label get more
data and more money," Echospin co-
founder Jon Lowy says. "The artist
or label can also control the price and
availability — if they want to sell a track
for a limited time or at a certain price

point, they can."

Selling direct-to-con sumer also al-
lows an act to super-serve an existing
fan base. "For one of our bands, KIM
Hannah, we sell everything from
branded pillowcases to versions of the
album with audio commentary," Orig-
inal Signal Recordings head of digital
Danny Da Sllva says. "Of course, we
also have them on iTunes and in
stores, because they're still a growing
act, and we need to make sure we en-
able discovery."

But selling direct-lo-consumer
doesn't have to stand apart from music
discovery — and ijerhaps in the future,
it will be able to enhance it. For in-
stance, Audiolife CEO Brandon
Hance says that while band-centered
stores and affiliate stores might not
exist in large numbers now, they could
soon. For example, fans of Dirty
Projectors could visit the band's store
and not only buy its tracks . but albums
by contemporaries in the Brooklyn
music scene like Grizzly Bear and
Animal Collective.

And while direct-to-fan commerce

might have been difficult to enable in
the past, a host of new companies is
simplifying the process. "The first time
we did online stores for labels in the
early part of the decade, we did about
15 or 20 and then pulled out." InSound
founder Matt Wlshnow says. "The
process was just too cumbersome. But
more recently, we started getting re-
quests to get back into the business
again, and 1 decided that we would
only do it if we could build a platform
that could launch an online store in a
day. We did. and now we have another
group of labels working with us."

Wishnow says he's seen bands u.se
the platform to do everything from

throwing limited-time sales they pub-
licize on Twitter to getting albums out
quickly in response to leaks. "There is
almost no waiting with direct-to-con-
sumer sales." he says.

"From the fan perspective, ease of
use is king," Lowy says. "While there
have always been low-tech ways to sell
directly to fans, Echospin provides a
platform that's as easy as iTunes for
the consumer. If it's a painless process
and the fan can just do everything on
one page, they're much more likely to
actually spend the money." ••

Jriz

For 24/7 Indies news and analysis,
see blllboard.biz/Indtot or follow
Ullboardlndles on TwKter.

NOVEMBER 28, 2009 I www.billboard.blz I 13

_MPFRONT

The Miracle
Workers

Latin Indie Publicists Are Now
Expected To Work Magic In Many
Different Areas

Latin
Notas

Once upon a time, a publicist's
job definition was simple: send
out press releases and coordi-
nate interviews. But now, in ad-
dition to getting ink. the role of
the indie music publicist has
grown and evolved to include
strategy, marketing and spon-
sorship coordination.

This is particularly true of the
Latin music world, where print
outlets have shuttered left and
right, opportuni-
ties are limited to
begin with, and
there are only
a handful of
national media
outlets with vast
reach.

"The publicist
is now such a
bigger part of
the pie," says Xlmena Acosta,
who calls herself an entertain-
ment marketing consultant.
"It's like the marketing direc-
tor and the publicist have
merged into one."

Acosta is one of many indie
publicists or marketing con-
sultants who have opened
their own businesses in recent

years afler working in a label
What they've all found is a
marketplace rife with artists —
signed and unsigned, major
and indie — that are willing to
pay for services but not con-
tent with a flack merely
sending out a press release or
getting a write-up.

A few years ago, indie pub-
licists were largely the realm
of Latin artists who wanted to
cross over into
mainstream
media. Today,
with shrinking
lal>el staffs, hav-
ing an indie
publicist to
complement
label efforts is
increasingly
common, espe-
cially as priority shifts from
merely selling albums to cre-
ating and exploiting an artist's
brand, a task that requires
steady, long-term attention.

"Five years ago, the label
would hire me and my role
was to provide an added value,
such as a review in the Dallas
Morning News," says Mayna

A fight over performance
royalties has come to a head
in Costa Rica, where the
government has sided with
the country's broadcasters
and is not enforcing a
performance rights law for
artists and labels.

According to a declaration
it made to the World Intellec-
tual Property Organization,
Costa Rica's government said
that as of Nov. 14, It would
apply a performers' and pro-
ducers' (meaning, labels')
royalty only to broadcasts
"for commercial purposes,"
and not to "traditional free,
noninteractive over-the-air
broadcasting." Songwriters
aren't affected by exemption.

The move has sparked an
outcry from the local record-

ing industry and the IFPI,
which have been pushing for
the ability of Costa Rican la-
bels' group Fonotica to col-
lect 1% of broadcasters' ad-
vertising revenue for artists
and labels. Artists* advo-
cates say Costa Rica has
been a party to international
treaties governing such a
right for almost 30 years.

"They're hurting their own
artists, international artists,
local producers, interna-
tional producers," says Raul
Vazquez, Latin America re-
gional director for the IFPI.
"They're going against the
tide of expanding rights for
creators all over the world.
All of Latin America recog-
nizes this right."

With the implosion of

Looking fo
a one-stop
shop: LA
MOSCA

Nevarez of Nevarez Commu-
nications. "Today, I have
much more responsibility.
First, the artist hires me. And
by the time the album comes
out, we're part of the team and
of the marketing strategy.
Sometimes we even help put
the team together."

Because most artists pay her
directly, Nevarez specifically
looks for promotional plat-
forms that not only don't cost
the artist upfront but also gen-
erate a sponsorship fee, like
Daddy Yankee's recent deal
with Coors Light (Billboard,
Nov. 14).

In Puerto Rico, Nanette
Lamboy, owner of marketing,
events and PR company
Artists Solutions, brought Ar-
gentine alternative band La
Mosca on a six-stop promo-
tional tour with support from
Medalla Beer, which thought
the group's image and sound

fit the brand.

"The role of the publicist
is constantly changing,"
adds Susan Stipcianos of
the Dream Team Agency.
"More and more acts are
looking to build multifac-
eted teams. The publicist
has to adapt to the speed of
the news — not only blasting
a press release, but putting
the information up on Face-
book, on Twitter, informing
fans and being plugged into
the pulse of the territory to
keep the artist relevant."

And while developing a
press plan for. say. Alicia
Keys is a publicist's dream,
the real challenge lies in
generating opportunities
for developing acts.

While many artists — espe-
cially big names — still have
separate publicists to work
mainstream and Latin media,
connecting the dots is an ad-

DEAD AIR

Labels Locked in Royalty Feud With
Costa Rican Broadcasters

Fair play:

RAUL

VAZQUEZ

recorded-mustc sates in Latin
America, the IFPI has step-
ped up its efforts in recent
years on behalf of local col-
lecting societies in the region
to recoup what they're owed
from broadcasters. In a iegal
dispute between Brazilian
society ECAD and media
company Bandeirantes, a
local court recently sided
with ECAD in the society's
calculation of a royalty rate
for public performances.

(According to the IFPI, ECAD
is seeking $35 million from
Bandeirantes for what it says
are 10 years' worth of unau-
thorized music uses).

Efforts by Costa Rica's re-
cording industry to obtain
court orders that would halt
radio stations' use of the re-
cordings haven't succeeded
in keeping the music off the

ditional challenge for Latin
acts. For example, take Cucu
Diamantes, an indie artist
who received glowing reviews
in mainstream media but
wasn't recognized by Latin
press. Acosta opted to initially
introduce her through a se-
ries of intimate get-togethers
with Latin tastemakers in dif-
ferent cities.

At the recent Latin Grammy
Person of the Year dinner,
Monica Escobar of the 3
Collective sought to put
prominent artists together
with executives for Hen-
nessy, her client.

"Our role was more that of
a connector," she says. "When
we started, our objective was
to be a PR company, but we've
had to become more resource-
ful and proactive."

Jriz

Fof 24/7 Latin news
and analysis, see
blllboard.blz/latln.

airwaves. Meanwhile, radio as-
sociation Canara's attempt to
revoke Fonotlca's authority
to collect was recently met
With a court defeat.

According to a missive on
Canara's Web site, the labels'
group represents a "monop-
oly" of multinationals repre-
senting themselves as one
entity in Costa Rica "trying
to charge for what we
transmit for free to all Costa
Ricans . . . after they've
already obtained massive
economic advantages be-
cause of that communica-
tion and free promotion."

Efforts to interview a
Canara representative were
unsuccessful at press time.
The IFPI is asking collecting
societies to write letters
protesting the Costa Rican
government's decision.

—Ayala Ben-Yehuda
and Leila Cobo

EN eSPAI^OL: All tile great Latin music coverage
JOtKTl you've come to expect from Billboard— in Spanish!
Blllboardenespanol.com.

BILLBOARD I NOVEMBER 28, 2009

BREVE

PAEZ SIGNS PUB DEAI
Argentine rock icon Fito Pac
signed a worldwide mult
album publishing deal wit
peermuslc. The agreemei
covers all of the singer/soiH
writer's compositions, begti
ning with his 1990 album, "T«
cer Mundo," and future stud
albums. Paez won a 2009 Lat
Grammy Award for best ma
pop vocal album for his live si
"No Se Si Es Baires o Madrid
—Ayala Ben-Yehua

LAMADRID UPPED AT
TELEMUNDO
Pilar Lamadrid has been nan
ed VP of specials for Telemui
do. In her new position, sh
will report to Derek Bond, se
lor executive VP of studio
production and broadcast q
erations. Long a key player
the annual Billboard Lat
Music Awards, Lamadrid w
now oversee original produ
tions and acquired entertai
ment specials, with a focus i
growing her department ai
developing creative sponsc
ship integrations.

Lamadrid will continue
oversee production of the B
board Latin Music Awards' n
carpet preshow, as well as pf
duction logistics and staff!)
for the program, she was m<
recently director for sped!
at Telemundo, a position si
had held since 2001.

Telemundo director of pr
duction Christian Riehl, the
ecutive in charge of the awai
show, will continue to rep(

to Bond, with Tony Mojena

the shows executive produc
—Leila Coi

ANOTHER TOP BOW
FOR SANTA ROSA
On Billboard's Top Tropical
bums chart, Gilberto Sar
Rosa's "Lo Mejor de Gilbei
en la Navidad" debuted
week at No. 2 (selling sligh
less than 1,000 copies, accoi
ing to Nielsen SoundScan)
become his 11th top five det
on the chart He's now tied w
Victor Manuelle for most t
five debuts on the chart. (7
two salsa singers share one
those debuts, 2005's "O
Soneros, Una Historia.")

On Top Latin Albums, "
Mejor de Gilberto en la H
dad" debuts at No. 13, Sai
Rosa's highest debut on t
chart since "Autentico" bo»
at No. 3 in the Sept. 11, 20(
issue. —Rauly Ramli

NEW YORK
NGWRITERS
CIRCLE
DIRECTOR/
PRESIDENT

Tina S

The head of the New York
Songwriters Circle talks about
the organization's growing slate
of artist services.

Inspired by the famed songwriter rounds at Nashville's Bluebird Cafd, the New York Song-
writers Circle has long provided a home for the city's local acoustic scene. The company's
twice-monthly showcases at the Bitter End in Manhattan's Greenwich Village have featured
an impressive roster of artists who've gone on to enjoy successful careers, including Norah
Jones, Gavin DeGraw, Vanessa Carlton, Lisa Loeb and Jesse Harris.

In recent years, the company has been expanding its ambitions, launching an annual
songwriting contest, starting a monthly "Loft Series" of educational seminars and releas-
ing a compilation album in November featuring some of the circle's most accomplished
artists. It's also started songwriter circles in Boston, Philadelphia, Chicago and Los Ange-
les and is going international in February, with chapters in Milan and Hamburg.

The company hosted the finale of its fourth annual songwriting contest Nov. 18-19 at the
Bitter End, featuring performances by 12 finalists selected from more than 4,000 entries.

Kate Voegele, the winner of the inaugural contest in 2006, has since secured an In-
terscope deal and a recurring part on the CW network's "One Tree Hill." This year's
grand prize includes $10,000 cash, a Gibson guitar, an invitation to record with producer
Glenn Barratt and to perform with John Oates of Hall & Oates, as well as live perform-
ance opportunities.

Since 1991, the circle's director has been singer/songwriter Tina Shafer, whose songs
have been recorded by artists like Celine Dion, Donna Summer and Bette Midler. In an
interview with Billboard, Shafer talks about the circle's aims and Its expanding artist-
development efforts.

How would you describe the
fundamental purpose of the
Songwriters Circle?
I always believe what goes
around comes around and
that's one of the reasons why I
believe the circle works. It's
kind of a farmland to nourish
and discover new talent. It's
where all these people come to
us and we try to find the right
connections for them. We are
much more interested in part-
nering and servicing than we
are in owning and taking.

Can the Songwriters Circle
format be applied to any
genre of music, these inde-
pendent organizations acting
like mini A&R companies?
I think that [scenario] is the fu-
ture. 1 have a really small listen-
ing team with people I really
respect and love, and that is the

innermost heart of our company

because it's really my ears and
our decisions. And I'm sure that
could go across the board for any
type of music.

When I was a little girl grow*
ing up in the '70s. so much of
music was produced and man-
aged by people that were musi-
cians. I'm a musician, and I'm a
writer and an artist, and I get
what it is to be that, so I feel like
1 have this edge when I listen to
people's art.

The business got so thrown off
the track — they took it out of the
hands of the artists and musi-
cians and put it into business
hands, and we were just like a
Campbell's soup can. It wasn't
about the music.

What's coming back is un-
derstanding what great content
is. Absolutely. You take some of
the top producers — the Arif
Mardins. the Russ Titelmans —
all these people really knew
music. That kind of went by the
wayside for many years and
that's coming back, and I couldn't

be happier.

It's called the Songwriters Cir-
cle, but many writers who
have come out of there have

gone on to artist careers
themselves. Do you focus on
developing talent with the po-
tential of becoming both writ-
ers and artists?
There are two tiers in the com-
pany. One tier is that every song
that comes into the circle, 1 flag
with my team if 1 love that song.
It may not make the top 1 2 for a
contest or it may not be the next
Kate Voegele. but if the song is
amazing, I will give it to our
music supervisor and say, "Hey.
can you try this at "One Tree Hill'
or whatever?"

What sort of stake does your
organization have in the artists?
We get a fee that an agent would
receive if we get a song placed in
a film or TV [show| or an ad, just
like anybody else. We're partner-
ing— we're not taking publishing,
we're not doing any of the old-
school things. And then the sec-
ond thing is. for the [songwriting
contest] winner, we have an 18-
monlh period to try to find them
a proper home, either a publish-

ing deal and/or a record deal —
and that's it. So basically, we're
asking them to trust us for a year-
and-a-half to try and find them
great homes.

Singer/songwriter music
seems to be more difficult to
spread virally than other gen-
res. Does the Internet facili-
tate the success of certain
types more than others?
I wish I had a crystal ball. I can
only say that I have found that if
great content gets a chance to be
heard, if it gets to be on a TV pro-
gram, then I think that your
chances are huge, that people
will love you and will want to
spread the word. 1 think being a
singer/songwriter is probably
more of an intellectual, cerebral-
based genre.

But look what happened to
Norah Jones. I remember her
talking to me at the Bitter End. 1
was like. "What are your fears.'
What are your fantasies? You just
moved to New York." She's like.
"I just want to own a VW Bug and

sell 10,000 records and just do my
jazz act." And I'm like, oh, my
God. she got that times 500 tril-
lion. So who knows?

What kind of response have
you had in other cities?

It's been great in every city, but
difTerenl. [In] Boston, we're part-
nered with Berklee [College of
Music], and it's all songwriters
from the college, so that's been ex-
plosive, it's always sold out.
Chicago is at Schuba's. the best
club for that genre in Chicago.
And the kids have nowhere (o go,
so they're excited. We're trying to
give a home to a genre that hasn't
had a home. The only one that's
really different is L.A. — what they
want to see are established hit
writers, and maybe bring along
one up-and-comer, so [it's] a little
bit different balance than what 1
originally had.

In Milan, we're opening in
February, and that's going to be
established acts because the stars
have never done anything like
this. They're going to have cir-
cles with their established talent.
So it's going to be a little bit fla-
vored according to the state or
the country.

Why did you pick Italy for the
international start?
Well, it kind of picked me. This
guy named Dado kept Facebook-
ing me and sending me stuff and
talking about how much he loved
what we did. and I said, "Well,
hey, dude, you want to start a
Facebook group there for us? And
maybe we could get some talent
to our contest." And then the next
conversation was — he had a great
manager — "Well, what about us
doing a circle here? tverybody
would go crazy." They're over the
moon about having a Songwrit-
ers Circle there. ••••

[remember [Norah Jones] talking to me at the Bitter End. Iwaslil^e, 'Whatare
your fears? What are your fantasies? You just moved to New York?' She's like,
'I just want to own a VW Bug and sell 10,000 records and just do my jazz act.'

NOVEMBER 28, 2009 I www.blllboard.Wz I 15

LESS THAN A YEAR AFTER THE AMERICAN IDOL WILD CHILD
BURST ONTO THE SCENE IN AN EXPLOSION OF GLIHER AND LEATHER,
ADAH UHBERT READIES HIS FIRST ALBUM

BY ANN DONAHUE PHOTOGRAPH BY ROBERT SEBREE

Adam Lambert — the man with the outsize personaUty who deUvered
an audacious octave-and-a-half sitar-tinged purr of Johnny Cash's
"Ring of Fire" on the most- watched TV show in the country, dodged
sex toys thrown at him onstage during the "American Idol" tour and
did it all without smearing his eyeliner — is currently curled in the
fetal position. Balled up in a patio chair on the lOth-story balcony
at 19 Entertainment in Los Angeles, Lambert is the portrait of the
goth as a young man — black clothes and combat boots; dyed black
hair and nail polish; Egyptian-themed jewelry matching the Eye of
Horus tattoo on his wrist.

He j;r.il)s his knees and loiislricls himself even tighler as he
reveals why lie's so enio rigiit now: He"s attendmg the premiere
of the film "2012" in a few hours. And his song. "Time for Mir-
acles.' plays over the closing credits.

"I'm going to be like this, in my seat, hiding in my popcorn
bucket." he says. "It's going to be really weird."

Lambert laughs, unfiirls his legs and straiglitens up in the chair.
Mis worry is. of course, all a joke, an act. a performance. Because,
tnie to his album title, Lambert is here for our entertainment.

When "Atnerican Idol" launchtxl in 2002. creator Simon Kuller
must have dreamed of a contestant like the 27-year-old Lambert
—one that mixes style and substance, one that can sing anything
and gives a damn about cultivating his public image. In a year,
LamlH'rt's gone from being one of a herd of auditioners at the
San Francisco tryout.s to landing the covers of Entertainment
Weekly and Rolling Stone before his album was even released.

For 19 Fntertainmenl. the eighth season of "American Idol"
was somelhitig of an embarrassment of riches — the eventual win-
ner, Kris Allen (see story, page 20) has sold 1.1 million digital
downloads of his "Idol" songs, according to Nielsen SoundScan.
and contestant Allison Iraheta. with her prctcrnalurally gravelly
vocals and artful red and blue hair (see story, page 19) is prepared
to court the Hayley Williams/Avril Lavigne demographic.

But in a year when the clubby stylings of Lady Gaga and the
Black Eyed Peas are setting sales records, it's Lambert's slinky
set of dance songs that are poised to steal the spotlight. "For
Your Entertainment" will be released Nov. 23; the title track lead
single sold 18.000 in its first week of release, according to Sound-
Scan, while "Time for Miracles" has sold 68,000 in three weeks.
This comes on top of the 997,000 digital tracks sold of Lam-
bert's songs from "Idol."

"He's an artist with a tnie sense of who he is." RCA Music
Group G M/executive VP Tom Corson says. " It's our job to work
with him and present him with options to help steer the ship —
but ultimately it's his call. He has a vision."

ENTERTAINMEHrrONICHT

The cover of " For Your Entertainment" shows Lambert as a
three-dimensional version of Patrick Nagel's artwork for Duran
Duran's "Rio": all glam makeup and sharp angles. It's not sub-
tle in any way — Lambert is gleehil as he points out that he wore
all that makeup — but it's true to his image as a showman that
combines singing talent with a theatrical bent.

It's an image he flaunted throughout "Idol" — and was never
more exemplified than in Lambert's retort to judge Simon Cow-
ell's critique that one of his performances was loo "Rocky Hor-
ror." ("1 like 'Rocky Horror,' " Lambert patiently explained.)

But it's rare that a persona crafted on "Idol" doesn't go through
some sort of intensification as the performers transition from
contestant to professional: Texas cutie Kelly CIark.son took on
a pop sheen; Carrie Underwood's country chops were honed
on the show.

For Lambert, he was "Glambert" from the start.

"I think there's a misconception — people think that 'Idol' is
likea Svengali puppeteer." Lambert says. "1 think that may be
the perception because certain people that have gone through
the system didn't have a strong idea of what they wanted to do
visually. I think the minute you do. they respond to that. And
I 've been very verbal and opinionated about what 1 want to cre-
ate, and they've been nothing but supportive of that."

When Lambert moved to Los Angeles from San Diego eight
years ago and began working in theater and as a session singer,
he quickly learned that business acumen was just as important
as musical talent. At 27, he's in the upper age range of "Idol"
contestants — the cutoff for the show is 28 — and the simple fact
of his added life experience could serve him well as he transi-
tions away from the spotlight that is built into the show.

"1 do consider myself part artist, part businessperson," Lam-
bert says. "1 find marketing interesting, I find publicity inter-
esting. I find the whole process interesting. 1 think there's some
artists that are really focused on the music and the artistry, but
I also think being a showman and being an entertainer is more
than just being a musician. It's everything — it's something to
look at and to listen to."

The songs on " For Your Entertainment" rely heavily on dance
beats, but there are a number of ballads for contrast. "When I

18 I BILLBOARD | NOVEMBER 28, 2009

was picking my singles, I thought maybe I should do more of
a rock thing because that's what people expect. But if I did what
people expected of me, I don't think I would have gotten through
Idol' the way I did," Lambert says. "It's part of my shtick as an
artist to keep surprising people."

One defining characteristic is the A-list writing and produc-
tion credit throughout the album: "Soaked," which Lambert
says is about a one-night stand, was written by Muse's Matthew
Bellamy and produced by Rob Cavallo, who worked on four
tracks on the album; "Strut" was written by Lambert, "Idol"
judge Kara DioGuardi and Greg Wells, who also produced;
Ryan Tedder wrote and produced " Sleepwalker" alongside co-
writers Aimee Mayo and Chris Lindsey.

"If an artist has the skills and ambition to write songs, then
we will actively encourage and pursue this, often by pairing our
artists with the world's very best songwriters, allowing them to
learn and develop their writing skills." 19 Entertainment
founder/CEO Simon Fuller says.

AMERICAK IDOL
BY THE
NUMBERS

It's a reality show that doubles as a 360-deal:
Thanks to 19 Entertainment, contestants with the
chops and audience popularity get record deals,
a tour— and plenty of media exposure. —AD

The announcement of the pairing of Lambert and Lady Gag
on the track " Fever" was fodder for gossip blogs, but Gaga doesn
actually perform on the track, Lambert says, explaining, "Sh
was on the other side of the glass just egging me on."

The title track — which was produced by Dr. Luke, who co-wroi
it with Claude Kelly — is now being worked to top 40 and hot A>
radio. "I wanted to release something that would be played in
club, that would make you dance on New Year's," Lambert says

He means that literally — "Dick Clark's Rockin' New Year
Eve With Ryan Seacrest" is one of the TV appearances lined u
for Lambert in the coming months; the campaign starts No
22 with his show-closing performance at the American Musi
Awards. Besides the typical rounds of morning and late-nigh
talk shows, Lambert will be interviewed as one of the "Moi
Fascinating People" of 2009. "Adam is so telegenic. It's goin
to be a visual launch," Corson says.

A video for "For Your Entertainment" is forthcoming. It's d
rected by Ray Kay, who did die video for Lady Gaga's " Poker Face

IDOLS LIVE
TOURCROKEi

'AMERICAN IDOL
AVERACE RATINCt

30.6M

SOURCE- Niel

The album is available for pre-order on iTunes and Amazon
id was streamed on MySpace the week of Nov. 16. Lambert's
'eb site. AdamOfficial.com. is offering direct-to-consumer
;luxe sets, including one for $24 that contains a 1 6-page pic-
re book and two bonus tracks. One of them. " Whataya Want
om Me" (written by Pink. Max Martin and Johan Shellbeck).
ill likely be the next single.

I nternationally, Corson says the label intends to break Lam-
•rt first in the United Kingdom and )apan.

For his part. Lambert wants to tour in 2010 — and tour big. "I
ant dancers. I want costumes. I want video screens," he says,
want to put on a show that's really theatrical and fun and grand. "

DOL CIVEJ BACK

II of this is the end result of a heady year for Lambert. At this
me in 2008, he was waiting for the Hollywood ehmination
iundsof"Idor to start. In TV time, it lakes six months for "Idol"
crown a winner, but the production process runs year-round.
Despite the artifice of the show, it does drop-kick contestants
iln the media spotlight — a valuable lesson for any pop star,
rhi'v put you through it to see if you can hang." Lambert says.
The 2009 season of" Idol" attracted an average of 25. 1 million
^wers, according to Nielsen, the lowest average in several years:
It it's still the most-watched show on TV, as it has been since
KM (see chart, pa^g 1^)- The finale where Allen was proclaimed
i- wimirr over Lambert was watched by 28.8 million viewers —
> million more than the 2009 Grammy Awards.
"The finale of 'Idol' was pretty epic," Lambert says. "I got up
ere and was singing with Queen and Kiss — I got to put on a
stume. I really feel the finale summed up what I'm trying to
I. and what I 'm going to do. I think that being onstage with leg-
idai y people like that reminds you of what showmanship is."
Weeks after the "Idol" season wrapped, the top lOcontest-
il.-s embark on the Idols Live tour — a valedictory sprint of 52
[it s in three months that grossed $30 million this year, ac-
rdiii^ to Billboard Boxscore (see chart, page 18).
While group numbers are a standard part of the show, each
^hliiiistiin^ "Idol" contestant gets his or her chance to shine
.J solo. Lambert did a medley of David Bowie's "Life on Mars?,"
.niif ' and "Let's Dance." He saw it as a chance to stage-test
i- sound he had in mind for his debut. "I always wanted to do
mic songs, and I never did them on 'Idol' because it wasn't
L'l the right fit," he says. "We did a different, slightly modern
oduLiion. which is basically what I'm doing on my album."
And much like the TV show, the "Idol" tour puts its partici-

II t s through the wringer. " I 've done theater for years and I ve
Ti^ for a long time, but I 've never done a solo set in concert
Lihi after night while traveling," Lambert says. "It was a good
y to learn about how to take care of yourself and how to pace
urself while on the road."

With the fame comes accompanying challenges: Lambert
become a favorite subject of the tabloids and paparazzi,
call, it's weird," he says. "You know, it's like, 'Hi, I'm just
Iking to my car — why do you care?' "
I t's very likely that they care because of the wink-wink, nudge-
dgc game that was played in the media about Lambert's sex-
lity during his "Idol" tenure. Lambert demurred on the
estions about whether he was gay until the Rolling Stone ar-
Ir: since then he's unwittingly become Adam Lambert, Icon
Gay Youth. It s not a mantle he shoulders easily.
I don't want to be a spokesperson for anybody, no matter
() they are," he says. "I'm not following this career path to
a role model or lo be a poster child for anything except for
isic. If there's an indirect impact that my presence has on
Iain issue, then I think that's a good thing."
Its a mature point of view to take as Lambert's private life
. onifs inextricably linked to his public persona. It's an issue
it will get raised again and again — as he walked the red car-
[ for "2012," for example, he was asked if he brought a date,
s laughing response? "My date is my jacket, actually."
A few days after the premiere, Lambert is sitting in Fuller's
K v, swiveling back and forth in a white office chair as he pre-
res for another long day of media interviews. The movie, as
timed out, was a blast, and "Time for Miracles" was warmly
eived. "People stayed and listened," he says, honestly happy.
Oi course they did. That's entertainment. • • - •

RED
HOT

Season Eight's Punk Princess ALLISON IRAHETA

Wants To Parlay Her Big Voice Into Hefty Sales

It's a moment that Allison Iraheta isn't
fond of recalling. After performing in
one of the early rounds of "American
Idol," host Ryan Seacrest approached her
for the standard chat-'em-up interview.
And by her own admission. Iraheta
flubbed it. She stammered, stumbled
and looked like she was going to collapse
into a fit of giggles — or tears.

"Yeah, that was an awesome first
timer with Ryan Seacrest." she says
with a laugh. "Being on the show and
the tour definitely helped prepare us
all for what we're going to be doing
now. I'm much more comfortable on
the big stage."

To be fair, live TV can be intimidat-

ing— and Iraheta is only 17. But her
youth and inexperience didn't stop her
from attracting heavyweight produc-
ers like Max Martin and Howard Ben-
son for her debut album, "[ust Like
You" (19 Recordings/Jive), which is due
Dec. 1 . The lead single, " Friday I'll Be
Over U." has sold 10.000 copies, ac-
cording to Nielsen SoundScan.

"It's a pop album with a rock edge
over it," Iraheta says. "There's some
hard stuff — like when you're at a con-
cert, it makes you want to lift up that
lighter ... or iPhone."

live Label Group GM/executive VP
Tom Carrabba says the label will focus
on Iraheta's peers in the teen market

with targeted radio, TV and online
campaigns, but wilt also reach out to
the Latin market. A Spanish-language
version of "Friday I'll Be Over U" will
be worked to radio. "She does speak
Spanish, and it really works," Garrabba
says. "It's not contrived." (In 2006, Ira-
heta won Telemundo's singing com-
petition "Quinceaflera: Mam^i Queiro
Ser Arlista.")

Iraheta says the "Idol" experience
has given her more confidence not just
as a performer, but as a songwriter. The
album closes with "You Don't Know
Me." a track co-written and co-produced
by David Hodges. "I don't know if I'm
shy when I'm sharing my ideas — be-
cause I don't know if they suck or not —
but I get a little quiet, maybe," she says.
"He just made it so comfortable. We
were talking about things that sort of
piss us off most, and for me, it's pre-
judgment. And we wrote it about that."

With the recording of her first album
behind her and as she heads into the
promotional grind, Iraheta is keeping
up her mix of sweet and sassy that won
her fans on "Idol" — occasionally break-
ing into an imitation of Cartman from
"South Park" and offering this about
her multicolored locks: "It probably
lasts a good four to five weeks before
the coloring starts coming out. 1 1 bleeds
when I shower. It looks like a horror
movie." She's become, in other words,
a good interview. — AD

NOVEMBER 28, 2009 I www.billboard.blz t 19

THE BILLBOARD Q&A!

KRIi ALLEN

'American Idor Season-Eight Champ Talks About His New Album,
His Upcoming Tour— And What He Learned From Wikipedia

One year ago, Kris Allen was attending the University of Central Arkansas, playing gigs at local bars and adjusting to life as a
newlywed. Now, thanks to "American Idol," he's enough of a brand name that his major-label debut is self-titled.

"Kris Allen" (19 Recordings/Jive) was released Nov. 17, and odds are good that Allen can build off his digital single sales suc-
cess from "American Idol." To date, Allen has sold 1 . 1 million copies of tracks he performed on the show, according to Nielsen
SoundScan.lead by his version of the show's coronation song "No Boundaries" with 312,000. Allen sold more total "Idol" tracks
than runner-up Adam Lambert (997,000) or fourth-place finisher Allison Iraheta (79,000).

"The exposure an up-and-coming artist receives from 'American Idol' is nothing short of amazing," RCA/Jive Label Group
chairman/CEO Barry Weiss says. "Where else in today's difficult music industry can one get five years of artist development,
artist loyalty and public awareness achieved in a short five months.^"

The first single from the album, "Live Like We're Dying," is being worked to top 40 and hot AC radio and has sold 98,000
copies, according to SoundScan. Jive Label Group GM/executive VP Tom Carrabba says Allen will have 13 TV appearances be-
tween now and New Year s Eve.

"We have ' I del' fans and young girls as big supporters, but I think we can also attract moms and guys who are going to respect
his live performance," he says.

five wants to key into the emotional subtext of the lead single as well. The label teamed with AOL to debut the video and to
sponsor a contest in which fans who submit stories of living life to the fidlest are eligible to attend the recording of Allen's AOL

Sessions in New York.

Much of Allen's success on "Idol" derived from his ability to insert his skills on guitar and piano into his performances, cre-
ating affable interpretations of songs like OneRepublic's "Apologize" and Bill Withers' "Ain't No Sunshine." For his debut album,
Allen takes a similar approach, relying on his musicality for a collection of guitar-driven pop.

It's been a pretty Intense time for you, going from win-
ning "Idol" to the tour to the recording of the album. You
co-wrote eight of the songs on the album, and you have
a solo writing credit on one of them. How did you man-
age all that work on the road?

Your mind has to switch over from two different things. When
you're on tour, you're trying to get the crowd involved and re-
ally sing and perform to them. When you're going to write and
be in the studio, if s like, "Now I have to think about me." That's
the mind-set you have to work with.

I keep a journal, and maybe I'll take something from that —
but when I'm writing a song I'll usually just be playing around
on my guitar. More than anything, I just try to capture a moment.

You have a solo writing credit on "Red Guitar." What was
your inspiration?

1 bought a red guitar for my wife for her birthday and she never

played it (laughs), so we ended up sticking it on the wall in our
house — it was a horrible guitar, just like a $50 guitar — but it
was a good house decoration. And one day I picked it up and
tuned it and started playing it, and this song just became kind
of a metaphor for how I feel about my wife. It was nice to get
that one on the album because it was something from before
the "Idol" stuff and I feel like it's an amazing song. It shows
who I am as a songwriter and as a musician.

On the album, you worked with everyone from Switch-
foot's Jon Foreman to producer Mike Elizondo. Is there
anyone out there you'd like to collaborate with?

It would be fun to write with Adele, actually. She seems like a
fun girl to write with. I'm still new in the music business — it
was funny, they would be like, "You're going to write and pro-
duce with this guy," and I'd be like, "OK!" I didn't know who it
was. so I would look them up on Wikipedia. When I went to

work with Mike Elizondo, I had no idea who he was. I wen t
the Internet and it was like — Dr. Dre, Eminem, Switchfoot, ^
roon 5, Fiona Apple and a bunch of people, and 1 was like, "WTia
he doing with me.^" [laughsl I ended up goingto his house mai
many times and working on a lot of songs with him.

How did fans respond when you previewed a few of tl
songs off the album at a tailgate party for a Miami Oc
phins game in October?

"Can't Stay Away" is a really, really fun song to perform, rea
funky, really groovy. I think people can really get into it. It v»
kind of crazy, because the first time anybody heard that son(
was in that crowd — and people started singing along. Thaf
good thing. I had a huge smile on my face the whole time.

What was It like filming the video for the first single. '*U
Like We're Dying"?

It's a song that has a really good message — that we only ha
so much time, let's make the most of it. It's definitely got a
of the choruses where I can picture people rolling down t
windows of their cars and singing along to it.

The video looks great. It was really fun shooting it — we s\
it from 8 p.m. until 8 a.m. so it was an all-night thing with
breaks. [The shoot was] set up like a digital clock, but it's hu]
it's this monstrous thing — like 25 feet tall and who knows h%
long. I get to hold a flare, which was pretty cool. I ended ■
throwing it at people on set. [laughs]

On the show, you always made a point to compleme
your singing with playing an instrument, which is som
thing the TV audience really responded to. Did you ma
that same connection on the album?

Most of the songs are very guitar- and piano-driven. I was puj
ing really hard to make sure it had that organic feel to it, whi
I also really wanted to have on the show. Obviously, you've ^
to amp it up a little bit — like Gavin McGraw or Jason Mraz wou

On "American idol," the spotlight was always on you ai
Adam Lambert. Simon Cowell kept trying to set up a
valry, and now you have albums coming out within a we<
of each other.

That's the thing — we're going to go through at least the fi:
part of our careers doing everything back to back. We were «
the show throughout the whole time, then we were on the toi
and now we're coming out with albums. I feel like we're alwa
going to have this time of our lives, we're going to share it, a:
we're going to be able to go through it together. We know «
actly what the other is going through.

D(d you watch "American Idol" whMo It was on tha air'

I actually did not watch myself. I just couldn't. It's too muc
I 'm a little bit hard on myself, so even if the judges were rea
nice rd belike, "Dude, that was bad."

What did you learn from the "American Idol** tour th
you can apply to your own tour?

It's a lot of work. You kind of have to prep yourself physical
mentally, emotionally, because it's crazy. More than anythi
I think it will be [the lesson of] making the most of every n
ment. We're only going to be in those cities once and those pt
pie only get to see one show — 1 think that you have to givt
your all every night. I always loved when we were on tour a
I came off the stage just drenched in sweat.

I'm going to do some Christmas shows for radio, and af
that we're going to start rehearsing through February. I do
know exactly what we're going to do yet on tour, we may d«
college, small club kind of thing, which would be really fx
We may get on an arena tour as well; maybe a little combii
tion of both. We're going to tour until we can't tour anymor

Who inspires you?

I just watched "This Is it" last night. Michael Jackson was t
biggest star the world has ever seen — he put so much into eve
thing: a lot of attention to detail. I want to do that. I want to f
that kind of attention to detail in everything — in music, vi:
ally— all of that. — y

20 I BILLBOARD I NOVEMBER 28, 2009

The Evolution
Of Leona Lewis

On 'Spirit,' LEONA LEWIS Was The U.K.'s Girl Next Door Who Conquered The Globe.
Now, On 'Echo,' She's Taken Charge Of Her Image And Her Songwriting— And Is Ready For A World Tour

BY CRAIG McLEAN

NOVEMBER 28, 2009 21 I www.billboard.biz

Cni

VIOLFNCF AND THFFT

Not words one would normally associate with Leona Lewis,
the squeaky clean winner of "The X Factor," who went on to
stunning worldwide success with her debut album, "Spirit."

Nor, one imagines, exactly how Clive Davis. Simon
Cowell and Sony Music Entertainment envisaged the
comeback push for Billboard's top new artist of 2008.

While the campaign for Lewis' debut was hitch-free, the
setup for its follow-up, "Echo"— released Nov. 16 in the
United Kingdom on Cowell's Syco Music and a day later in
the United States on J— has been anything but smooth.

First, in mid-August, three songs from the
album sessions leaked onto the Internet,
reportedly after Syco's IT system was hacked.

Then, more dramatically, Lewis was assaulted Oct. 14 during a
London book signing for her autobiography, "Dreams." The
man accused of punching her in the head was committed
under the United Kingdom's Mental Health Act.

"It was a shock," Lewis says of the attack, which left her
bruised. "I was very sore. The main thing is that I'm still alive."

By the time Billboard catches up with her. two weeks after the
incident, she's even able to smile about it, particularly the tabloid
reports that Lou Al-Chamaa — the childhood sweetheart with whom
Lewis still lives in her working-class home neighborhood of Hack-
ney in northeast London — rushed in to tackle her assailant.

** He wasn't even there," she says. "That makes me laugh. I 'm
sure if he was there, he would have. My dad and my brothers

wprcn*! there (c-ithcr}. Tlicy're usually ill dtfTcrcnt things that I

do. But I'm so glad that they weren't. Because, oh, my God. . ,"
In the immediate aftermath of the assault, Lewis canceled pro-
motional trips to Germany and France, and pulled out of a high-
profile U.K. TV appearance on BBC I's "The One Show." She says
she has no lasting concerns about making public appearances.

The Internet leak was dealt with in similarly succinct fash-
ion, as the IFPI's anti-piracy unit teamed with law enforce-
ment agencies on both sides of the Atlantic. A criminal
investigation is ongoing, according to Syco head of media
Ann-Marie Thomson. Dave Shack. London-based VP of in-
ternational for Sony Music U.K., says. "1 don't think it did us
any real damage.'

PROMOTIONAL PUSH

Shack's comment must be a relief to all concerned with pro-
moting one of the year's most hotly anticipated albums. After
all. "Spirit" sold 6.5 million copies worldwide (according to
Sony), including 1.6 million in the United States (according to
Nielsen SoundScan) and 2.8 million in the United Kingdom
(according to the Official Charts Co. [OCC]). It also earned Lewis
three nominations at the Grammy Awards and four at the BRITs.

The international breakout single, "Bleeding Love" — co-
written by jesse McCartney and OneRepublic's Ryan Tedder —
hit No. 1 in Austria, Canada, France, Germany, the Netherlands,
Ireland. Norway. Switzerland. Auslraha, the United Kingdom
and the United States, as well as Billboard's European Hot 100

Singles chart.

Such success had been a long time coming for Lewis, who
attended the United Kingdom's BRIT School for the Perform-
ing Arts and spent much of her teenage years writing and record-
ing in search of that elusive break.

When it came, it catapulted her to unprecedented heights
for a U.K. talent show winner, but Sony Music chief creative
officer Clive Davis has no doubt she deserves every bit of
her success.

"Leona has one of those very, very special voices that's ex-
pressive and has an incredible range," says Davis on why — of
all the new artists who regularly cross his desk — he chose to
back her so wholeheartedly. " But she also can feel the lyric very
sensitively. You look for that in a singer. She's also passionate
about music — it really runs in her soul. That combination made
me feel that she was a special new talent."

All of which leaves a lot for Lewis' second album to live up
to. Scott Seviour, New York-based senior VP of marketing and
artist development for RCA Music Group, says the "Echo" cam-
paign will have three long-reaching phases.

The "ignition point" was Lewis' September appearances on
"VH 1 Divas" and the finale of "America's Got Talent" the same
week that lead single "Happy" — a slow-burning, epic ballad
co-written with Tedder and Evan Bogart — went to top 40 and
hot AC formats.

So far, however, "Happy" has only peaked at No. 50 on the
Billboard Hot 100. selling 156.000 U.S. downloads, according
to Nielsen SoundScan. "Bleeding Love," in contrast, has moved
3.8 million, the 12th-biggesl-selling U.S. download of all time.
"Happy" was released digitally Nov. 8 in the United Kingdom;
the song has been performing strongly at U.K. radio, so far
peaking at No. 4 on the OCC's radio airplay chart and debut-
ing at No. 2 on the U.K. Singles chart Nov. 15.

"We all know 'Happy' is a fantastic song and a great calling

wanted
something that
showed where
I was as a
person and as
an artist now.
And I think
I did that
quite well.'

—LEONA LEWIS

card to come back [with]," Shack says. "But the caveat is, it's
song that takes work. We were always going to struggle to ha
'Bleeding Love' part two."

Nonetheless, all parties say "Echo" has much greater dep
than Lewis' debut. Phase two of the campaign encompass
the release of a second single, currently tipped to be either " Lo
Letter" or "I Got You," in February. Phase three will kick-sla
with Lewis' first tour in May.

"When an artist breaks in as many countries as Leona di
they have to go all over the world,** Davis says. " She really Ik
to go and help introduce her [new] album in all tho.se coun tri
that were interested in her."

WORLD MUSIC

As she meets Billboard in a central London broadcast stud
on a sunny October morning, Lewis is doing a good job of kt-i
ing her own excitement in check. Little wonder, as she has
pace herself: During the next seven hours she's conduc lin^
back-to-back interviews with U.K. regional radio stations.

She points out that the release dates for "Spirit" were si
gered internationally, but "Echo' is being released siniullat
ously worldwide, hence today's compressed schedule.

Fortunately, the success of "Spirit" means she now has li
pick of promotional platforms. After a Nov. 4 slot at Spain's Pi
mios Ondas awards gala, she performed at MTV's Furopc
Music Awards ceremony in Berlin the following day— a si^ii
icant step up from her role presenting an award at last yt
ceremony in Liverpool and. Shack says.a crudal European t
paign launch point.

"Her peers visually are Jay-Z and Beyonct and all the peo [
on the show this year," he says. "Those are fantastic lumiii.
ies for her to be sharing stages with and proving that she
big European star as well."

Then there was her Nov. 8 return to U.K. ratings champ "T

BILLBOARD I NOVEMBER 26, 2009

Cor

YVYrYrYAYAYmYrYiYrYYYmWYYmYi

Factor." timed for maximum impact on single and album
lies, before heading for the States and a run of high-profile
Vcngagetnentson "Today" (Nov. 16). "Dancing With the Stars"
Jov. 17). "The Ellen DcGcncrcs Show" (Nov. 19). "The Tonight
how With Conan O'Brien' (Nov. 19) and "Jimmy Kimmel
ive!" (taped Nov. 20, with the airdate still to be determined).

!n person, as on TV. the 24-year-oId is glamorous but de-
lure. As befitting her committed vegetarianism and stated in-
■ntion never to undertake raunchy photo shoots, her knee-high
3ols are a man-made version of suede and accessorized with
>zy lights.

And while, as Shack puts it, "18 months ago. she was that
arlet that had won "The X Factor' and this was her first foray
ito promotion, so she was a bit caught in the headlights," she
3W radiates sleek, professional polish as she professes to not
'en know the meaning of "the sophomore slump."

"I wanted something that showed my growth, that showed
here I was as a person and as an artist now," she says of "Echo."
lastly recorded in Hollywood's Henson Recording Studios.
\nd I think i did that quite well,"

HE WRITE STUFF

1 practice, this meant telling the titanic figures ofCowell and
avis — both credited as producers on "Echo" — that she wanted
greater hand in songwTiting.

She has co-writes on 10 of the U.S. version's 14 tracks (in-
uding hidden track "Stone Hearts &. Hand Grenades") as com-
ired with two on "Spirit," although the U.K. version replaces
eTeddcr/Lewis composition "You Don't Care" with a show-
oppingcover version of Oasis' "Stop Crying Your Heart Out."

And. while Shack says that "Oasis have more resonance in Eu-
>pe — a lot of middle America won't know that track at alt." Lewis
v\ily points out that difTerent international editions mean there
scope for repackaging the release with additional tracks fijrther

down the marketing line. The special edition of "Spirit" was re-
sponsible for 800.000 of its total U.K. sale, according to the OCC.

For "Echo." Lewis wrote a wish li.st of "everyone 1 wanted to
work with." A fan of his 2008 hit "Lei It Rock," she sought out
Kevin Rudolf to co-write the uptempo "Love l/'lter." john Shanks,
who has written for Bon Jovi and Kelly Clarkson. was recruited
for "Broken." co-written with A. "Novel" Stevenson.

"I wanted a song that was just massive." Lewis says. "That
one for me is the most vocally crazy."

Overall. "Echo" throws less of what Lewis describes as the
"conventional" R&B-diva shapes. "Outta My Head." co-written
by Swedish pop powerhouse Max Martin, is a Euro-club banger
that, with a couple of strategic remixes, could do healthy busi-
ness on next's summer dance charts. "Don't Let Me Down." co-
written with )ustin Timberlake and featuring him on backing
vocals, is strings-drenched, niidtempo. taut funk.

And then there's Tedder. He and the rest of OneRepubtic
guest on "Lost Then Found." while he and Lewis also wrote
"You Don't Care." working on it in Tedder's Denver studio and
London's Abbey Road — the latter location enabling Beatles en-
thusiast Tedder to channel the spirit of "Strawberry Fields For-
ever" in the opening bars.

"We've got a good chemistry together." Lewis says. "He re-
ally gets me as a person."

" Leona's still learning as a writer but she has some definite
God -given talent." Tedder says. "To some degree she's my muse.
All that matters to us is putting really meaningful lyrics with
really meaningfiil melodies. When she sings a song, you know
you're going to be hearing it 10. 1 5 years from now at weddings."

Tedder first encountered Lewis at a songwriters confer-
ence organized by Davis at the Beverly Hills Hilton in early
2007. Lewis performed in front of a range of A-list hitmak-
ers that also included, Tedder recalls, Stargale, Ne-Yo, Diane
Warren and Desmond Child. By coincidence, it was the

same week Tedder wrote "Bleeding Love."

"Clive is very old-fashioned and still the best." Tedder says.
"That was probably the single sitiartest thing hedid in the whole
Leona album process. I think )usl about everyhil she had from
'Spirif carnc from the people in that room."

With "Echo." Lewis was determined to be front and center
of that creative process. Was Cowell. the man who effectively
discovered her. supportive of that?

"Simon doesn't really care whether I've written it or it's by
Max Martin or Ryan Tedder." she says. "He just wants the
best song. So when i sent him "Happy.' I was like. "I hope he
doesn't actually see thai I've written it.' Bui then hewaslikc,
'Oh. this is amazing.' Tlien he found out I co-wrote it, and
he was just like. 'Well done. I really rate you for that.' "

It's this evolution of Lewis. Shack says, that is key to the
"Echo" campaign. "It's about movement, growth, her coming
of age." he says.

TOUR DEFORCE

As well as her development as a songwriter. Lewis is ramping
up by wearing custom-tailored outfits designed by British fash-
ion icon Vivienne Weslwood. who will also be involved in Lewis'
move to the concert stage.

Lewis' world tour — projected to nm for nine months — will
kick off with nine U.K. arena dates in May and )une. booked by
Creative Artists Agency. She starts May 28 ai Sheffield Arena
and will also include two shows at London's 02 Arena. Harry
Magec, Lewis' co-manager at London-based Modest Manage-
ment, expects that run to be extended, or that Lewis will return
for further U.K. gigs as part of a European tour in the fall. "In
America, we'll be touring in the summer." he says, "cither as
part of a package or as special guests." Dates in Australia and
)apan will follow in late 2010 and early 201 1.

Mageesays production details are still in the early stages —
contrary to some Internet rumors. Michael |ackson'schoreog-
t .ipher Travis Payne hasn't been hired — but fans should expect
-.fnnething spectacular.

Alter ail. despite the lack of headline concerts. Lewis is hardly
a stranger to the stage, performing everywhere from the clos-
ing ceremony of the Beijing Olympics (with Led Zeppelin's
|immy Page) to Nelson Mandela's 90th birthday party in Lon-
don's Hyde Park to the 2U08 MTV Video Music Awards (witli
Lit Wayne and T-Pain). She sings "I See You (Theme From
Avatar) " over the end credits of james Cameron's anticipated
sci-fi film "Avatar."

And, a week after Billboard meets with her. Lewis performs
her first full live show. It's a homecoming gig. at the 1 ,500-
capacit)' Hackney Empire, a grand Victorian theater that was
also the venue for Lewis' first talent comperition.

" I sang ■ My Heart Will Go On' by Celine Dion, which is a big
song for a li-year-old," she says with a laugh. "And I won. which
was cool. I've been back there since and sang, although it was
covers. It's so important for me to go back there and be able to
do my own material."

The nine-song, 50-minute set features Lewis backed by six
Shaolin-style dancers, two backing vocalists, a six-piece band
and inventive lighting and visuals (at one point she sings from
between the giant projected image of her own legs), all over-
seen by creative director William Baker, who for many years
performed the same role for Kylie Minogue.

Despite the occasional hint of tcntativencss, it's an impres-
sive performance. Lewis's rich, soaring voice elTortlessly fills
the venue. Her elegant, expansive cover of "The First Time Ever
I Saw Your Face." featured on "Spirit." demonstrates her skills
as an intetpreler of standards, wliilc 'I iappy" and "I Got You"
(another Martin co-write from "Echo") already sound like stone-
cold classics.

That "evolution" campaign seems firmly on track, although
no one will ofTer predictions just yet for how "Echo" might sell
in comparison with "Spirit."

"I never make predictions — I find that loo intimidating,'
Davis says with a chuckle. "All I know is. we've worked hard to
avoid any pitfalls with the sophomore album. We've got a great
numfjer of very strong songs that showcase the growth and ma-
turing and development of Leona as an artist and as a creative
person. The rest is up to fate." ••••

NOVEMBER 28. 2009

u billboard. bIz

Cri

THE BLACK KEYS TEAM WITH DAMON DASH,
MOS DEF AND RZA FOR A HIP-HOP LABOR
OF LOVE BY MONICA HERRERA

It's a bleary, rain-soaked after-
noon in late October, and huddled in a cor-
ner table at DuMont restaurant in Brooklyn,
the Black Keys are talking vegetables.

"My mom said that when she was a kid in
the winter, you couldn't get any at thegrocer>'
store.' says drummer Patrick Carney, who's
picking at the last traces of his poached eggs
and field greens-
Dan Auerbach, the Keys" singer/guitarist,
looks at his bandmate, perplexed. "Where'd
she live, dog?"

"Toiedo." Carney replies, citing the Ohio city
west of Akron, where he and Auerbach grew
up. "She said that all you could get was, like,
iceberg lettuce."
"Toledo's jacked up."

The Keys' aside has little to do with what
they've been discussing thus far: "Blakroc,"
their Damon Dash-orchestrated hip-hop col-
laboration set for release Nov. 27 — Black Fri-
day. But it still hints al why the band's latest
project could seem unorthodox to many. Here
are two Ohioans who make swampy garage-

blues that, while marked by the virtuosic play-
ing that's made the Black Keys a can't-miss
live act. feels firmly planted in a blue-collar
rock aesthetic.

The Black Kc^'s, howo*cr, will be llie first to say
that as kids, they worshipped one hip-hop pio-
neer in particular. "RZA is my hero," Auerbach
says of the Wu-Tang Clan's patriarch. "It was crazy
and amazing to be in tlie studio with him." Car-
ney adds, "Tlicrc were more people listening to
hip-hop at our high school than rock'n'roll."

With their new material, the Black Ke>'s want
to shake things up. "Black Keys fans know that
the band is not a one-trick pony," manager )ohn
PeeLs says. A host of seasoned rappers, from
RZA, |im [ones and Ludacris to Q-Tip,
Pharoahe Monch, Mos Def and even deceased
Wu-Tang member Ol' Dirty Bastard appear on
"Blakroc," dropping rhymes against a dense
backdrop of Aucrbach's dingy guitar riffs and
Carney's stomping drums.

Aside from their last album. 2008's "Attack
& Release," little of the Black Keys' hip-hop in-
fluence appears on their previous work. The

duo recruited producer and Gnarls Barkley
member Danger Mouse (Beck, Corillaz, MF
Doom) for that effort and made what is widely
believed to be their strongest work to date, as
well as their best-selling: "Attack & Release"
sold 192.000 copies, according to Nielsen
SoundScan, ahead of the Key.s' 2006 album
■Magic Potion" (IIG.OOO) and their 2004 tip-
ping-point release "Rubber Factory" (147,000).

"Fans know the band is open to evolving,
and I think that record with Danger Mouse
cracked open the door — we re just walking
tlirough it," Peets says.

Auerbach's vocals rarely even appear on
"Blakroc." Dash's former Roc-a-Fella Records
artist Nicole Wray provides many of the hooks,
the first of a few signs that " Blakroc" isn't your
average mash-up album.

■"We weren't trying to make a rap-rock
record." Auerbach says. "We were trying to
make a good record. When my voice was ap-
propriate we'd give it a shot, but we were to-
tally comfortable playing the backing band, as
long as what we were doing is effective."

Auerbach is right. "Blakroc" works because
at its core, it's a hip-hop album with an excep-
tional backing band. And it's part of a rising
trend that favors live instrumentation over sam-
pled beats.

What the Black Keys. Peets and Dash hope
is that music fans will naturally gravitate to-
ward a project that — at a time when labels are
scrambling to manufacture a moneymaking
hit — developed organically.

"It's the same reason why two suburban
white kids would get into 01' Dirty Bastard at
the age of 13." Carney says. "Why can't some-
one who's into ODB get into the Black Keys?"

NATURAL SELECTION

Dash hadn't heard of the Black Keys until this
past April. Two of his assistants left the oflice

one night to see the band in concert, piquin
his curiosity. "I was like, 'l.et me hear thes
Black Keys,' " says the Roc-a-Fella co-foundt
and former business partner of lay-Z. Da.sh gi
a copy of "Attack & Release" and as he listene
to it. "I got infected." he says. "It was just ei
hancing the mood, and it started to become m
theme music; it became an every-day, all-da
thing — the Black Keys in heavy rotation."

"He was like, 'How does a band that I'v
never heard of sell 5.000 seats in NYC?* " Aue
bach says. ' ' How is this band self-sustainab'
and doing all this business stuff, and I don
know anything about them?' "

Pretty soon. Dash was hatching a plan fc
the band to collaborate with Jim Jones, th
Harlem rapper whose career he shepherdei
He tracked down Peets by phone and pn
posed a studio session in New York, with n
strings attached.

'I knew that once we got in tliere som>
thing was going to happen," Dash says. "I ju
didn't know what it was."

In June. Peets had the Black Keys fly in ft
a recording session at Studio G in Brooklyi
where Dash would arrange for Jones to me
tliem. Though Auerbach and Carney were opt
to recording with hip-hop artists, they, in tur
admit that they weren't wholly familiar wii
Dash's work.

"As a kid I grew up listening lo Wu-Tang ar
the Pharcyde, and Damon's Roc-a-Fella stu
came after (hat," Auerbach says. "And I didr
knowJim[Joncs]atall. Igoton tlie Internet, ar
all I saw was that he had more friends on M
Space than anybody I veever seen, and had mo
people shitting on his music than anybody ['<
ever seen. I didn't know what to expect."

One artist whose music Auerbach and Ca
ney were familiar with was Mos Def, who c
incidentally ran into Dash on the street ll
night before the Keys' session with Jones. "Mt

24 BILLBOARD I NOVEMBER 28. 2009

Blakroc the casbah (from left
on opposite page): PATRICK
i CARNEY on drums; ERIN
1 FETHERSTON, DAN

f AUERBACH. JIM JONES,
? RAQUEL HORN, DAMON
DASH.MOS DEF.JOEU

HAMILTON, Mckenzie eddy,

Carney and JOHN PEETS; Q
TIP with Dash (above);
Auerbach on vocals (below).

I'w the Black Keys and was a fan — he was in-
ti'd. too," Dash says. Mos Def would be the
si rapper to record with the Keys at Studio
and when Jones arrived four hours later that
mv night, they all laid down the bluesy "Ain't
othin' Like You (Hoochie Coo)," one of three
)ngs on "Blakroc" to feature Auerbach's vo-
ls and the first track leaked to the public.
"Jim was super nice and really seemed to
g the music." Auerbach says, "and the fact
ai Mos wanted to work with us was really
)ol, That's when I said, 'This is for real.' "
More happy accidents soon followed. When
Keys told Dash they wanted to work with
ZA, Dash contacted his old friend through
leir mutual barber in Los Angeles."! was like,
'you see RZA, tell him I'm looking for him,' "
ash says. RZA would soon record two tracks
1 "Blakroc" and was the only guest artist to
() work with Auerbach and Carney on the
isii . playing electric guitar on "Tellin' Me
lines ' and keyboard on "Doliaz &. Sense."
hich also features Pharoahe Monch.

Damon just invited me to the smdio to vibe
il with some creative people." RZA says. "I've
playing guitar for three years now and 1
w, j\ s wanted to record myself, so I look a shot
it and caught a cool riff."
As recording continued, the Keys' ap-
o;it h to creating "beats" evolved. "At first
? were sticking to electric guitar, bass and
uTTis. but then we started to come up with
repetilivr riff and deconstruct it," Carney
vs. "It's a little more experimental than
lat we normally do."

Dash recruited another Wu-Tang Clan
i iiilx i. Rackwon, for the standout track
ia> OfTthe F*%&#n' Flowers." "I came over
the studio and 1 liked what I heard," Raek-
m says. " It just seemed like part of the world
;it I need to be in. I have a bunch of white
MS that care about me, so why not represent

the rock side? We are all cousins inside the
music business anyway."

Except for supporting Jones. Dash has mostly
been working outside of the music industry
since his Roc-a-Fella days, focusing instead on
filmmaking and his ex-wife Rachel Roy's fash-
ion line and opening an art gallery last month.

On "Blakroc." however, the way Dash assem-
bled an impressive lineup of veteran artists is
a testament to his lasting credibility among his
peers. " Hip-hop respects Damon Dash, no mat-
ter what the media thinks," RZA says. "Even
though him and his man [ Jay-Zl split the atom
and went their separate ways, we know it was
a combination for both of these men's work
that built their strong empire."

BY THE NUMBERS

Inside the tight quarters of Stixdio G, Auerbach
shulTles from side to side, shuts his eyes and
nods his head smoothly — a perfectly re-
spectable way for a rocker to respond to an MC
rhyming over his guitar licks. Carney looks on
as the veteran Brooklyn rapper O.C. takes the
mic. "Guitar strides got me zonin'/Drum kicks
and snares got me in an altered state," he raps,
as a cameraman — one of two videographers
that Dash has hired to film every second of the
"Blakroc" recording sessions — zeroes in on
him. When O.C. exits the booth a few minutes
later, he's clearly excited by the experience. "I
like this room. It makes me sound profes-
sional," he says.

T\^e Black Keys fini.shed recording "Blakroc"
in 1 1 days during the summer, but liicy're still
making hip-hop music. Though they're not
ready to publicly reveal any artist names, O.C.
is just one of many rappers who've hit the stu-
dio with Auerbach and Carney In recent days.
No one knows whether these new sessions will
ever materialize into a second Blakroc album,
but as with the first one, no one is letting lo-

gistics kill the creative flow, either.

"We haven't stopped since we started." Auer-
bach says. "It's not even like we're making a
second one — basically we just kept going."

Soon after O.C. leaves. Dash swoops in wil>i
three of his employees — one armed with a bot-
tle of Veuve Clicquot — and gives a half-dozen
pounds and bear hugs to Auerbach, Carney,
Peets and nearly everyone else in the room, in-
stantly changing its dynamic. It's striking to
see Dash back in the studio, a once-second
home that he's ready to re-embrace.

"I couldn't do any more hip-hop unless I did
something different," he says. "Now we have
all these artists like Mos and RZA on some-
thing different, something that's never been
done. It's going to open new doors."

For Dash, it's already doing that. He's now
working on two other collaborative albums,
one between the rapper CurrcnSy and Mars
Volta drummer Thomas Pridgcn and another
between Raekwon and the Disco Biscuits. The
mogul also submitted edited documentary
footage of" Blakroc" to the Sundance Film Fes-
tival, and he's timing the launch of his new TV
venture, CrcativeControl.tv, for Nov. 27 to co-
incide with the album release. In addition. Dash
and Mos Def recently co-produced a documen-
tary about the all-black Detroit punk band
Death, and Dash plans to launch an online
radio station.

On the subject of the album's sales poten-
tial. Dash is less committed. "I don't care,"
he says. "We made good music. Roc-a-Fella
wasn't ftjn, it was work. Everyone that I helped
ended up turning their back on me. The
minute ! put them in the place where they
could make money, then they wanted to make
beef. I'm not in that business anymore. Every
single second of this has been fun."

As the de facto president of the Blakroc im-
print, it's Peets' job to handle the business strat-
egy for the project. The Keys' manager set an
off-cycle, Nov. 27 release date to take advantage
of the biggest retail day of the year. Physical
distribution will be handled by [unketboy and
exclude mass retailers, which he says is the
band's way of "making a stand. Independent
record stores have been so important to the
Black Keys. To give back to them and support
the thing that got us here during a big retail
time is really important." The Keys' label. None-
such, will handle digital distribution.

The marketing plan for "Blakroc" stems
mostly from its Website, which has premiered
a new behind-the-scenes viral video every Fri-
day since Sept. 1 1 leading up to the release date.
The strategy has worked, with nearly all major

hip-hop and rock online outlets spreading the
content and furthering anticipation.

The Black Keys' upcoming performances
on "Late Show With David l-etterman" (Dec.
8. with Mos Def and Jim Jones) and "Late Night
With Jimmy Fallon" (Dec. 10, with RZA) will
also help bring exposure. Although a more ex-
tensive live performance has been discussed.
Peets says it wouldn't entail "hitting the road.
It would have to be a very event-driven, spe-
cial thing."

Additionally, Harley-Davidson has created a
Blakroc motorcycle incorporating the project's
logo to be sold through Harley-Davidson of Cool
Springs in Nashville and at Blakroc.com. An
exclusive Chevrolet 2010 Blakroc Camaro, fea-
turing all-black wheels and glass, will also be
sold at the Web site and at Carl Black Chevro-
let stores in Nashville and Atlanta. Finally, the
boutique chain ACE Hotels will host "Blakroc"
listening parties in its lobbies.

"It's a bit like a graphic equalizer with the
middle pulled out," Peets says of the business
plan. "There's a lot of low-end organic stuff
going on, and then there's a higher-end effort
to create something lifestyle-oriented for the
community of pcoplecoming together around
this music."

But will that community be big enough for
"Blakroc" to turn a profit? "It would be nice to
break even, and if it's more than that, fantas-
tic," Peets says. "We've been economical with
this, and accountability is something we need
in the music business industry anyway. The
goal is to make another record, so that if you
manage everything properly and set reason-
able expectations, then all of the sudden you're
an artist — you're contributing."

After recording the "Blakroc" album, the Black
Keys went to Alabama to finish their sixth stu-
dio album, which has a projected release date
of April 2010. No hip-hop artists will appear on
the .set. but Auerbach and Carney were influ-
enced by tlicir side project in more subtle ways.

"Mostly it was the positive momentum we
had coming from such a good project," Auer-
bach says. "We kepi that posilivc energy and
jumped right into the studio."

It's Dash, though, who is coming away from
" Blakroc" with the most excitement about what
lies ahead. " I 'm inspired again," he says. "When
I left music, everybody was so worried about
making money that they didn't make money
anymore. In this environment, you can do
whatever you want — you don't have to worry
about singles, you don't have to kiss ass. and
you don't have to answer dumb questions. You
get to keep the spirit alive." • • • •

NOVEMBER 28. 2009 I www.billboard.bi2 I 25

BILLBOARD SPECIAL FEATURE: AUSTRALIA

Trap sprung: Nominated for four
ARIA Awards, THE TEf^PER
TRAP cracked Billboard s Top ^\
Heatseekers Albums chart in
October with 'Conditions' on
Liberation/Glassnote Records.

ON THE RISE

Business is looking up Down Under. While
the world's most powerful markets strug-
gled with the global financial crisis of 2009,
Australia's economy enjoyed slight growth
in the first half of this year, and its music
industry played a similar tune. Led by a
burgeoning digital market and respectable
CD album sales, the value of Australia's
recordcd-music industry expanded by the
thinnest of margins — just 0.4% — in the
first half of 2009. For the first time, the
pace of growth in digital sales outpaced
the decline in physical product.

A host of factors contributed to the feel-good figures. The
overall economy is buoyant, broadband penetration is rising,
and the digital market has been refreshed with a slew of inno-
vative new arrivals, including Nokia's Comes With Music and
MySpace Music earlier this year and the launch of Vodafone's
MusicStation subscription service in late 2008.

The upward trend offers a positive backdrop to this year's
Australian Recording Industry Assn. Awards set for Nov. 26 in
Sydney. Whether the gains reflect an early stage of recovery or
just a false horizon, however, only time will tell.

"The half-year figures look encouraging," says Stephen

26 BILLBOARD I NOVEMBER 28, 2009

Peach. CEO of the Australian labels association ARIA, which
issues the official trade figures for the recorded-rnusic mar-
ket. "Whether we've reached that transition point where the
growth in digital outweighs the decline in physical, we'll see
what the full-year figures look like."

During the six months that ended June 30. Australians spent
more than $37 million Australian ($33 million) on downloads,
ringtones and other digital music formats, up 43% from the same
period in 2008. The bulk of legitimate online traffic came in the
form of digital tracks, a format that generated $18 million Aus-
tralian ($16 million) in income, up 36.5%. Another bright point
has been the digital albums format,
which rose nearly 56.8% in first-half
value to $9.3 million Australian ($8.4
million), and now represents 8% of over-
all album sales, up from 4.7% in the cor-
responding period of 2008."

"There is a positive feeling from con-
sumer feedback that sales will continue
strongly through the cnicial Christmas
period," says Sony Music Australian and
New Zealand chairman/CEO Denis Han-
dlin. whose company ended 2008 with
the market's three top-sellingalbums by
Kings of Leon, Pink and AC/DC Sony
artist jessica Mautxjy also leads this year's
ARIA nominations with seven nods.
"Our new business continues to expand"

THE ECONOMY
IS BUOYANT,
BROADBANd
PENETRATION IS
RISING, AND NEW
DIGITAL SERVICES
ARE EMERGING.

Australian Sales Edge
Out Of The Red, With
Digital Leading The Way

BY LARS BRANDLE

as well, Handlin says, citing Sony's new touring aim, Day 1 f
tertainment, and its label -agnostic digital store, Bandit.fm.

"Labels are engaging more directly with artists' fans. They '
become more digital-savvy and i hey it marketing heavily ^
MySpacc, Facebook, Twitter and blogs," says Paul Paolioll
COO of the Sydney-based mobile pcrsonali/ation. entert.n
ment and technology provider Mercury Mobility.

Australia is emerging as a solid test market for digital soi
ices. Nokia's all-you-can-eat subscription offering arrived Man
20 Down Under, just the third market to launch behind tl
United Kingdom and Singapore, f-igures leaked to lliepres;

early October suggest the service li

made an impact. The Australian bu;
ness reportedly had 23,003 active use
in July, second only to the 32.72
Comes With Music users during th<
same period in the United Kingdon
News Corp.'s MySpace Music arriv
in October in Australia, just the sn (
market behind the United States.

Prime Minister Kevin Rudd 1
proposed an ambitious natiimal bra
band network, described by Hudd
the "largest infrastructure decision
Australia's history." Both projccis .i
progressing and should foster the cou
try's nascent online music market. !
in 2009 the battle lines were drawr

Or;

the digital world. Sony's Bandit. fm portal added new fea-
tures in August that enable artists to upload and sell their
live releases. At the end of March. HMI Music Australia
launched the blog and A&R resource I n Sound From Way-
Out to complement its Musichead MP3 download store.
Universal Music Australia has its GetMusic online store.
(Warner Music Australia has yet to announce its plans to
launch an online store.)

A survey released in August by Immcdia, a Sydney-based
publisher and events organizer, found that Bandit. fm
grabbed a 4% share of the market, besting the efforts of
rival record companies. Where the likes of GetMusic and
Musichead are looking for footholds in the market, label
sources identify iTunes as the runaway market leader with
more than 70% of the download market.

Over-the-air downloads are yet to take off in Australia.
Tlic same study revealed only 9% of respondents had pur-
chased music on a telecommunications carrier or hand-
sel manufacturer in the past year.
For ail the ho]>e digital brings, the physical CD album is still
tops Down Under. Australians bought more than 15 million CD
albums in the first half of 2009. 5.9% fewer than in the first half
of 2008. and the format slid 4.5% in wholesale value to S 125.5 mil-
lion Australian ($108 million}. But the CD album still accounted
for more than 70% of the total $ 178.6 million Australian recorded-
music market in the first half CD singles and the music DVD/video
formats had steep declines during the period.

Australia continues to maintain a vital domestic talent scene.
Australian artists fared well on ARlA's top albums and sin-
gles charts in the first half, contributing 23 albums (21.3%)
and 16 singles (13.8%). A handful of home-grown acts ap-
peared on international charts during the year. Empire of the
Sun, the Temper Trap. Daniel Merriweather. the Veronicas
and Orianthi all had breakthroughs overseas, while Missy Hig-
gins finally got some traction in the United States with her
second album, "On a Clear Night" (Eleven).

Indigenous singer Geoffrey Gurnmiul Yunupingu's stunning
solo debut, "Gurnmiul," sold nearly 200.000 copies, according to
his label Skinnyfish Music, just shy of Australia's triple-platinum-
certification threshold. The album also charted in Germany and
the United Kingdom through a partnership between Skinnyfish
Music and Mike Bait's Dramalico Enlortaininent.

"It's great for all of us when an Australian artist breaks through
internationally," says EMI Music Australia chairman Mark Pos-
lon. "Right now. it feels like there's real interest for Australian
music again." Empire of the Sim and the Temper Trap are among
the nominees at this year's A Rl A Awards. And the Temper Trap
last month cracked Billboard's Healseekers Albums chart with
"Conditions." on Liberation/Glassnote Records.

Other rising Australian acts have begun to gain interna-
tional notice.

Tame Impala from Perth on Modular Recordings, whoso self-
titled EP reached No. 1 on the Australian Independent Record
Labels chart, will share the bill with international stars at the
Big Day Out Festival in Australia and New Zealand next year.
Sarah Blasko, signed to Dew Process, will release her third
album. "As Day Follows Night." across Europe next year through
a licensing deal with Dramatico. The rock band Violent Soho
has been signed to Thurston Moore's Ecstatic Peace label
through Universal. Lisa Mitchell, a 2006 contestant on "Aus-
tralian Idol" and an ARIA Award nominee this year, had her
debut album, "Wonder," released in the United Kingdom in
October on RCA. And Kate Miller-Heidke reached No. 2 on the
ARIA albums chart with her second Sony album. "Curiouser."
and had a global viral hit on YouTube with "Are You F*cking
Kidding Me? (The Facebook Song)." which appeared on a five-
song SIN/RED EP in October in the United States.

Tiie business backdrop for this talent in action is encourag-
ing. The economy has performed better than expected (1%
growth in gross domestic product reported in the first half),
thanks in part to the government's stimulus packages. In April,
the government handed out as much as $950 AustraUan ($861)
to 1 3 million Australians as an incentive to spur growth at re-
tail and stem job losses.

Tlie handout benefited the Australian entertainment and elec-
tronics retailer )B Mi-Fi.The music market-leading chain is in
expansion mode and forecasting 20% sales growth to $2.8 billion
Australian ($2.5 billion) in the financial year that will end lune
30. 2010. "Unlike in other countries, we haven't had a big down-
turn here," |B CEO Richard Uechtritzsays, "and Australians' love
affair with technology is insatiable." | B dominates its retail rivals
with an estimated 40% share of the CD market.

The signs of recovery are good, but no one is celebrating just yet.
"It's a tough retail environment." says David Williams, chair-
man of the leading independent music group Shock Entertain-
ment. "But we expect digital to continue expanding dramatically
at the expense of physical retail."

Williams' comments are reflected by Steve Pavlovic. manag-
ing director of Modular Recordings, the Sydney-based label home
to Wolfmother. Cut Copy, Ladyhawkc and others.

"Some of our artists would have sold a lot more records with
the same amount of attention five or 10 years ago." Pavlovic says.
"But there arc some outstanding opportunities opening up for
artists, there's a lot of great music coming out of Australia. And
we're happy, the sun is shining." ••••

NOVEMBER 28, 20O9 I www.billt7oard.biz

II
il

BOXSCORE concert Grosses

GROSS/

ART)ST(S} Attftndance

Vmw; Dale .lu.x- iv

Promoter

S3.B13,094

BETTE MIDLER 1

i^hO $175 JUa-
195

Th» CofotMum at CMura Palac*, 32.931 S^S&e '^n.
Lm VegM. HcM X-4. 7-a lO-n. 15-t5 -J r^v :.ciiuui^

Concerts Weit/AEQ Live

S2,789.S50

NICKELBACK, SJCK PUPPIES

Aear Anna. Sydrwy. Nov. 13-14 . , .

Dainty ConiiOlidBtDd Entertainment. L^ve Nalmn

$2,766,306

AC/DC, MUSTANG 1

I "k; --3.1-0 IX-JW!

Fofo Sol, Mwico Ctty. Nov. 12 ^0-853

OCE5A/CIE-H«xK0

$1,7t6;240

JONAS BROTHERS |

La Rlnconada, Caracas. 12.256
V«ncnMla. Oct 27

Cvenpro/Water Brother

Sl.458,089

LEONARD COHEN |

•J

155.' 12950

MacNien Sauar* Ganton. 13.354

Concerts West/AEG Uwe

$1,416,020

NICKELBACK, SICK PUPPIES 1

St,os

Brtcbana Enteitalr¥n«nt Cvntra. 11,035
Brisbans, Australia. Nov. II >i _

Dainty Coruolidatad Enlvrtainment. Live Nation

$1,413,808

RICAROO ARJONA J

Univ«reklad Stan^n Belhnri 13,711

CancM. VanazuaU, Oct. 3-4 is JOO •■•^o ^^<-:v.'s

CwnproAVattr Brother

H $1,273,920

HARD HAUNTED MANSION: DEAOMAUS, JUSTICE S OTHERS 1

Shrine Audliorlum. Los Angeles, 19,205
Oct. 30-31 • sp o-iiv

BHI Sihia PrwMirts, NItnw

$1,157,106

EROS RAMAZZOTTI |

«7B4,000l

Forest NalMul, Brufisets. Oct. 16,000

30-31 -.r

Ltve Nation International

$1,150,432

EROS RAMAZZOTTI

;C 767 410)

Ahoy. Rotterdam, The IS.SSS
Netherlands. Oct 27-2B -.a '^ij ■ „, ,

Live Nation Interriatlonal

$1,121,400

MARC ANTHONY. RUBEN BLADES

1 1

La Rlnconada, Caracas. 18,OS7
Venezuela, Oct 29 . . ■ xi

EvenproAVater Brother

$1,106,220

AC/DC, THE ANSWER 1

Frank Erwin Center. Austin, Nov. 6

Uve Nation

H S1.0ai.332

BARRY MANILOW |

RAY WADDELL ON THE ROAD

rwaddell n biiiboard.com

$1,071,917
$1/)63,193

11012938 reaMri)

$1,022,257

$'9 W,'51^>bt>

$1,013,963

MILEY CYRUS, METRO STATION

SARAH BRIGHTMAN

MILEY CYRUS, METRO STATION

Taiyot Center, Minneapolis.

etti Silva Presents. Andrew Hewitt Co.

T4F>Tlme For Fun

Taiyet
Oct 21

FLEETWOOD MAC

$1,012,737

$986,936

$982,909
$981,861

t£665 9.W)

$976jn3

17350,125
$972,398

$972,146

(CS»4 000]
S90£>1

S969.281
$962,886

S'-3fl05/V64 ,17

$938,349

$932,270
$926,775

$923,385

%96 77'$80 39

$917,820

«62^.766>
H606-i.'il«43

$906,410

■:t"5'n,&cO) S^*5'0

$889,340

S73.29/$70JO

$882,162

S5fr67/$44J4

SECC. Glasgow, Scotland, Oct 22 '

MILEY CYRUS, METRO STATION

BJCC Areru, Birmingham, Ala.,

MILEY CYRUS, METRO STATION

SootindeCeMK$tlJMli,Oct3B ,

latels. Antwerp, Belgium,

MILEY CYRUS, METRO STATION

Rupp Arena, Lexington, 1^., Nov. 1

THE BLACK EYED PEAS, LMFAO

Sn*b»n* Ent*rt*lnnwit Cwntr*.
nsbarw, Australia^ Oct. 1

Alioandra Palace, London, Nov. 4

MILEY CYRUS, METRO STATION

FLEETWOOD MAC

10,515

CLIFF RICHARD S, THE SHADOWS

9.686

MILEY CYRUS, METRO STATION

CLIFF RICHARD S THE SHADOWS

Echo Ara«uk Liverpool. Cngtand, 9,689

Uve Natlon'U.K.

Live Natlon-UJC

Live NaT! on International

Frontier Tourmg

Live Natlon-U.K.

Live Nation International

Uve Nation-U.K.

Uve Natlon-UX.

FLEETWOOD MAC

Ahoy. Rotterdam, The
Netherlands. Oct. IS

10^1

Uve Nation internet loital

AC/DC, THE ANSWER

Greensboro Coliseum,
Greensboro. N.C Oct 25

13,681

AEG Live

ELTON JOHN

Hartwal Areena. HeltmM, Oct. W

7.194

Live Nation interrutlonal

CLIFF RICHARD S THE SHADOWS

Metro Radio Arena. Newcastle.
England. Oct. 12

9.531

Ltve NatMrv-UJC

MUSE

HartwaU Areona. HelsMU. Oct. 22

12,348

Uve Nation International

GREEN DAY

Sportpaleis. Antwerp. Belgium,

Oct. 17

14,297

Uve Nation Intematlofwl

FRONTIER NAN

For Mushroom's Michael Gudinskt,
Tour Promotion Remains His 'Fun Job'

As a pioneer of the Australian music business.
Michael Gudinski was into 360 deals before they
were called "360," But rather than attempt to tap
into different artist revenue streams because a
central revenue source was faltering, Gudinskfs
motives were more entrepreneurial in building
a fledgling music business Down Under.

Gudinski. founder/chairman of the Mush-
room Group of Cos., will deliver a keynote at
MIDEM Jan. 26. which coincides with Australia
Day. a national holiday.

This year marks the 50th anniversary of Gudin-
ski's company Frontier Touring, which among
other accomplishments was among the first pro-
moters to pair Billy Joel and Elton John as co-
headliners and the first to tour Bob Dylan with
Tom Petty & the Heartbreakers across Aus-
tralia and New Zealand in 19R6.

Gudinski formed Mushroom Records in 1972
but had begun booking artists in the region years
earlier. In 1970, he established the Consolidated
Rock agency, which evolved into the Premier
Artist /Harbour Agency Group and remains a
powerful booking agency in the region.

In partnership with others, including Frank
StIvala, Philip Jacobsen and Ian James.
Gudinski has diversified his portfolio to include
festivals, venues, concert promoting, merchan-
dising {ARM) and publishing (Mushroom
Music Publishing).

Branching into other areas was instinctive
for Gudinski. "Because it's a small country here,
we didn't have antitrust laws like in America
back in the '70s, so I basically had set up what
people would took at now as the original 360
t>'pe of operation," he says. "Now you have all
these people talking 360. which I really don't
like. I think unless you have someone actively
doing something in an area, to take someone's
rights is wrong."

But the live business has always been Gudin-
skfs first love. "Touring has always been the ex-
citing side of the business for me, and not just
because of the obvious excitement of a show
and the risk involved," he says. "It keeps me in
touch. You're out on the road, you're talking to
bands. I used to always say the record company
was my day job and the touring company was
my fun job."

Fun and still successful, as Frontier this year
has brought such acts as Kings of Leon, the
Black Eyed Peas. Leonard Cohen. MGMT,
Rise Against and Fall Out Boy to Australia
and New Zealand. His Day on the Green music
fests at Australian wineries have become
hugely popular.

Frontier first started to gain traction by bring-
ing in new music exploding out of England to
Australia, including such bands as the Police
and Squeeze.

Jriz

For 24/7 touring news and analysis, see
blllbo«rd.blz/tourln9.

"We started working with bands that some c
the established promoters weren't taking ser
ously. so we sort of came in through the late '7(
with that music style," he says. "But today we'i
very diverse. We're very conscious of trying I
put special bills together — we're very conceme
with value for money. If the live music businef
doesn't protect the fans and the core of what th
business is all about, they will end up doing e
actly what the record business did — outpricic
and outsmarting themselves."

The dynamics of the music business ha\
"completely swapped" since he started, Gudii

ski says. "It used to be you toured to promo
your record. Now it's almost like you record
promote your tours. When I started, a record w
much more expensive than a live concert ticki
and it has completely flipped the other way."

Gudinski stresses the importance of workir
with developing acts.

"I just can't say how important it is to wo
with new artists, not just sit back on the b
multiple arena acts , because new artists are tl
future of the business," he says. "It's an inte
esting time at the moment when you look ai
handful of gigantic superstars out there. B
where arc the next handfijl of superstars coi
ing from?'

One of the major challenges for promotii
tours in Australia is the volatility of the Australi
dollar when most international acts prefer to '
paid in American currency.

"We went through a period last year whe
the dollar dropped like 3S cents in week
Gudinski says. "On a $tO million tour that'i
few million dollars."

At MI DEM, Gudinski plans to talk about he
promoters are playing a much bigger role
artists' careers, such as investing capital in a c
veloping act "so you can withstand all the b
guys trying to rub you out the minute the bai
happens," he says. "It will be a pretty intere
ing chat."

28 I BILLBOARD I NOVEMBER 28, 2009

NICKELBACK

BACK WITH THEIR BIGGEST SHOW EVER!

. LIVE IN CONCERT

A NEW SHOW!

LIVE ^OlO

The story of Frankie talli ft The Pour Seasons

BILLBOARD SPECIAL FEATURE: AUSTRALIA

DIVERSITY DRIVES
LIVE SCENE

Concert Business
Was In The Pink
In 2009

BY LARS BRANDLE

Australian concertgoers have enjoyed a lot of choice for their buck lately. The likes
of Coldplay, Andre Rieu, Green Day, the Black Eyed Peas, Nickelback and Britney
Spears all embarked on Australian tours in 2009. None, however, could touch Pink's
extraordinary 58-date trek, which sold 658,000 tickets and grossed more than $80
million Australian ($74 million), a record for a touring female artist Down Under.

"Achieving; that Ie\'el of ticket sales in a recession environment
KHifirnis tlijt Australians value great entertainment above pretty
much anjlhing else th;il they could spend their disposable in-
come on," says Michael Coppel, whose Melbourne-based com-
pany Mitliiifl Cx)ppel Prt-Sfnis promoted the tour.

"No qufslion our markel responds to hit international acts,"
says Paul Dainty, CEO/cluirriian of Dainty Consolidated Enter-
tainment, which is promoting 1 4 shows by Spears this month on
her first Australian tour. "The market has been very s-trong through
2009 despite the economic issues, which have been tame [here]
compared to the rest of the world."

However, the wildly fluctuating dollar rate has affected pro-
moters. The U.S. value of the local dollar has swung from as low
as 60 cents in October 2008 to as high as 92 cents a year later.

"The fluctuating dollar is a nightmare." says Ming Gan. co-
founder of the Parklife festival tour, which sold out 1 30.000 tick-
ets across five cities from Sept. 26 to Oct. 5. "This year I did al
my contracts in Australian dollars, and the Aussie dollar has
gone up, which meant I missed out on a windfall."

Australia's live entertainment sector in 2008 generated $1.1
billion Australian ($978 million) in revenue and shifted 15.8
million tickets (of which 2 million were continued on »p32

SONY MUSIC CONGRATULATES

SONY MUSIC

AC/DC DAVID CAMPBELL
JESSICA MAUBOY KARNIVOOL
KATIE NOONAN KATE MILLER-HEIDKE
PETE MURRAY WES CARR

lor their ARIA nominations

Natalie Bassingthwaighte • Anthony Callea • Cassette Kids • Cassie Davis • Georgia Fair • Jotin Farnham • Delta Goodrem
Adam Harvey • Hoodoo Gurus • Human Nature • Damien Leith • Amy Meredith • Sam Moran • Morgan ■ Shannon Noll
Michael Paynter • Amy Pearson • Rogue Traders • Guy Sebastian • Hugh Sheridan • Trial Kennedy • Mark Vincent

bandit.fm

30 I BILLBOARD { NOVEMBER 28, 2009

Everyone talks about

i 'Audience Reach'

BiHlKXaidGTH ANNUAL

TOURING NOMINATIONS

AWARDS 2009

TOP VENUE

ACER ARENA, SYDNEY
MADISON SQUARE GARDEN, NEW YORK
02 ARENA, LONDON

SW 2129, Australia • Phone: +61 2 8765 4321 Fax: +61 2 8765 4333

Cni

Accounting

Taxation

Merchandising

Royalties

Audits

Contracts

GST

ROSEBY
ROSNER
i YOUNG

rr.RTIFll D PRAtTISIN(i At (OUVTANTS

These are not words which find their way into
compositions, written or musical. But ttiey
are concepts which artists, musicians, actors,
sportspeople. and their associated technicians
and managers should be mindful of if they wish
to maximize their incomes and minimize their
costs and tax obligations.
We have, over the past 30 years, established
a global netwofk of legal and accounting
specialists wtx) work with us to address and
resolve all financial or taxation issues which will
confront the entertainer or sporlsperson during
his/her career.

Our list of entertainer clients worfdwide, in both
ttie music and film industries, is formidatDte and
simply attests to the extent of the confidence
and trust they have placed in us over time.
We are always ready and at3le to assist you
in protecting your interests while in Australia.
New Zealand. Japan, and South East Asia.
We will also refer you to the most appropriate
professionals to address any fiscal/tax matter
which may arise while wof1<ing in the USA, the
UK, or Europe,

Contact: Mtchael Roseby
Michael Waters

Levels.

199 Toorak Road. (PO Box 131)
South Yarra 3141.
Melbourne. Australia
Telephone: 61 3 9827 3366
Facsimte: 61 3 9827 7888
Email: msf@rosroy.com.au

www.rosroy.com^u

Internaiional Taxdtlu

Billboard Research Can Answer Vour Questions, PI:
ComplclB Iriay ol Rntaidi Padiiges Im lingln mdJlt ■bums
frnin HdI 100. Billbmnl 200. MB. R<p. Counlif, Gugnl, Oiiitia,
Oanct. Ulin. Rack, tdult Caolamiigiar), Jazi, and tkoW
CM t ilrtitia Capias

Cliait Hiatal) rtparta by Artist I ritia ( libel I WVItir ( Pradm
CuitamiMil Racaps and Rasaarch available

RESEARCH

TO ORDER CHART PACKAGES. GO TO WWW.BILLBOARD.COM/R

FOR CUSIOMIZEO RESEARCH, CONTACT RESEARCH BILLBOARD COM OR 646-654-4633-

BILLBOARD SPECIAL FEATURE: AUSTRALIA

Sunny days: The six-city
Big Day Out Festival
continues to dominate
Australia's festival scene.

from »p30 com pUmentary), according lo
the latest "Ticket Attendance and Revenue
Survey" of" the trade group Live Performance
.■\usiralia. Although the market was well down
from Its peaks of Si. 3 billion Australian (Si. I
billion) and 20.8 million tickets in 2007. LPA
CEO Evelyn Richardson is heartened by the
health of the business and says the dip is part
of a natural cycle in the industry. Admittedly,
the LPA's survey
doesn't yet capture
much data from re-
gional venues and self-
tickctcd events, and
the festival business is
slill underrcported.

"Business is going
.ilong quite well, but I
wouldn't say business is
booming." says Michael
Harrison, tour coordi-
nator for Frontier Tour-
ing, which promoted
Kings of l-eon. the Black

Eyed Peas and Leonard Cohen in 200*). "Tliere's
renewed confidence in the market tliat the worst
times arc over. We're moving ahead."

That's not true, however, forveteran impre-
sario Kevin lacobscn. who blamed "the volatil-
ity of the entertainment market" when his
company Arena Management ceased doing
business in |uly with debts in the region of $10
million Australian (S9.2 million). Arena Man-
agemenfs prized asset, the 12.500-capacily
Sydney Entertainment Centre, is now run by
the team from the neighboring Sydney Con-
vention and Exhibition Centre.

Meanwhile, Australian promoters arc using
some new tools to do business in the digital
age. Michael Chugg Cnlertairimcnl promoted
its Australasian Pearl |am tour (running
through November) with a series of video ex-

DIGITAL TOOLS,
FROM EXCLUSIVE
VIDEOS TO NEW
WEB SITES, ARE
HELPING ^ELL
CONCERT TICKETS.

clusives slreameii on the new Pearllam.tv site
And Michael Ciidinski's Frontier Touring re
launched its Web presence incorporating in
teraclive and social elements. "The Interne
IS the radio station for ihe 2lsi century.'
Michael Chugg says. "There's a whole new
world of promotional opportunity out thert
for promoters."

The festival scene remains a thriving mar
ket. dominated by iht
six-city Auslralasiai
Big Day Out tour. Tht
200'> edition, whicl
ran from (an. 16 It
Feb. 1 . sold more thai
263.000 tickets, dowi
slightly from thi
282,6*)2soldin 2008
For the first time at
tickets to the five 20H
dates sold out withii
two weeks of going oi
sale. Other festiva
brands includin;
Homebake. Falls Festival and Splendour ii
the Crass also sold out in 2009. Howevei
some promoters warn that the festival mat
kei is at a saturation point. The shortfall ii
ticket sales for the Sept. 18 Blueprint Festiva
in regional Victoria, which has reportedly a(
crued debts of S500.000 Australian (S461 .000)
would suggest the market isn't a sure thing.

Overall, the live sector is enioying goo
limes. "Business has been very strong." say
Don Elford. business development manager a
Sydney's 21.000-capacity Acer Arena, operate
by the leading venue group AEC Ogden. "Th
younger demographic seems to be stronge
but the older demographic seems to be mor
cautious with tlieir money these days. Overal
I'd have to say the Australian music husincs
is pretty strong."

BILLBOARD I NOVEMBER 28, 2009

INSOMNIACS
Up a\\ night with
Puddle of Mudd

LUCKY 13
Prolific Latin legend

Intocable goes Indie

WINTERSONG

Sting on his Baroque

holiday ntbun^

NEW BEGINNINGS

Omarion roils out EMI

The Cribs join forces
vith Johnny Mnrr

^ lenry- of artists pay lip service to loving their fans,
bul usually limit their interaction lo meet-and-
greets. replying to tweets and shout-outs from the
stage. But 30 Seconds to Mars, which is about to re-
I lease ils third album, "This Is War." Dec. Ron Virgin, goes
far beyond the usual platitudes and gestures. The band in-
volved ils fans, known as "ihe Echelon." on a number of as-
pects of the new album, including them in choruses and putting
their pictures on the album cover.

Lead singer |ared Leio says the group spent two years writ-
ing and recording the album, working in the studio with pro-
ducers Flood and Steve Lillywhite. "The album is a tjuantum
leap forward." Leto says. "1 describe it as a metamorphosis,
nothing short of a complete rediscovery."

30 Seconds to Mars' previous album. "A Beautiful Lie." which
was released in 2005. has sold 1.2 million copies, according
to Nielsen SoundScan. While "This Is War" certainly repre-
sents an artistic step forward for the band, it hasn't completely
given up its melodic, hard rock leanings. "I don't ever wonder
about what people will think when we get in the studio," Leto
says. "I have to follow my heart and my gut and not worry aboiU
outside influences."

"Tliis Is War" contains plenty of battle metaphors, with such
lyrics as "Tell me who you'd kill to save a life." The band also
makes excellent use of strings, and varied song arrangements
save the album from sounding too much like a didactic lec-
ture. The group includes choirs on almost every track, and

'WAR'
MACHINE

30 Seconds To Mars Gets Its Fans
Involved On This Is War'

Leio explains that members of the choruses are fans from
around the world.

"We were intent on turning the mic toward the audience."
he says. "We started lo hold events we called "the Summit'; we
did one in L.A. at theAvalon and the place was full. Wc wound
up domg eight of them in diflcrent cities, and then we started
getting requests from fans that couldn't make it to the sum-
mits to participate. We launched a digital version, and we used
the material to create the choruses."

Fans also were able to submit photos of themselves online,
and Leto says the pictures were used to design several album
covers that fans can choose from. "We know that retail is shift-
ing from physical lo digital." he says. "We wanted to celebrate
the transition and make the physical release really important."

E M I executive V P of promotion and marketing Greg Thomp-
son says fans will participate in marketing "This Is War" as
well. "Tliis is a band tltat was built by passionate fans." he says.

"They have been doing a lot of the viral marketing themselves,
preaching the gospel to their friends and families."

Thompson says the campaign to spread the word about the
new album will also include many more traditional elements.
"We introduced the first single, "Kings and Queens.' to radio,
and it's exploded at modern rock and active rock." he says. The
song is No. 5 on Billboard's Alternative chart and No. 1 1 on
the Rock tally.

The band is planning on playing a number of European
shows in November before returning to the United States to
play holiday radio shows. A full U.S. tour is planned for 2010.

"We're also pursuing licensing opportunities more vigor-
ously." Thompson says. "It's an epic album, and the sound
certainly isn't right for everyone. Bul we have great success
with videogames. For instance, with the game 'Dragon Age,*
you gel a Tree dowtilodd with the puicliase o( the game. Arid
tracks are also available in the 'Rock Band' online store."

While much has been made of Leto's acting career and the
perception of him as a celebrity with the band as a side proj-
ect. Thompson says "Tliis Is War" should dispel any lingering
notions that the singer is a dilettante. "It's a harder journey
for someone who acts to break into music than the other way
around." he says. "But |ared is totally committed to making it
all about the band. At this point, fans see him as the lead singer
who just happens lo act."

Additional reporting by Kelly Staskel.

NOVEMBER 28, 2009 I www.billboard.bjz I 33

Cli

LAIIEST

»>RIHANNA, JAY-Z
TEAM UP LIVE

RSB star Rihanna was
joined onstage by her
mentor, Jay-Z, as she
launched her new album,
"Rated R," in London. The
pair performed "Run This
Town" and "Umbrella"
during a short set at
London's Brixton
Academy Nov. 16. Rihanna
also debuted songs from
"Rated R" (due worldwide
Nov. 23), such as the lead
single, "Russian Roulette,"
and "Hard," where she was
Joined by Young Jeezy.
Nokia, which streamed the
event around the world,
will also offer an exclusive
version of "Rated R" at its
Nokia Music Store.

> SLAYER,
MEGADETH
REUNITE FOR TOUR

Slayer has postponed its
U.K. and European tour
until spring 2010 and will
Instead co-headline the
American Carnage tour
with Megadeth early next
year. Kicking off Jan. 18 in
Seattle for 26 North
American shows, the tour
will include six Canadian
dates that were
postponed earlier this
month. Testament will be
the tour's special guest
American Carnage
represents the first time
that Slayer and Megadeth
will have toured the United
States together since
199TS Clash of the Titans
outing, and a portion of
tickets will be sold for the
"1991 price" of $10. Tickets
for most shows go on sale
Nov. 20.

VELVET
UNDERGROUND TO
SHARE A STAGE

Former Velvet
Underground members
Lou Reed, Maureen Tucker
and Doug Yule will make a
rare public appearance
Dec. 8 at the New York
Public Library. The three
will discuss the band's
music and legacy with
rock journalist David
Fricke as part of the "Live
From the NYPL" series.
The reunion of the
legendary New York band
follows the publication of
"The Velvet Underground:
New York Art," a new
compendium of previously
unseen photographs,
cover designs by Andy
Warhol and Reed's
handwritten lyrics, among
other memorabilia.

Reporting by Andre
Paine, David J. Prince and
Mark Sutherland.

Sleepless in L.A.: PUDDLE OF MUDD ^»

BY AYALA BEN-YEHUDA |

BY MITCHELL PETERS

Pulling
AoAII-Nighter

For Puddle Of Mudd, Lack Of Sleep Leads
To An Abundance Of Hits

Its 5 a.m., and while most of his neighbors
in Los Angeles sleep, Puddle of Mudd front-
man Wes Scantlin is lounging on his couch
with an acoustic guitar, a six-pack of beer and
a small recording device to capture new song
ideas for his rock band.

His early-bird method of songwriting has
proved to be successful at radio. Since Pud-
dle of Mudd's 2001 debut album. "Come
Clean," the group has had five No. 1 songs
on Billboard's Mainstream Rock chart, tied
for second-most this decade with 3 Doors
Down, Godsmack and Linkin Park.

But some of those hits have come at the ex-
pense of a concerned wife, who often comes

down the stairs at about 4: 30 a.m. to ask Scant-
lin, "When are you coming to bed? Are you ever
coming to bed — ever?" he recalls with a laugh.

But Scantlin knows how to make the best
of the situation. On Puddle of Mudd's fourth
studio set. "Volume 4: Songs in the Key of
Love & Hate." due Dec. 8 on Flawless/Gef-
fen. the musician used his wife's complaints
as inspiration for the song "Pitchin' a Fit."
"She's my little muse," he says, noting that
new track "Keep It Together" is another love
song written for her. " I get a song out of any
mood that my wife is in."

In contrast, the first single from "Volume
4" — the follow-up to 2007"s "Famous." which
has sold 363,000 copies in the United States,
according to Nielsen SoundScan — is the sex-
ually charged rocker "Spaceship." The track
is No. 1 1 on Mainstream Rock, No. 1 1 on Ac-
tive Rock, No. 15 on Heritage Rock and No.
33 on Alternative. "Spaceship" premiered on
AOL Music's Noisecreep blog in mid-
October and has sold 10.000 downloads, ac-
cording to SoundScan.

Interscope/Geffen marketing director Matt
LaMotte says his primary goal with "Volume
4" is to bring out Puddle of Mudd's person-

ality and charisma to a digital audience, "just
about everyone has a Puddle of Mudd song
in their iTunes library," he says. "But I'm not
sure that all of those people subscribe to the
mailing list or go to their Web site regularly. "

In addition to constant Twitter updates
from Puddle of Mudd members, the first
step in galvanizing the band's online fan
base was releasing teaser clips of the video
for "Spaceship" — which features the band
with cast members from MTV's " Nitro Cir-
cus" traveling the galaxy in search of alien
girls — in the days leading up to its Nov. 16
debut on Yahoo Music.

Puddle of Mudd's team also hopes to

boost the band's 7~V exposure in 2010. The

group is scheduled to perform Jan. 7 on
"Jimmy Kimmel Live!" and is currently ne-
gotiating other late-night bookings. LaMotte
says the act will also be marketed heavily at
sporting events for brands like the NFL,
UFC and NASCAR.

"We have a heavy street initiative going out
to the sports crowd, handing out Puddle of
Mudd beer koozies and bottle openers," he
says. "That crowd likes this band already and
would like to have some material like that."

"Volume 4" will also be promoted through
a North American package tour that will visit
small arenas in January and February, accord-
ing to Prospect Park senior VP of music Peter
Katsis, who co-manages Puddle of Mudd with
Bill McGathy.

Meanwhile. Scantlin says he's already busy
working on the group's next album.

He collaborated with his bandmates —
including guitarist Paul Phillips, who re-
joined the band in February after leaving
in 2005 — for several songs on "Volume 4."
And he's willing to do it again for future
material — if, of course, they can stay up
past their bedtime.

MODERN
CLASSICS

Intocable Fuses
Past And Present
On New Album

There's a hidden gem at the
end of "Classic," the 13th
album by Texas nortefto group
I ntocable. The album covers a
nostalgic collection of senti-
mental, accordion-packed
songs made popular decades
ago in a traditional, simple
style. But wait just long
enough and you'll hear why le-
gions of fans have stuck with
I ntocable for 15 years. The last
track, "Estamos En Algo,"
veers into psychedelic funk
and ska in a way that no other
commercially successful
group in the regional Mexican
genre would dare try.

Intocable has always set it-
self apart musically from its
peers by fusing touches of
other styles, particularly coun-
try and rock, into its sound.
For "Classic," out Dec. 1 on
Sony Music Latin. Intocable
teamed with legendary accor-

dionist Ram6n Ayala and cov-
ered songs Ayala recorded
decades ago with his formei
band. Los Relampagos de
Norte. But even as Intocable
looks back to the music it!
members grew up on, it's ex
ploring completely new terri
tory in its contract with Sony
Intocable toured with AyaU
earlier in its career, but this i*
the first time they have workec
together on production, nie re
suit is a faithful re-creation o-

GLQBALI^ULSE

>»PARIS, USA

French band Plastlscines'
attempt to conquer the United
States is up and running, with
two recent cameo perform-
ances and a synch in the CW
TV show "Gossip Girl."

The Paris-based female
quartet is one of the first sign-
ings to U.S. indie Nylon Rec-
ords with its second set, "About
Love," which appears else-
where on Paris label Because.

Plastlscines' 2007 debut
album, "LF>1" (Virgin), failed to
chart in France, but has sold
20,000 copies, band manager

BY TOMFERGUSO^

Maxime Schmit
says. The act sub
sequently exitec
the Virgin folc
but reckoning it
malnty English
language punk
pop-rock migh
travel well, Schmll
says, it "took th
risk to go to th
U.S. at the begin
ningof 2009"torc
cord "About Love,
Butch Waike
(Avrll Lavigne, Pink, SimpI
Plan) produced the new sc
adding what Schmitt calls "a
'intematiorul hlf touch" to th
12-song album, which was rc
leased Aug. 4 in the Unite
States. Schmitt declines to di:
cuss initial sales, insisting th
band lias a long-term strateg
"We are building an image," h
says. "About Love" has sol
1,600 copies In tlw States, a<
cording to Nielsen SoundScai
The U.S. exposure follow
hefty U.K. media coverage, h
eied by Plastlscines' glamoroi
Image and regular promo vtsi

34 I BILLBOARD j NOVeMBER 28, 2009

MUSIC

he sweet, simple songs that In-
ocable used to play when its
;igs were weddings and
)uinceafteras. "My dad had the
iriginal albums and I remem-
>er listening to them," lead
linger Ricky Munoz says.

Like Mufloz's own band, Los
lelampagos were known for
)utiing their own spin on
lorteno music in the '60s.
They were the first norteno
>and to have an actual drum set
n the band." Munoz says. "And
vhen we came into the scene
ve were innovators as well . . .
Kc're used to experimenting
.'ith our music and our influ-
nccs. In this case we're cxplor-
ng our influences, but it's
trictly back to the roots."

On the business side, how-
\cr. Intocable is focused on

the future. When its contract
with EMI was up. the band
began looking for a more flex-
ible, equitable arrangement:
Intocable formed its own label,
Good-I. and had planned to re-
lease future albums independ-
ently. The band had even
secured favorable pricing and
positioning at Wal-Mart, in-
cluding a "Soundcheck" play
(though the album wasn't ex-
clusive to the retailer). "We cut
some aggressive deals with
distributors to make sure that
our music got out there," In-
tocable manager Alan Baxter
says. Those deals remain, even
as Intocable licensed "Classic"
to Sony Music Latin.

Baxter says that rather than
licensing the album to Sony
pan-regionally, Intocable nego-

jrrounding the Nov. 2 release
f tho lead single, "Barcelona."
he album appeared In France
ov 9 and will get a U.K. re-
ase In early 2010.
Schmitt says January U.S.
ates are being finalized
irough Nylon, which precede
rench shows In February
ooked by Imperial.

—Aymeric Pichevin

>>LIGHTSON

on t try pigeonholing Valerie
oxloitner. The Canadian
nger, who records as Lights,
already a recording artist, a
o act— and an Illustration.
In late September, MTV
?gan airing in North America
udio Quest A Captain Lights
dventure," a 10-episode
lort-form "motion comic"
ries developed with Marvel
ramies artist Tomm Coker
at features Lights as the
ain character.
As a result, the singer says
O S now drawing the atten-
3n of comic book geeks.
"I was on a flight and had my
intendo and my comics and
y drawings out," she says
ith a giggle. "And there was
IS 12-year-old kid next to me,
jtting progressively closer. It
as annoying— until I realized

I have the same interests as a
12-year-old boy."

The MTV exposure set up
the Oct. 6 U.S. release of
Lights' second album, "The
Listening," on Doghouse/Uni-
versal, following its Sept. 22
Canadian release on Under-
ground Operations/Universal.

The album, which made No.
12g on the Billboard 200 Oct.
24, displays Lights' fascination
with "bedroom" synth-pop.
"When you make things Inde-
pendently and at home," she
says, "you're expected to be
as left-field or progressive as
you can. But I'm a huge pop
music fan."

Lights, signed to Sony/ATV
Publishing, is touring North
America through Feb. 2, booked
through the Agency Group,
ahead of European shows sup-
porting the U.S. electronica act
Owl City (Feb. 17-March 3).

—Robert Thompson

>>>GUN HAPPY

A U.K. band named after a U.S.
R&B record that utilizes a Hong
Kong-born vocalist just got
even more international.

Mamas Gun— named after
Erykah Badu's 2000 album
and fronted by Kowloon-born
writer/producer Andy Platts—

tiated separate agreements with
Sony Music Latin in the United
Stales and Sony Music Mexico.
"One encompassing deal
doesn't make sense for us,"
Baxter says. "The cost of mar-
keting and promotion is differ-
ent, record sales are different
... we are looking at each ter-
ritory as a different opportunity
for partners." Intocable will also
put the video for "Hay Ojitos"
up for sale on its own.

Intocable's deal with Sony,
which doesn't include touring,
is "more than a license. It's a
partnership." Mufloz says. "If
we win, we both win. If we
lose, we both lose."

Sony Music Latin VP of
marketing and A&R Nir
Serous.si adds. "Whatever we
both bring to the table we split
halfway. It's not your typical
five-album deal. It's more of
an open-ended deal."

So far, so good: First single
"Hay Ojitos" had the fastest
rise to No. 1 on Billboard's Re-
gional Mexican Airplay chart
this year and the fastest since
Intocable's "Tu Adios No
Mala" debuted on the chart at
No. 1 last year. "Hay Ojitos" re-
turns to No. 1 this week.

"It was time for a change,"
Muftoz says. Under its new
label deal, "the excitement
is there." ••••

has enjoyed early success in
Japan, where its debut single,
"House on a Hill" (Tearbridge/
Avex), hit No. 3 on Billboard's
Japanese Hot 100 Nov. 9. That
followed the Japanese release
of its debut album, "Routes to
Riches," Oct. 26. It appeared
in the United Kingdom Sept 28
on Candelion/Absolute.

A fan of classic Motown,
acid jazz and Jamiroquai,
Platts describes it as "a kalei-
doscope of a record that trav-
els through genres. The one
thing it tries to keep is the eu-
phoria of soul music." The
album is scheduled for a late-
January release in the Nether-
lands and in Germany, where
Mamas Gun opened for do-
mestic hip-hop act Die Fan-
tastlchen Vier in front of
60,000 people In Stuttgart
in September.

Mamas Gun Is supporting
the U.K. soul singer Beverley
Knight on a British tour. It's
booked by Helter Skelter and
has Japanese shows booked
at the Billboard Live venues in
Tokyo (Jan. 29-30) and Osaka
(Feb. 1). Publishers, which vary
by territory, Include Imagem
(United Kingdom) and Univer-
sal Music Publishing (Japan).

—Paul Sexton

QUESTIONS

with STING

Sting's "If on a Winter's Night . . ." may feature holiday- inspired songs, but don't call It a Christ-
mas album. "The whole season is much broader than that." he says. "Winter is about inspira-
tion and imagination."

While culling source material for "Winter's Night"— which debuted at No. 6 on the Billboard
200 and has sold 139,000 copies since its Oct. 26 release, according to Nielsen SoundScan—
Sting found inspiration In everything from a 14th-century carol ("Gabriel's Message") to tradi-
tional lullabies and poems. He also collaborated with a host of musicians from the British Isles
and performed with the ensemble at England's Durham Cathedral in a concert that will be
broadcast Thanksgiving night on PBS' "Great Performances" and released Nov. 23 on DVD.

1 How did you decide on the concept for
"If on a Winter's Night . . ."?

It was during last winter that I decided I would
do an album based on the season. It has this
kind of gravitational pull toward one's roots —
the family home, the cradle or church — but a
lot of people face it without any of those things.
The sadness of not being able to go home is
probably encapsulated best in "Christmas at
Sea." which is based on a 19th-century Robert
Louis Stevenson poem about a sailor who is
sinking off the coast and realizes his home is
on the cliff top. He's pulled toward home, yet
he's in terrible danger. That sums up the am-
biguous feeling of this record. It's not entirely
happy, and I also avoided symbols that I think
have been overused, like Santa Claus or
Rudolph the Red- Nosed Reindeer.

2 What was it like recording with such a
large group of musicians?

My first instinct was to look for traditional mu-
sicians from north of England: Kathryn Tick-
ell, who plays the Northumbrian pipes: her
brother, Peter, who plays the fiddle: and the
Melodeon player Julian Sutton are all from my

hometown. We started recording in my house
in Italy last january. We sat around the kitchen
table with the fire on, huddled up with coats
and scarves and explored these songs together.
1 1 was like metliod recording — it had to be cold
for us to begin this thing.

3 Many of the songs on "Winter's Night"
are deeply rooted in Christian themes. Did
you have to reconcile your own agnosti-
cism with recording nonsecular material?

I was brought up in the church, and the Chris-
tian story is part of my background. At the
same time, I can't really accept a lot of the el-
ements of those stories as articles of faith. I
think there is one true unassailable religion,
and that is the human ability to tell stories —
to make myth of why we're here and what we
do. So I put those Christian stories next to
pre-Christian stories. I treated them with a
great deal of reverence and respect. But again.
I'm not singing articles of faith: I'm singing
magical stories.

4 Your daughter recently said in an In-
terview that your practice of tantric sex is

Just a myth. What's the real story?

People get very silly about what tantra
is. It's using your normal life as a de-
votional practice, which includes
breathing, walking, eating, being and
making love. All of those things are
practiced consciously, and that's re-
ally what it's about. Music is my
tantra. It's my way of saying "thank
you" to anything, whatever it may be.

5 What was it like reuniting with
the Police through last year?

We tied up a lot of loose ends with the
last Police tour. I was glad 1 did it, and
people were very happy to see us to-
gether again. They came out in droves
to sec us play. It was an exercise in
nostalgia, but we don't need to keep
repeating that. 1 need to be doing
something new all the time.

6 Would you like to make an-
other concept album?

I don't know, we'll see how this one
does. It'san interesting way of work-
ing, collecting or writing material
around one theme rather than iust
vv riling songs. But if you said to me,
"Are you going to do spring next?" No.
that would be far too expected. « ■ - -

www.billboard.biz | 35

od material

ALBUMS

NORAH JONES
The Fall

Producer: Jacquire King
Blue Note Records
Release Date: Nov. 17
Norah Jones' fourth album, "The
Fall," may surprise some of her
die-hard fans, or at least disarm them a bit. During
the 13-song set, Jones ditches the gentle piano-play-
ing of her previous work and rises to a new level of
creative boldness. With a new group of musicians
behind her, Jones Incorporates a fresh, beat-savvy
sensibility into these noir-like arrangements, playing
plenty of electric guitar and exploring the piercing
quality of Wurlitzer electric piano. Jones adopts a
smoky voice and soulful veneer for the opening track
and first single, "Chasing Pirates," white displaying a
slinky kind of ambience on "Light As a Feather (co-
written with Ryan Adams). The social commentary
"It's Gonna Be" offers a garage-rock attitude, and
"You've Ruined Me" has a rich Americana flavor. But
Jones is still a little bit country ("Tell Yer Mama") and
a little bit rock'n'roll ("Stuck"). Overall, the artist
straddles those lines in an entirely different manner
than she ever has before.— GG

DASHBOARD
CONFESSIONAL
Alter the Ending
Producers: Butch Walker.
Adam Schlesinger
Interscope

Release Date: Nov. 10

Dashboard Confessional
frontman Chris Carrabba
could likely take his pick of
any female fan in the aud-
ience. But somehow the sing-
er/songwriter always man-
ages to get his heart broken
by the opposite sex. The
band's sixth studio album.
"Alter the Ending," is a per-
fectly blended concoction of
acoustic melodies, graceful
harmonies and powerful an-
thems wrapped around the
story of a man trying desper-
ately to save a failing relation-
ship. The pounding drums on
the opener, "Get Me Right,"
emphasizes Carrabba's pur-
suit of love, while the heavy
title track finds him pleading
with the object of his affec-
tion to stay. And on the closer.
"Hell on the Throat," the artist
sings about loss and accept-
ance over simple acoustic
chords. "Alter the Ending" dis-
plays much of the same raw
insecurities that Carrabba has
become known for, but it also
shows emotional growth, as
heard on "Water and Bridg-
es." where he sings. "I'll make

the best of the best I can. and
I'll be better for it if I ever get

my chance."— CS

SAY ANYTHING

Say Anything
Producer Neal Avron
RCA Records
Release Date: Nov. 3
Pop-punk band Say Any-
thing's new self-titled album
reflects the changing life of
frontman Max Bemis— he is
now married (wife Sherri Du-
Pree guests on the songs
"She Won't Follow You" and
"Cemetery"), has converted
to Christianity (referenced in
the upbeat single "Hate
Everyone") and hasn't suf-
fered bipolar relapses that
have previously derailed
tours. Life has settled down
for Bemis, but it doesn't show
on the new set. Taking a cue
from painter Jackson Pollock,
the artist splatters pieces of
his influences and experi-
ences across an audio canvas
for listeners to interpret. "Do
Better" leans on strings and
electronics to create a musi-
cal takeover (Bemis sings.
"We could do better/We
could be the greatest band in
the world"), while "Less Cute"
features horns during the
verse that lead into a rocking
chorus. The chaos is nothing
new for Say Anything, but the
band's newest release is

tightly executed and gives
fans a deeper look into Bemis'
clever mind.— fO

rrri

RYAN LESLIE

Transition

Producer: Ryan Leslie

NextSelection/Universal

Motown

Release Date: Nov. 3
Nearly nine months after the
release of his self-titled album.
Ryan Leslie continues to push
the envelope musically, pen-
ning even more lustful lyrics,
delivering sweet melodies and
creating captivating pro-
ductions. On "Something That
I Like" (featuring Pusha T), the
production— reminiscent of
rap group Clipse's "We Got It
for Cheap"— meshes with the
soulful chorus, in which he
confesses. "She's got some-
thing that 1 like." Over hand
claps and a psychedelic piano
arrangement. Leslie keeps
"Zodiac" fresh with flirty lyrics
like. "What's your zodiac
sign/Are we compatible,
baby?/lf it matches with
mine/Then we should think
about dating," Other standout
tracks include the horn-laden
"Sunday Night." about spend-
ing a quiet evening with a spe-
cial lady; "All My Love," with
its sluggish beat and erratic
drums: and the heart-pound-
ing closer "I Choose You."

which can be ideal for any
wedding day.— MC

IVAN

Fantasia

Producer: Homero Patron
Fonovtsa

Release Date: Oct. 27
Young crooner Ivan's "Fanta-
sia" is a throwback to '70s and
'80s grupero. a Mexican genre
that spawned some of Latin
music's most enduring acts
and classic songs. Grupero
straddles pop and regional
Mexican, offering hopelessly
romantic ballads and mid-
tempo cumbias. Production
maestro Homero Patron, who
is a veteran of the genre, im-
peccably re-creates the retro
sounds on "Fantasia," a cov-
ers album by the runner-up of
reality competition "Objetivo
Fama." While Ivan has real
vocal chops, it's unclear
whether music fans his age
will embrace grupero redux;
less sappy song choices
might have presented him
better to younger listeners. A
Spanish-language version of
the '60s oldie "Angel of the
Morning" is a particularly fun
exception.— i4Sy

VARIOUS ARTISTS

A Very Special Christmas
Vol.7

Producers: various

Universal Music Enterprises
Release Date: Nov. 23
The younger pop artists
featured on "A Very Special
Christmas Vol. 7" will cer-
tainly appeal to the Disney
Channel set. but the album's
infectious classics and vary-
ing musical styles will also
likely draw in their parents.

too. Smoky-voiced singf
Colbie Caillat opens the s-
with a version of "Have You
self a Merry Little Christma:
that will relax even the mo
frazzled holiday shopper, an
Miley Cyrus' rendition (
"Rockin' Around the Chris
mas Tree" is prime Hann^i
Montana fare, complete wit

RIHANNA

Rated R

Producers: various
Label: Def Jam
Release Date: Nov. 23
Rihanna may have been a good
girl gone bad on her 2007 album, but on her new
one, she's a good girl gone bad-ass. During the
electric-guitar-soused "Rock Star," the R&B singer
revels in her bad-girl rebellion, crooning, "Got my
middle finger up/I don't really give a fuck." And
over double-speed drums on "G4L," she warns,
"Any motherfuckers want to dlsrespect/We don't
play that shit." Meanwhile, the singles "Wait Your
Turn" and "Hard" find Rihanna singing beefy
lyrics— "I'm such a fucking lady" and "the hottest
bitch in heels," respectively— over epic piano pat-
terns. But the artist doesn't talk tough all the way
through the set. "Photographs" features Rihanna
lamenting over a lost relationship above static
drums, whereas on the heartfelt ballad "Stupid in
Love," she croons over a pulsating beat. "You don't
know what you lost/And you won't realize it till I'm
gone." In either case, she proves that the good girl
in her has gone bad Indefinitely.— MC

36 I BILLBOARD { NOVEMBER 28. 2009

BIG KENNY

The Quiet Times of a Rock and
Roll Farm Boy

Producers: Big Kenny, Chris Stone
Glotown/Love Everybody/Bigger
Picture
Release Date: Nov. 10
In many ways. Big Kenny and John Rtch— who make
up country duo Big & Rich— are the perfect couple.
But Big Kenny's new album, "The Quiet Times of a
Rock and Roll Farm Boy," is a thoughtful, often pro-
found sojourn into musical independence— his former
major label reportedly rejected every solo project he
turned in. That frustration led to the defiant "Free
Like Me," which warns, "Don't fit me inside your
expectations/You'll never know everything I can be."
Big Kenny's musical kinship with Rich Is evident on
"Wake Up," in which the singer demonstrates moving
poetry and surprisingly head-turning lead vocals.
The lead single, "Long After I'm Gone," Is a midtem-
po stop-and-smeil-the-roses anthem, while "To Find
a Heart" may well be the album's sleeper hit.
Sonically, "Farm Boy" puts the artist's influences on
intriguing display (he cites Merle Haggard, Willie
Nelson, the Beatles, Queen, Bob Mariey and Bill
Withers, among others), yet manages the often elu-
sive feat of a cohesive, articulate and entertaining
experience from first note to last.— MC/

Cci

rHF Rll I RHAI

"REVIEWS-

x)beat guitar riffs and exu-
srant shout-outs. Vanessa
ludgens puts on her best
iinky purr during a jazzy
ake of "Winter Wonder-
ind." while Sean Kingston
akes a reggae-pop ap-
■'oach to "The Little Drum-
ler Boy," Country music is
:so represented on the al-
^m, with an uplifting piano
zcompanying Carrie Under-
►ood's version of "Hark! The
terald Angels Sing."— KP

ARRIE
NDERWOOD

ay On

■ oducers: Mark Bright. Max
>artin. Shellback
• Recordings/Arista
^shvilfe

please Date: Nov. 3

nere's no doubt that Carrie
inderwood's third album,
^lay On." is her best collec-
: 3n yet: Here, the artist seems
u finally feel comfortable in
: ?r own skin. It's a wide-rang-
g album— she's in love, out
' love, light-hearted and
ayful. But isn't that real life?
ie bass-heavy and lyrically
: jht first single, "Cowboy
asanova" (which Under-
ood co-wrote), makes for
^e radio candy, but it's not
e type of song that defines
e album. The socially con-
ious anthem "Change" and
e spiritual-sounding "Tem-
)rary Home" (another Un-
>rwood co-write) provide
e meat and potatoes that
ake the syrupy-sweet des-
rt offerings more palatable.
Vhat Can I Say" (featuring
)ns of Sylvia) is a soaring
Tientation about how love
as lost, while "Someday
hen I Stop Loving You" is a
3ll-written look at a life that's
)ing downhill. Elsewhere,
nee Gill's high harmony on

SINGLES

"Look at Me" helps elevate a I
simple song to a potential}
country classic— /fr

VITAL REISSUES'

NIRVANA

Bleach (20th-annlversary
deluxe edition)
Producer: Jack Endino
Sub Pop Records
Release Date: Nov. 3
"This is off our first record,
most people don't own it,"
Kurt Cobain whispered be-
fore strumming the opening
chords of "About a Girl" dur-
ing Nirvana's 1993 "MTV Un-
plugged" performance. As
Cobain had guessed, most
audience members probably
weren't aware that the sol-
emn track was from the
band's 1989 debut, "Bleach."
Unlike Nirvana's more pol-
ished, alternative-leaning
breakthrough. 1991's "Nev-
ermind," the sludgy back-
woods material on "Bleach"
reveals the humble begin-
nings of a band that would
lead a new musical move-
ment and earn itself a place
in rock'n'roll history. Twenty
years after its original release
on Sub Pop. "Bleach" is fresh-
ened up with remastered ver-
sions of unusually heavy
songs like the haunting "Neg-
ative Creep." where Cobain
howls about alienation and
being stoned, and the pound-
ing "Floyd the Barber." where
the main subject of the eerie
track is a man being strapped
down and tortured by char-
acters from "The Andy Grif-
fith Show." The set also in-
cludes a feedback-heavy live
set from a 1990 performance
at the Pine Street Theatre in
Portland. Ore., where Nirvana
tightly crushes through sonn--
from "Bleach" and early rari-
ties like "Spank Thru" and
"Sappy"— MP

l:M:|

ROBIN THICKE

Sex Therapy (4:34)
Producers: Polow Da Dort,
Robin Thicke. Hot Sauce
Writers: various
Publishers: various
Star Trak/lnterscope
Robin Thicke delivers his sig-
nature smooth talk on "Sex
Therapy." the first single from
his as-yet-untitled fourth al-
bum. Producers Polow Da Don
and Hot Sauce set up a lan-
guorous backbeat with under-
stated synths and soft drum
kicks, while Thicke turns the
heat all the way up. "Stressed
out, uptight, overworked,
wound up/Unleash what you
got, let's explore your naughty
side," the singer croons. "Just
let me love you, lay right here,
I'll be your fantasy/Give you sex
therapy," The come-hither ly-
rics, accompanied by Thicke's
breathy falsetto and deep bass
undertones, give the song an
unforced eroticism that feels
ideal for lovers of romance.
Thicke's stripped-down brand
of R&B is of an ultra-sugges-
tive nature, but his earnest
vocal performance is what ulti-
mately keeps it classy.—

ORIANTHI

According to You (3:20)
Producer: Howard Benson
Writers: S Diamond.
A Fraivpton

Publishers: Tern and Steve's
Music (ASCAP), Andrew
Frompton Music/Stage

Three Music (BMI)
Geffen

Pop music has seen its share
of vocalists attempt to play
guitar, but few do so as
successfully as Orianthi. who
shreds and sings with equal
aplomb. The 24-year-old Aus-
tralian was set to play along-
side Michael Jackson on his
"This Is It" residency, then fol-
low up with "Believe." her
debut album released last
month. Though the high-
profile gig fell through, her
album's lead single. "Accord-
ing to You." continues to
power Orianthi's career for-
ward. Producer Howard Ben-
son (RO D.. Daughtry) builds a
rock-solid framework around
co-songwriters Steve Dia-
mond and Andrew Framp-
ton's lyrics and Orianthi's lively
vocal and instrumental chops,
leading to a striking guitar
climax. Already labeled the
female Slash, Orianthi's com-
bination of high-energy, emo-
tive delivery and masterful fret
work could inspire scores of
young females to pick up the
guitar— MM

IfiSJIil

LATIN BITMAN
FEATURING
FRANCISCA
VALENZUELA

Help Me (3:57)
Producer: Latin Bitman
Writers: J A. Bravo.

F Valenzuela
Publishers: Canciones
Naciona/es. Warner/

ITED BY MITCHELL PETERS
LBUMS) AND MONICA
RRERA (SINGLES)

NTRIBUTORS: Crystal Bell,
ala Ben-Yehuda. Mariot
ncepclon. Sandy Gordon. Gary
iff. Monica Herrera. Wade
sen, Evan C. Jones. Michael
nachem. Kelsey Paine, Mitchell
ors. Ken Tucker

ITICS' CHOICE *: A new

'ase, regardless of chart
:entiai. highly recommended
musical merit.

PICK A new release predicted
to hit the top half of the chart in
the corresponding format

All albums commercpally available
in the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard. 5055
Witshire Blvd.. Seventh Floor. Los
Angeles, CA 90036 and singles
review copies to Monica Herrera
at Billboard. 770 Broadway,
Seventh Floor. New York. N,Y,
10003. or to the writers in the
appropriate bureaus.

JAY SEAN FEATURING
SEAN PAUL & LIL JON

Do You Remember (3:31)
Producers: J Remy, Bobby Bass
Writers: vtihous
Publishers: various

Universal Republic
The saying goes: If it isn't broken, don't fix it. That seems
to be the strategy Jay Sean and his team employed by
releasing "Do You Remember" as the second single off
his "All or Nothing" album. Much tike his recent Billboard
Hot 100 No. 1 "Down." "Remember" finds Sean avowing
his desire for love. "Just you and me tonight, everything
will be OK/Baby let's take this time, let's make new mem-
ories." he sings over similar brusque violin strings and
drums. Sean also goes into cyclical mode on the chorus,
looping the title and the phrase "Let's bring it back" over
and over as on "Down." There are some modifications to
the formula, however, like the all-too-familiar ad-libs by
Lil Jon, The rapper/producer guests alongside Sean Paul,
who adds a pleasant reggae twist.— AfC

1^,

THALfA

Equivocada (4:05)
Producer: Aureo Baqueiro
Writers: M- Domm. M. Bernal
Publishers: Sony/ATV Discos,
Westwood Publishing
Sony

For the first single from her Nov. 17 trve album "Thalia en
Primera Fita" (Thalia in the Front Row). Mexican pop star
Thalia delivers a moving ballad about a once-serious
relationship that turned out to be a mistake. "I was
always wrong, and I just didn't want to see it," she sings
in Spanish. "Because for you I gave my life/Because
everything that begins also ends." After a string of
dance-pop singles that aimed for a crossover audience,
it's refreshing to hear Thalia pull back and tackle a
downtempo number with a classic feel, particularly in a
live setting that allows her to showcase her vocals.
Thalfa recently posted a YouTube clip of herself in the
studio with Aventura recording a bachata version of
"Equivocada," a sign that her latest hit could find radio
success In more ways than one.— Af//

Chappell
Nacional

For the lead single from his
new album "Colour." Latin Bit-
man finds a talented co-writer
and guest vocalist in fellow
Chilean artist Francisca Valen-
zuela. who moans bleak lyrics
that tint the song with an ap-
pealing despondency. 'Tm hit-
ting bottom." Valenzuela sings
to a falling bassline. "Help me
find out how to break the
mold," she beckons soulfully,
while an electric funk guitar

and saxophone take agitated
stabs back and forth, trying to
break through the track's
rolling loops. The production
mixes buoyancy with heft, as
Bitman allows dub upbeats to
rebound off a weighted hip-
hop backbeat. The song's main
riff drops in and out, revealing
a playful subtext of timbales
and turntable scratches. The
lyrics are a call for signs of life
in a dreary city, and the music,
always in motion, awakens
just that.— SG

NOVEMBER 28, 2009 I www.billboard.biz I 37

MiiRir

HAPPEMIMG MOW

BY MONICA HERRERA

Self-Made Man

Omarion Launches Imprint For New Album After Split With Young Money

when Omarion sings. "I done cut the braids, low cut, got my
grown on," in a raspy croon on his new single "I Get It In," he's
referencing a turning point in his career.

"I felt Hke my braids defined who I was, and there's so much
more to me," says the 25-year-old singer, who — in the wake of
Ludacris and Mario — shed his signature hairstyle in July. "I'm
not a kid in the industry anymore; I have a sense of self."

"I Get It In" is No. 26 on Billboard's Hot R&B/Hip-Hop Songs
chart and No. 18 on Mainstream R&B/Hip-Hop. The track,
which features a cameo by in-demand rapper Gucci Mane, pro-
vides a solid setup for the former B2K singer's third solo album.
Due Jan. 12. "Ollusion" will be released on the artist's own Star-
world Entertainment imprint through EMI Label Services.

"It's the first record I've put out since [2005's] 'Touch' that
has a high-energy dance vibe," Omarion says. "1 have a new
look and my own label now, so it felt like the right way to kick
things off"

Omarion, whose real name is Omari Grandberry, recently re-
leased a choreography-laden music video for "I Get It In." His
second single will be a song he co-produced with four-person
production team 253. Titled 'Speed'n," the midtempo number
recalls past hits "O " and "Ice Box." The singer adds, "If s got that
classic Omarion feel."

Other standout tracks include "Hoodie," a boastful jam fea-
turing |ay Rock, and "What Do You Say," a ballad Omarion co-
wrote with his friend Chris Brown.

In early August, the future of "Ollusion" and Omarion's label
home looked unclear. The singer's deal with Young Money fell
through two weeks after label founder Lil Wayne introduced
him at a concert, sparking rumors that he was dropped. This
followed an earlier split from Timbaland. who was originally

set to produce and release Omarion's new album under his In-
terscope-distributed Mosley Music Group.

"Timbaland had so much on his plate," Omarion recalls.
"And when I saw 1 couldn't have the relationship I wanted to
have with him, ! knew it wasn't the home for me. With Young
Money, it was getting close to the end of the year, and I wanted
to build momentum for the first quarter. Wayne had other plans,
though . . . he's the captain of his ship."

Those events could have easily derailed another artist's ca-
reer. Yet Omarion pushed ahead, striking a new deal with EM I
by late September.

"Everyone was speculating that I was out for the count," he
says, "but 1 never sweat. Stepping out as an entrepreneur was
the smartest thing 1 could do."

"Now we have Omarion the artist and Omari the boss," says
Cheryl Trimmer, who previously worked with the singer's
manager Chris Stokes and is now president of Starworld. "He
wouldn't have been able to wear both hats at Young Money."

Omarion already has a stable of acts under Starworld: one
female and one male solo singer, a singing group and a male
rapper, whom he'll likely introduce while touring in support
of "Ollusion."

"You'll start to see his artists roll out in the fourth quarter of
next year." Trimmer says. "Right now the focus is getting him
established where he needs to be."

Omarion says he's ready for the challenge, noting that he's
been especially determined to take his career to the next level ever
since his idol. Michael Jackson, died. "I was sitting at his funeral
next to Chris [Brown]," he recalls, "and I just had this moment
where I said to myself, ' I have to step up to the plate now and drive
myself further than I've ever gone before.* "

HOLIDAY CHEER

Billboard's seasonal Top Holiday Songs chart makes its annual return to our chart menu this wet
(see billboard. biz/charts). The tally lists the week's most popular seasonal songs, ranked by rad
airplay detections on Nielsen BDS-monitored AC stations. ^1 After Thanksgiving, many AC statioi
flip to an all-holiday songs format, and by Christmas, nearly three-quarters of the monitored AC on
lets are playing nothing but seasonal hits. In recent years, stations have moved to the all-holiday fo
mat earlier than usual. Because of this, Top Holiday Songs bows this week, reflecting data for tl
week ending Nov. 15. ^ The chart will continue to be compiled through the end of the year, when st
tions return to their normal programming. Billboard established the Nielsen BDS-based Top I lo
day Songs chart in 2001. ^ The accompanying chart exclusively details the tally's 10 best-perform ii
tunes, based on airplay during the weeks the titles appeared on Top Holiday Songs. The top 10 is pi
marily filled with standards from yesteryear, save for Mariah Carey's more contemporary classic, "A
I Want for Christmas Is You," which debuted in 1994. — Keith Caulfu-

TOP 10 HOLIDAY SONGS (SINCE 2001)

1. BURL IVES "A Holly Jolly Christmas"

uns

MCA Special Products/UMe

"Rockin' Around the Christmas Tree"

A yule classic
BURL IVES

Brenda Lee

Nat "King" Cole "The Christmas Song (Merry Christmas to You)"

Bobby Helms "Jingle Bell Rock"

Andy Williams "It's the Most Wonderful Time of the Year"

John Lennon & Yolco Ono "Happy Xmas (War Is Over)"

Bing Crosby "White Christmas"

The Carpenters "Merry Christmas Darling"

Mariah Carey "All I Want for Christmas Is You"

10. Johnny Mathis "It's Beginning to Look a Lot Like Christmas'^

SOURCE; Top Holiday Songs from Dec. a. 2001. Ihfougti Nov. 28. 2009.

MCA/UMe

Capitol
Decca/MCA/UMe
Columbia/Legacy
Capitol
MCA/UMe
A&M/UMe
Columbia/Legacy
Columbia/Legacy

38 I BILLBOARD I NOVEMBER 28, 2009

mygjg BY SARAH MacRORY

The Next Phase

J.K. Hitmakers The Cribs Welcome Johnny Marr To The Fold

ince the release of their third album. 2007's " Men's
Jeeds. Women's Needs. Whatever." the Cribs have
uilt 3 fervent U.K following. Now the band hopes
) mirror that fer\'or in the United States. Paving
le way is its second Warner Bros, release. "Ignore
le Ignorant.' It's the group's first album Mth new
lember Johnny Marr — co-founder of '80s group

Fervent following:
THE CRIBS

the Smiths, a member of '908 duo Electronic and
guitarist for Modest Mouse.

Released stateside Nov. 10. "Ignore the Igno-
rant" became the Cribs' highest-charting album in
the United Kingdom, reaching No. 8 on the Offi-
cial Charts Co. tally. While the group's 2004 self-
tided debut and 2005 follow-up. "The New Fellas,'

failed to dent the U.K. list, "Men's Needs' peaked
at No. n. To date, the Wakefield. Yorkshire, band

has scored seven U.K. top 40 singles.

The addition of Marr in summer 2008 "brings
out a different side of us," says Cribs guitarist/vo-
calist Ryan Jarman. who co-founded the band with
his brothers Gary (bass) and Ross (drums). "There
was a lot more texture that we wanted to bring out
rather than just full-on punk-rock songs. This
record has a lot more subtleties: having a second
guitar player has complemented what we were
doing and has definitely helped us fully realize cer-
tain songs we've wanted to do."

The Cribs recorded "Ignore the Ignorant" live
at Seedy Underbelly studios in Los Angeles with
British producer Nick Launay (Yeah Yeah Ycahs.
Arcade Fire}. Marr says Launay "believed the band's
strength was in the live recording." )arman adds.
"We just plugged in and played. That's the way we
like it."

To build awareness about the Cribs' new
album, a series of club shows were staged dur-
ing the week of release in Hollywood. New York
and Portland. Ore. The Cribs also made their
third appearance on "Late Show With David Let-
terman" Nov. 1 2. Having completed some Euro-
pean dates with Franz Ferdinand, the band will
kick off its U.K. headlining tour Dec. 2 at Birm-
ingham Academy, with dates including a Dec.
12 show at London's 5.000-capacity Brixton Acad-
emy, Then it's back to the States in mid-January
to launch a U.S. leg.

"You never know how things are going to trans-
late in America." Jarman says the day after the
group's "Letlerman" appearance. "But last night
just felt really good. There was a lot of energy in
the room.' ••••

WHERE HE'S
COMING FROM

In the midst of recording his
next project, a self-titled album
slated for spring 2010, Wyctef
Jean decided to revisit his hip-
hop roots on the newly re-
leased "DJ Drama Presents
Wyclef Jean Aka Toussaint: St.
Jean From the Hut to the Pro-
jects to the Mansion." Issued
Nov. 10 on Jean's own Carni-
val House Records through
Megaforce/Sony Music,
the EP bows at No. 36
this week on Billboard's
Top R&B/Hip-Hop Al-
bums chart.

Thel3-track EP finds
the MC/songwriter/
producer adopting the
persona of Toussaint St.
Jean, loosely teased on
the 18th-cenlury Hait-
ian revolutionary hero

Roots revisited:
WYCLEF JEAN

Toussaint L'Ouverture. Hosted
by DJ Drama, the set of all-
new material features Timba-
land. Eve, Lil Kim and an elec-
trifying collaboration with
Cyndl Lauper.

"When you get to a certain
point in your career, people for-
get where you came from,"
Jean says of the EP's concept.
"So now, Toussaint Is going to
show everyone my skills and
how I got started in hip-hop.
Just in case you thought Clef
was dead and he don't spit:
Here's the reinvention."

In addition to the assertive
"Warrior's Anthem." the EP's
other standout tracks include
"The Streets Pronounce Me
Dead," which finds Jean ad-
dressing all naysayers. and the
Laupor-assisted "Slumdog Mil-
lionaire," on which she sings,
"We don't care what you say.

from the hut to the projects to
the mansion, now a millionaire/If
you come from the hood, expect
nothing less/I wanna see you get
your money,"

The point of the EP, Jean
adds, is that "whatever you want
to do, you can accomplish, if I
came from nothing and became
something, if I was chosen for
greatness, then so can you."

Jean is among the list of art-
ists chosen to perform at the
Not>el Peace Prize Concert Dec.
n with Will Smith, Toby Keith
and Donna Summer. In the
meantime, he's already recorded
several songs for his upcoming
studio album, including fea-
tures with Lil Wayne ("Seven-
teen") and Natasha Bedingheld
("Tonight"). Also on his guest
wish list: Young Jeezy and Amy
Winehouse.

—Marie/ Concepc/on

In the spirit:
STRAIGHT NO
CHASER

HOLIDAY
MAGIC

Christmas has come early for a cap-
pella group Straight No Chaser. Its 10
members are celebrating the bur-
geoning success of their second hol-
iday album, "Christmas Cheers." Re-
leased Nov. 3 on ATCO/Atlantic, the
album debuted at No. 90 on the Bill-
board 200 and No. 11 on Top Holiday
AJtxjms with 7.000 units, according to
Nielsen SoundScan.

"There's a lot of momentum for a
cappella," founding member Randy
Stine says. "Singing right now is kind
of cool. You don't have to be the
frontman or a guitar player in a band
to be cool."

Just two years ago, the members of
Straight No Chaser were in seven dif-
ferent cities, vi«>rking 9-to-5 jobs after
graduating from Indiana University,
where the group got Its start. But
everything changed when Stine
posted clips from one of the group's
1998 university concerts on YouTube.
Straight No Chaser's version of 'The
12 Days of Christmas"— which interpo-
lates Toto's 19B3 No. 1 pop hit "Africa"—
received more than 7 million views.
And one of those viewers was Atlantic
chairman/CEO Craig Kallman.

With the group's story playing out
like a holiday miracle. Straight No
Chaser signed with ATCO/Atlantic.
The act's 2008 debut album, "Holi-
day Spirits," sparked a headllnirtg tour
and album sales of 118,000 units, ac-
cording to Nielsen SoundScan.

While its predecessor leaned more
traditional, "Christmas Cheers" adds
a comedic thread to its mix of inven-
tively rearranged holiday standards
and originals. In addition to the sin-
gle "The Christmas Can-Can," the
music video for another original track,
"Who Spiked the Eggnog?." will pre-
miere Nov. 30 on MSN. The album also
includes a studio version of "The 12
Days of Christmas."

Currently on a 50-city, Southwest
Alriines-sponsored headlining tour
through Dec. 23, Straight No Chaser
will appear on PBS' upcoming pledge
drive special "Live in New York; Hol-
iday Edition." which begins airing
Thanksgiving weekend. Additional
performances include QVC (Nov. 25)
and the Christmas Day edition of
NBC's "Today."

And next year. Straight No Chaser
will find out if its magic extends beyond
the holklay season. The group is finish-
ing up "With a Tunst," a pop altxim due
In spring 2010. —Crystal Bell

www.billboard.biz I 39

Billboard connect with the music industry's most important decision maker

For ad placement in print and online call Jeff Serrette 800-223-7524/jserrette@billboardxom

T-SHIRTS

wmjmumf^

MCKfreet

FASHION

Worldwide Distributors of Licensed:
ROCK & NOVELTY T-SHIRTS,
STICKERS, PATCHES, FLAGS & MORE!
Check out our website catalog:

m/Msiaie-hsfi'mm

or call for a free price list/flyer (dealers only);

800-644-ROCK

(oulsiile Ihc U.S. - 928-443-0100)

SONGS FOR SALE

LOOKING FOR LYRICS FOR A GREAT
COUNTRY OR HIP-HOP SONG?

Check out a poem called "IT USED TO BE MADE IN AMERICA"
See it online at www.itusedtobemadeinamerica.com - To talk to the
author and make an offer, call Robert Barrows at R.M. Barrows
Advertising, 650-344-1951 - www.barrows.com

SOMETHING TERRIBLE HAPPENS WHEN YOU DON T ADVERTISE . . .

NOTHING!

BE CREATIVE • KNOW YOUR OPTIONS
ADVERTISE WISELY

Billboard JEFF SERRETTE shior accoimt managed

ra0IIE:li4<'eS4-4e97/8in-223-7S2«rAX:64I4S4-ailM EMAU.: JSEHnTTE^IIIUllUM.COM

CALL US TODAY AND ASK ABOUT THE

BILLBOARD CLASSIFIEDS

INTRODUCTORY OFFER FOR NEW ADVERTISERS!

1-800-223-752'i or jserretteiabillboard.com

REAL ESTATE

MUSIC
MERCHANDISE

BUY DIRECT AND SAVEI

While olhet people are raising then prtces, we
are slashing oufs CDs. LPs, Books.
Cassettes as low as 50 cents- Your choice
from the most extensive listings available.
For tree catalog call (609) 090-6000.
Fax (609) 890-0247 or write
Scorpio MustCi Inc.
P.O.Box A Trenton, N.J. 08691-0020
email: scorpiomusdaoi.coni

MASTERING

tangerlneMASTERING.com
Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

UIEY ROAD, ST JOHNS WOOD,
LONDON NW8- £2,200,000

Immaculate remodelled Contemporary Interior
Designed Townhouse set back
from Abbey Road
within walking distance of American School, Abbei
Road Studk)s,
Lords Cricket Ground,
St Johns Wood Village and Tube.

3 bedrooms, 3 bathrooms
(2 en suite / 1 with balcony).
Study/ 4th Bedroom, Cloakroom,
Poggenpohl Kitchen,
Open plan living rooni /
dining room with fireplace.
Zen-like private garden with timed irrigation
and lighting systems.
Integral garage plus offstreet
parking for 2 cars.
Alarm and entryphone systems.
Wired for Cable / Internet.

Great Home or Investment

Contact: Holdsworth Estates
(44) 077178 14050 or e mail
colanelfiigarty@yabao.coni

NOTICES/ANNOUNCEMENTS

BILLBOARD'S HOTTEST ISSUE OF THE YEAR!

THE 2009 YEAR IN MUSIC ISSUE
December 19, 2009/DEADLINE CLASSIFIED
December 14TH

TOURING, PUBLISHING, LEGAL, TECHNOLOGY AND
MUCH MORE!!

FEATURING . . .
'Over 200 Highly Anticipated Billboard Year-End Charts
'The year's most unforgettable music moments
'Analysis of all segments of the music business

'Billboard also honors MADONNA in this special edition
The Top Solo Touring Artist in
Billboard box score Chart History

'GET YOUR MESSAGE IN THIS SIGNATURE DOUBLE
ISSUE THAT IS REFERENCE ALL YEAR-ROUND BY THE
MOST POWERFUL PEOPLE IN THE WORLD OF MUSIC,
BUSINESS AND ENTERTAINMENT!
CALL TODAY JEFF SERRETTE/1-800-223-7524/
JSERRETTE a BILLBOARD.COM

40 I BILLBOARD I NOVEMBER 28, 2009

THE
BOX

A WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

Lady Antebellum stirs
:ountry charts (see page
iftar Its Country Music
. Awards wins, Its "Need
low" rises to No. S on the
□ard Hot 100 (with
00 downloads). It's the
country group to reach
op 10 since the Dixie
(s In 2007 and the best
al sales week for a song
country group.

ler Fox TV's "Glee"
cased the song "Defying
Ity" from the musical
ked." the Broadway cast
n nets Its best sales since
:hrUtmas (G.OOO; up 65%)
he original "Defying" has
St sales week (9,000

iloads).

:hael BubIA Is among the
s on *'Letters to Santa,"
t bows at No. 74 on the
>ard 200. Sold only
gh U.S. Pott Offices. It
lebuts at No. 11 on
ay Albums and No. 3 on
tlonal Jazz Albums.

Bon Jovi Comes Full 'Circle' With Fourth No. 1

Bon Jovl claims its fourth No. 1
album on the Billboard 200 as "The
Circle" lands in the penthouse with
153.000 copies sold, according to
Nielsen SoundScan.

It's the band's second topper in a row,
following its 2007 release "Lost Highway."
The latter bowed with 292.000— the

OverThe
Counter

group's best sales week since SoundScan
began tabulating sales in 1991.

Still, the opening for "Circle" is in
line with the band's last few debuts.
"Have a Nice Day" started with an
"Oprah Winfrey Show"-infused 202.000
in 2005. "Bounce" bowed with 160.000
in 2002, and "Crush" crashed in with
115.000 in 2000.

An astute observer pointed out to me
that the first-week sales for "Lost" ap-

pear to be an anomaly in the band's tra-
ditional sales pattern, hence why the
start for 'Circle" seems disproportion-
ately smaller.

The opening week for
"Lost" in 2007 was likely
aided by the band's then
newfound success in the
country market. In 2006.
the group had reached No.
1 on the Hot Country
Songs chart with "Who
Says You Can't Go Home"
(with Sugarland's Jen-
nifer Nettles), a track
from its "Have a Nice Day" album.

That hit helped build a bridge to
country radio and fans, for the first
single from "Lost Highway," "(You Want
To) Make a Memory," reached No. 35
on the Hot Country Songs chart.
Additionally, "Lost" could have been
interpreted as the band's "country"
album, as it was recorded in Nashville
with veteran country producer Dann
Huff and featured guests LeAnn Rimes
and Big & Rich.

All of that friendliness toward coun-
try likely helped "Lost," especially in its
first week.

The new "Circle" isn't coming across
as a country set. nor was its first single,
"We Weren't Bom to Follow." promoted
to country radio. The song is, however,
bulleted for a second week at No. lion

the Adult Top 40 chart while it rises to
No. 1 7 on Adult Contemporary.

Additionally, the first-week sales for
"Circle" could have been hampered
because it was physically
available only in the CD/
DVD configuration. A
CD-only version of the al-
bum will be released Nov.
23. It's sort of a reverse
deluxe-edition scenario,
which kicked into gear
more than a year ago,
when Sugarland released
the higher-priced deluxe
version of" Love on the Inside" one week
before the standard edition hit stores.

The "Circle" CD/DVD carries a list
price of $19.99, though retailers were
selling it for between $1 1 .99 and $ 1 4.99
last week. Generally, most high-profile
CD-only sets are offered for around
$9.99 in their first week, so perhaps
some consumers frowned at the higher
price for the "Circle" package.

All told, the veteran group has
racked up 10 top 10 albums, and all of
its studio releases since 1986 have
reached the top 10. Including Bon |ovi.
only 17 rock bands have claimed top
10 sets on the Billboard 200 in the '80s.
'90s and '00s.

SO AND COUNTING: The world has
waited months for 50 Cent's often-

delayed new album to arrive, and now
we must wail one more week before the
set graces the Billboard 200.

The digital version of the rapper's
"Before I Self Destruct" was rush-
released in the United States through
Apple's iTunes store on Monday. Nov.
9. ahead of its CD counterpart's bow
on Monday. Nov. 16.

Al! configurations of the set were orig-
inally scheduled to drop on Monday.
Nov. 23. but tlic set leaked to the Inter-
net nearly a month before that, prompt-
ing Interscope Records and Universal
Music Group Distribution to push its
release forward.

Because of this situation. Interscope
has requested that Billlward and Nielsen
SoundScan uphold an existing policy
regarding album Internet leaks.

In a rule instituted nearly a year ago
based on industry input, a label may ask
Nielsen SoundScan to hold the digital
sales of an album title for up to one week,
and Billboard to delay charting that title,
when a leak has resulted in a digital
album beating its physical counterpart
to market. Therefore, the first-week dig-
ital sales for "Before" will be added to
its overall retail sum for the week end-
ing Nov. 22 and the title will debut in
next week's issue.

Billboard, along with Nielsen Sound-
Scan, will review the merit of maintain-
ing this rule. ••••

Market Watch

Weekly Unit Sales

A Weekly National Music Sales Report

Year-To-Date

5,2009 HgurMy reuWd

niclscn

SoundScan

unw

DKITU
UBUHS'

UAttS

This Week

7,043.000

V471,000

19.635.000

last Week

6.860.000

1.424.000

18.419.000

Change

2.7%

3.3%

6.6%

IMiWKlilidMi

8.909.000

1.395.000

19.779.000

Oiaoge

•20.9K

5.4%

0.7%

Weekly Album Sales (mh

ion Units)

is)

2008

2009

F M A M

J009

CHUtU

OVERALL UNIT SALES

MbuiK 348.302.000

301.506.000

-13,4%

Oigibllncb 925.494.000

1.017.889.000

10.0%

StmSliigla 1.467.000

1.S89.000

8.3%

m 1,275,263,000 1,320,9B4,000

3.6%

UuBu/mc 440.8S1.500

403.294,900

-8.5%

ALBUM SALES

SALES BY ALBUM FORMAT

CO 290.788.000

233.907.000

-19.6%

Digital 55.852.000

65.444,000

172%

Klnyl 1.545.000

2.106.000

36.3%

Otl« 117,000

51.000

-56.4%

Year-To-Date Album
Sales By Store Type

ISO million units

indies Non- Mass Cliain
traditional Mercliant

^HART
BEAT

nplre State of Mind"
tiM the first New York-
Id Billboard Hot 100 No. 1
iimilar entries to reach the
I Include Reg Owen «. His
■stra's "Manhattan
jal," the Ad Libs" and
ittan Transfer's "Boy From
'ork City" and R. Kelly's
am City."

irt Beat reader Pablo
n of Berkeley, Calif., notes
9 years after peaking at No.
Moments' "Love on a Two-
treet" reaches the Hot
summit as a sample in
.restate of Mind." Nelson
oints out that the survey
»w hosted a No. 1 by an act
tels "like such an insomniac" ,
:ity, "Fireflies") followed by I
t-topping anthem for the
lal never sleeps.

^ Read Chart Beat

I every week at

' billboard.com/chartbeat.

Go to www.billboard.biz for complete chart data I 41

-i.L'iial

I NOV I

28
120091

•

ARTIST

V-'-il>.- K ).JMBER ' tHSTRIBUTHGLMaiPIUCE)

Title

i! □

WEEK

ARTIST

IMV^ AI s M;Vf EH . n.-.TRISilTirni iABtl (TBKEJ

Title

§ 1

Htm

Kl BON JOVI

The Circle

, Itw tund's se((inij

;ilhiim f.>ltri (it^l Inn

BEBE & CECE WINANS

Still

ANDREA BOCELLI

My Christmas

1^ 10) arrives With a

BARBRA STREISAND

Love Is The Answer

CARRIE UNDERWOOD

Play On

H careef-liigli 56,000
H and «Im starts It

THE BEATLES

i-4iMi;o.nvni *

The Beatles In Stereo

2 1

MICHAEL JACKSON

Michael Jackson's Hits is It (Soundtrack)

■

id. 1 on Top
Mstian Albuns
IsiHMrtlednMM,;

THE SVJELL SEASON

Strict Joy

TAYLOR SWIFT

Fearless

■

CHRIS TOMLIN^ 1^ Highest: Christmas Songs Ot Worship

VARIOUS ARTISTS

■III' .1. itliSBl

NOW 32

went a vhcppmy
3} Mcks on llH

DRAKE

' >. wnrnwH amifi<L>

una i» m

MICHAEL BUBLE

Crazy Love

■

{llboatdlOO,

MELANIE FIONA

■.■FII-- (to Ml

The Bridge

FLYLEAF

: ■ i "rtl

Memento Mori

■

Makini) at Ho. ST.

MARIAN CAREY

Memoirs 01 An Imperfect Angel

-4

SOUNDTRACK

. ... Qlee: Season One: The Mus*c Volume i

■

PARAMORE

BrarKl New Eyes

■ I J -mi MosnsDw MUSIC (

SOUNDTRACK

■ . _.ir.-M: vmji »G ,1B9BI

The Twilight Saga New Moon

■

NICKELBACK

■ 1"! »l

Dark Horse

■i

il-J.'iViU >-AOV ANTEBELLUM

rTTTT?™ ( ipiini HAttfvut mw mm

Lady Antetwtlum

■

KEITH URBAN

.1.. ■ M- I'J Ml

Defying Gravity

STING

iitaei •

It On A Winter 5 Night...

...i .IS 19^ *

Keep On Loving You

SWITCHFOOT

. --.L.»1i*NiiCM20«'.*G(lB,M|«

Hslto Hurricane

ne oiva s s«ond
Ills compibtion

BROOKS & DUNN

*18 ... And Then Some

TIM MCGRAW

doirfhem Voice

27,000 topKi)
ntludes hcf recert
4otXN)Na.l"V'

ALICE IN CHAINS

'■:| .'SBBI

Black Gives Way To Blue

ZAC BROWN BAND

l.ii3WlllTLUnCS1U3t,'U|l3 9e)

The Foundation

■

.10

WHITNEY HOUSTON

1 Look To You

15 10

JAY-Z

The Blueprint 3

■

ilic anoltwf n sin-
)les.Ulolil.17 of
Ih 13 tracks on tlie
num were hits on
Iw Nalnstreim lop

TORI AMOS

Midwinter Graces

1.' V2

MIL6Y CYRUS

The Time Of Our Lives (EP)

LUKE BRYAN

Doin' My Thing

OWL CITY

Ocean Eyes

tit

BRAD PAISLEY

SUN (t) Ml

American Saturday Night

DASHBOARD CONFESSIONAL

Atter The Ending

■

lOdtarl.

PEARL JAM

iilSBl

Backspacer

2D 13

THE BLACK EYED PEAS

The E.N D,

■

GEORGE STRAIT

MC* h«&MViij.f Dljirj'.-UIIGN t1J98>

Twang

WALE

■ ■•■ !■■ ;.'ii*'iiiA ii3Mi

Attention; Detcit

TIm riwlr hanil'i

MUSE

'J!l IliU -1 M ■MM rtl1«B idO* Hi Ml 4-

The Resistance

BRITNEY SPEARS

The Singles Collection

■

WW oMinio*

STEVEN CURTIS CHAPMAN

Beauty Will Rise

ROD STEWART

SoulDook

■

*\, paired ivilti a
ive DVD, starts with

it:

ALAN JACKSON Songs OI Love And Heartache

■11 'USI'iiLU CijiIi:'«>M«tlET.NCC«Ct;f /i^tM ElCSWl ill ?ii

2T 23

LADY GAGA

. ' '.UVI.LrtnStlMt.lNTtnSCOfEOlHOiMGAilZM)

The Fame

■

1.000. Heanwtill«.
t Ko. SI. N«janie
iona re-entm

VARIOUS ARTISTS Leiiws TO Santa: A Holiday Musical Collection

14 :

CREED

■ 1 ?^ 1 ■•

Full Circle

DAVID ARCHULETA

Christmas From The Heart

19 5

TRANS-SIBERIAN ORCHESTRA

Night Castle

■| alter tAe Ht was

JACK JOHNSON

En Concert

DARIUS RUCKER

Learn To Live

■

H KsphTSkalCD.

THREE DAYS GRACE

Life Slana Now

11 -

FOO FIGHTERS

Greatest Hits

■M raiRnnng t oww
H WMk window K i

□

COLBIE CAILLAT

Breakthrough

HOLLYWOOD UNDEAO

Desperate Measures

■

ii^ exclusive.

133

NOW Thai s Wiat 1 Call A Country Christmas

MIRANDA LAMBERT

Revoltjlkin

■

KENNY CHESNEY

Greatest Hits II

□

JASON ALDEAN

Wide Open

■

•1

□

SOUNDTRACK

■1 yuu i:N ir it .uiwii: s-snn-<IG II* Ml +

Twilight

■

WEEZER

Radilude

■

VARIOUS ARTISTS

NOW 31

'SO ^

SOUNDTRACK

Hannah Montana The Movie

■

□

CHICKENFOOT

Chickenfoot

SUGARLAND

- .'tKiiiitagBi

Gokl And Green

|H Ajlhesingef'slotji

ALEJANDRO SAN2

.■-.■.t...i- ■..■.■■■) (i79e>

Paraiso EHprsss

JASON MRAZ J

son Mraz's A Beautiful Mess-Live On Earlti

■

\mv\ii IMS week.

SKILLET

' i'f.i -1 .■■',■11 ilMI7'*&itJ»|

TAYLOR SWIFT

Taylor Swill

■

ih nm live CO/DVD
elew starts fftth

□

MAXWELL

BLACKsummersnlght

BEYONCE

■ 1 ■ '■ ■ 1 -■ ly-VSOIfi KtilC 111 Ml

1 Am...Sasha Fierce

■

6.000 (Offtes. H('R
etum to tlw United
talH lot a pailr oi

■

HARRV CONNICK. JR.

Your Songa

KINGS OF LEON

Only By The Nighi

■

EMINEM

MfKSiucn MirdUArtumTERsaiPE Miau-nuiUHi

Relapse

BIB

AC DC

1 'V : \. .-i '^Kf MUSIC (

OMCIVDVDia

g Backtracks

iiaritv coiKerts
}«. nil) New York.

TRAIN

.jjiniiiiM ■■■ l^>l;.•^. Wi.iVC|l29BI

Save Me. San Francisco

JiS

VARIOUS ARTISTS

■■>.*• CMG 11

WOW Hlis 2010

ROSANNE CASH

Mil.r-<rTi!, ■ M|.-, ilflOai

The Ust

BREAKING BENJAMIN

Doar Agony

■

"■

JENCARLOS

Buscame

153

Ui^UH JAUEY JOHNSON

^■i-.i-^n .....I«.utl>.il«-.W»M|13M»

Thai Lonesome Song

•

SHINEDOWN

The Sound Of Madness

109

SUGARLAND

;ii;)l'UMW.13.98(

Love On The Inaide

■

CHRIS YOUNG

-., i ■.'.-.•<■.■ 1 . . 'issimftowi

The Man 1 Want To Be

4«

SLAYER

VKilL lit Ml*

World Painted Blood

□

RASCAL FLATTS

UnBtoppat>le

■

•

MANNHEIM STEAMROLLER

Christmas: 25th Anniversary Collection

H vmion Di :'

SOB DYLAN

Christmas In The Heart

DAUGHTRY

Leave This Town

■

ariiies albuii
omes p^kaged

105

□

VARIOUS ARTISTS

NOW That's What I Call Country Vol. 2

•

TOBY KEITH

AiTterlcan Ride

Mitti a teal woikiDg
Riplriwt. tin
'itlK. a IM-pa^e

•

KISS

Sonic Boom

SELENA GOMEZ A THE SCENE

Kjbb And Tell

176

VARIOUS ARTISTS

Disney: Holiday Magic 2009

□

TREY SONGZ

Ready

H lotlH-table tiook.
B lyinrl LP atMl other
1 nKMraUHi.

STRAIGHT NO CHASER

Christmas Cheers

PINK

Funhouse

■

KUTLESS

Bti;ofi;j.iS98i

II Is Well

THE BILLBOARD 200 ARTIST INDEX K.?^

AFI -^8 T«<Wm8fiOn«BS m WiWlJlBXfUl

MOHM-ixm i\ eQNjtiw

MMAIOSI iM M Btmii « B0VSLIKE6IRIS '

MKW 111 BCEGEES 142 EREMMG BDilAMN

TOnWOS M HFKSSBIIlEV 1M JMeMCKMM 1

OAWOAfKHULEtK '5 BTiWCE U BROOUSDIMI

ATREVU I :>e BIG KEMHr W lAC BflOWN BAND

..JT KSacrCHESNEV

T (wivau

CUCtfWOOT

_. __ . __ CtHOPlW 19

COLBCCMUtr Tt HUWCCmiKJR s

tAwtictxi sa c^m 2

BRMOCAHLU W OAiX) CIKVimx BAW

JUmUSMLAMCAS 122 tC

nOSMHECMH 90 BIU> CuRAnGTON 1'.

STEVOiCtADSCMPMU MIEYCVPUS
71

COMESSKMU.
DMJOimv
HTHUM
tdLOHMW
OJOnUMNESENn
WKIFJCMMA
"SIJWl

MEUtNEFiatA

fWEFNGEHWAIH
PUICH

FLBHTOflMt
CtWCHOUDS

mdM . • oiiviDQucnA m jKHstNs ....w NBCin . 10$ mMimc

tf: (OOflGKIEftS 76 MCHtflJAOeSON 4 NBUBOPKeS m 1C3 lETfPA

^ CCUrORO t&l HHKH^HI ^''■i 1G MKGSOfLGW - St ULWkmE

nwcHEH m taasTosl jimcwuis w «ss v lwao

IMtfBAV IJi W>{nw»tUUW 1V3 JEHEMW 17! RJON 1*6 OEM

(RfDHMUVDND 13: JACKJkWSON 7t UJlLISS 100 IVU UMTI

KXJ.VVHXJOlNCt«) JAUEVJ0W6ON ,« iWrTO SWIWIO

»ni JOUSBflOMAS. . ■^^■^^■pl

IM SCEIIt « mSTNfr HOUSTON M !3>. IS3 LAW WTEBaiUM

170 tSOWTMUi IBB UUnOG*

DAVIDSnnr 156 ■^■■■■Mi I^^^K^^^H M<U¥»lM6EnT 30 MAWNIOM

lit! CWWDW I501W *L**lJ«:ilSf>l 71 T0S7wn>i 47 WtriEUWGE . IM ETIMBWUIB

42 Go to www.billboarci.biz for complete chati data

Data for week of NOVEMBER 28, 2009 l CHARTS LEGEND on Page

B 62 tS

M 5S 14 Q

]• 9S 76 Q

» 102 107 ^

>7 96 70 Q

1:.:

□
□

^ 119 123
19 103 9e

9S 62
111 84

□
□

»4 » g

113 100

25 -

« 107 87
9 110 SI

ARTIST

Title

NEIL DIAMOND

A Cherry Cherry Ctirislmns

■

NIRVANA

Live At Reading

■

WOLFMOTHER

Cosmic - Egg

TECH N9NE

K.O.D

■

KID CUDI

■iFii.v iu:i 1 r uu:--a-.t: Mninivmii-i-i'^- i;Mar. m M

Man On The Moon: The End Of Day

■

DAVID CROWDER SAND

Church Music

■

LYNYRD SKYNVHD

' 1 ■ .-.III jintM iia «i

God & Guns

■

TAUELA MANN

'i: ■■■ .-isti

The Master Plan

■

CAGE THE ELEPHANT

.-1*!,

Cflge Ths Elephant

■

VICTOR MANUELLE

Yo Mtsmo

■

AMERIE

■ ' ■ ■ ■. , ■ 1 i*M i.^j^Ji- ciWO i1) 961

In Love & War

SOUNDTRACK

Hannah Montana 3

PhOENiX

Wolfgang Amadeus PhoeniK

■

MADONNA

,■..■.1 I' ■ .■[.Mill lltMl

Celebration

■

■1

SLGARLAND

-■ !' r • 1,'. 'J « Ca'IM»lSt

UVE On The Ineide

BILLY CURRINGTON

UtUe Bit Of Everylhlng

■

RYAN LESLIE

'.'<- ' > ' i^»KLANi:A'UhlVtHSA.Watt)Wliaill47'UMRG

(iJM) Transition

■

MARIO

DNA.

?PT^'^'"*^**. „ T ,«viu' tjoBi Metatocatypfto: Delhalbum II (Soundtrack)

FIVE FINGER DEATH PUNCH

War is Ttie Answer

■

RASCAL FLATTS

GfMlMl Htis Volume i

JULIAN CASA8LANCAS

Phrazes For The Young

■

KELLY CLARKSON

All 1 Ever Wanted

SAY ANYTHING

■■ , - 1 - - '...i'n- SMS !l; M-

Say Anything

■

BRIAN MCKNIGHT

Evolution Of A Man

■

ATREYU

Congregation 01 The Damned

■

DEMI LOVATO

I.I ■■M 1 ■ ■lu'l'ii .1& 99:

Here We Go Again

■

THEORY OF A DEADMAN

111. '. - -iiM'.iiLtvf" ■):! flflj •

Scars & Souvenirs

THE AVETT BROTHERS

IV'- . 1 .lu-iA !^n«^:l^v musil i wiui

1 and Love and You

■

JACKSON 5

Ultimate Christmas Collection

■

22 IM Q HOLLYWOOD UNDEAD
FRED HAMMOND

Swan Songs # I

109

Love Unstoppable

^ tu 148

4 112 111

ir' Bl 21

« 129 i:

7 123101 I

01 THE FRAY
gJ^OREIGNEH "

Can't Slow Down

I TEGAN AND SARA

i»nh"-,'

Tfia Carter 111

■a:

I MONSTERS OF FOLK

SOUNDTRACK

Monsters Of Folk

Disney: Phir>eas And Ferb

JONAS BROTHERS
VARIOUS artists""

Wolmart Soundcheclc Uve (EP)

NOW That's What I Call Dance Classics

1 148 135

& lis -

I JUSTIN MOORE

DAVE MATTHEWS BAND

BOYS LIKE GIRLS

Q ROB THOMAS
Q~BEE GEES

^ 1st 132 Q
4 "5 124 01

il.'i MO iM U??^

• WiogigCHEVELLE
r 121 73 Q

a 156 172 m

0 141 128 Q

The Ultimate Bee Gees

B4g Whiskey And The GrooOrux King

I RAMMSTEIN

JTJ 1 3S»V*GfWIT 111.91

Liebe Isl Fur Alia Da

I KIDZ BOP KIDS

Ccriour Me Free!

21st Century Breakdown #1

lip ni^S, Hie due ^
aftum prorils Irom
irs eiposm cm Lv/
neck's (ounin
NusitAssfi. Awaic^
tdecast (s« psqt
49). And, il'i wvet
loo lal( to injiniM'i
dlun IhI: riieci.! -
Isonlf ttKsmti '
itisyNflocon-
cnrrHllydart

5 ^

Wal-Kirt itkiv.'i

CD/DVD packaqe^
last wNk: the one
trooi the Jonas
imttm (S.000)
Md one troni Dpmi
Lovato, vhkh iu^'
misses the t^ily
(1000).

The Brilish star i
i9>m Iille(Oijll'
tie any more iron i;
asthesetdebiJl^:!
No. 2 on tlw U K
Alburns (hart i-ii
wfek, edgMl oi ! '
a Mo. I entry iron
vocal QuaitH Jt\
last year's "I
Fador" nnwr-up.

EES

The U-vmq filtr
soandtTKkboa',''
a stellar l^o.
IndiK&ng traits
Itofli the Wtio
CfNm.tlH Jim
Hcfidrii
Eipcrioice. the

S«pfeiMS,ttK

kach Bors. David
Bowie and Dir^tp

■
■

1^%

Just creeping i>n''
thelKtisniK^i^
sofigdiglUltPfi; i
the band Dial :

Ust<Rell.lU»n:j.

■mreoinMHjt
28ataM>(i^o><>'

1°

■a

ARTIST Title

MP?1iri^ A hMMBER < DiSTR1BlfTm& t^BGL iPf^lCE)

i II

1S1

152

155

MS-cKiiPiiKsl, TheUst

115 103 ■■,

VARIOUS ARTISTS .... . . ^

. T „,s,5,„8„c„ „j „, Up. Oo«m. Turn Aroima: Circa 80

162 179

□

JONAS BROTHERS unM, VWS And Tn-MQ r,m«

ARTIE LANGE Jack And Coke

HEW

y*";OUS ARTISTS j„ 2 ,EP1

■

196

157

115

..„„,„„„ OrawThoUne

■

isr

144

126

. .- - ...... ...n.... r.u. Rebelutlofi

100

117

PINK MARTINI Splendor In Th, 0,.s.

' 1

1S9

□

THE ALMOST Monslef Monster

■

■Ipr

■

ROBBIE WILLIAMS^^ ^^ ., Reality Killed Tne Video star

■

1SS

11J

CHRISETTE MICHELE ^^^^

162

lOO

^v"'" .»>.,..„•» Soy

KIDZ BOP KIDS^ Kid.eopChri.tn,«l

195

^^^^ ''^"^ Ride Tlirougti The Country

1»

TRIPLE C S Custom Cars > Cycles

M.3

121

LIL BOOSIE ^^^^ SupflfBad; Tlie Return 01 Boosie Bad Azz

«*7

1«

I4S

BRANOI CARLILE 0I„ up tn. Gnosl

1E9

l<2

□

KELLIE PICKLER ^ K.III. Pickle,

ffB

ISO

111

"[y™ 51I1UUUBS.I111I lOetAround

170

137

THE FLAMING LIPS ^ Embryonic

ixi«™™ss£im wTufFja««ATOS«i»iitJt« ft„,»,Hii»it»ft<ii*i.n.ito«».

i«

131

... * „ r Jererriih

uii.i. - Hhi i;tifF JAM ounoi* tUUG tij SSI o« B r 1

139

104

'■^.'■^'-'"^ •„;^,...„„ NaturalForces

174

177

MARCO ANTONIO SOUS _ „„„ 4„,^„ s„„.

17S

163

176

159

SOUNDTRACK Translormers: Revenge OI The Fallen: The Album

HALESTORM Halestorm

178

^^'isTT^v" iii'Minrij 11M Crasti Love

179

133

FLIGHT OF THE CONCHORDS , y„„ , f,,,,,, (Soundtrack)

ISO

KAREN 0 AND THE KIDS ^^ere The VWId Things Are ISoundlrackl

iei

137

□

FABOLOUS ^ ^ ^ Lose s Way ISoundlrackl

■

SNOWWTROL UpToNo»

193

166

133

PETE YORN t SCARLETT JOHANSSON g,^,,

184

187

EL TRONO DE MEXICO H.M. Ml Final

JIM BfllCKMAN ,

n <9 981 '

186

GOV T MULE By A Thread

.1,, , . Anywhere But Here

miss

1^5* „ , Skinny Joanz And A Mk:

SOUNDTRACK Pirate Radio

180

)7a

174

COLDPLAY 1^ Vtfla or Death And All His Friends

■

191

167

150

'■""0 Party Roci(

199

ISO

171

RISE AGAINST ^^^^^ p^^^^

198

191

173

LETOYA ^^^LO^,

184

190

DieRKSaENTLEV^^^ F<«' That Fire

DOLLY PAHTON , i ™-*™
^..KMCOiOvoi* Uve From London

HHMim

^^'-^^ neai You Deliver Me

BIG KENNY THe Qutel Ttme OI A flock And Roll Perm Boy

. . .; -1 l OiOTr-*!! w1ll^M0t^l wcn^t 113 Ml

GREEN DAY ^ ^^^^ ^^^^^ g^^, j^lve In Toyko) (EPJ

ANTHONY HAMILTON The Point OI It All
u Tf .1 ,1 ir=ff3qe»jinii3eB( 1 he f oim ufit All

DAVID GUETTA , ^

CI.1M flEMf isrWLWttlM (II M) ^ • ""^'^

HiMMUiU nc

) lie

i«a fUftiMi

102 HiUlfaClttER
PIMC WARriM

PTTBUU

. BKXIWPIES -

59 MscM.a«m .J4.I21 smn

'Vj kba .a turn

B9 KEMUmST Itt SNOWMTfia.

37 lURCOMrrONIOSaiS swrchfooi

« StRNGKtNOQIiiStK M

in aumnAmEsut) . . S2 huwahuonum

S SUWLANO ..H.43.11S mEtfCME

44 IMSWUSEASM

a for week of NOVEMBER 28, 2009

BRiniCVSPIAHS

H Roo smwr
..IM SIWG

mm )H JOSS stow:

GEORGE snuil

For chart reprints call 646.6S4.4633

r! aiSNEV PHnEASAW

ij Ftn .138 mtvoon

GUE SEASCNOM TIC
'0 MUSevOUiMEi t

pmATEMOiO
in tRMSFORUERS

11 flFVFMX Of TW rUlIM fKHTHOIUS

THtAtflLM 'T6 TttnaiMVSOUCI

rMJ[>iI Bl CHRIS TOIIUI

nc TwiJCHi SAOA nuw

10 TRAMS-SeoUUi

m amcNODEWEnco im

HLWIumDlF VOL i

HI CAMlt UNIXRAOOD 1 DtSNEV ttUOKf U

OHCHiSTRH

UmRSTDSUfU A

muawrMusicM.

COlfCTDI T« CIRCA 80

MWrSI M WWHTSMIO

iMnnurswwiuu wAir

ACOUNTRirCHRSTMAS HOm

N0Wtt«T51»fAIIMX

COUMIRVVn I « WOlMtlMBt

rHwnursvMinicAii

OMCfUASSCS 140
UPOOWKTURNMOUM}

*0 CMttWUW.

Go to www.billboard.biz for complete chart data < 43

EXCLUSIVE CHART

Billh*rir^ FROM BILLBOARD

W^m ■ and b>ribo.irdxom. rcfrftthad cvary Thurtday.

TOP DIGITAL"

TOP INDEPENDENT

as 25

2 32

ARTIST

i»,'- '->:n; 1 fiUMetn OtStRfBUIIMG l*B£l (PRIC£|
Kl JASON ALDEAN
BffiflbnoKEN BUM ;e'jr iis^ai

TItte
Wide Open

1
•

^SQ^MUMHBMSTEMnOUn CMGlnaE;2SlhAnnmBivC(ifedlan
[ailinilH AUtF<lt;jlNGRAMAPH0K252SnB.MI

BEBE & CECE WrNANS

Slill

■ITthe swell season

Strict Joy

PEARL JAM

Mi;-,.. ■< : '.i- 119 901

Backspacer

CHICKENFOOT

Chitkenlool

•

A letlfflj JENCARLOS ^^^HHPVP^ Buscam

KISS

Same Boom

TECH N9NE

KOD

TAMELA MANN

The Master Plan

mpCAGE THE ELEPHANT

Cage The Elephant

l«

PHOENIX Woltaang Amadeus Ptwernx

LO'AUIf OlOii* liLASbNOtt iH 981

DETHKLOK Melakicalypse Delfiaibum II (Soundtrack i

Wl.il.'.M: MHM ' '.I 'lrie.lADuU SWIU| (I3 9l)l

!•*

■■BRIAN MCKNIGHT

Evolution Of A Mao

■"monsters of folk
■ ' iiisai

Monsters Ot Folk

RAMM5TEIN

11. -.Mi^i-vaGHANI (18 Ml

Liebe Is! Fur AJIe Da

VARIOUS ARTISTS Up. Down. Turn Afound: Chca 60

v-i;. MABflUCKS (12 9«(

DAVID GRAY

i"l !■ r.'ih- - k ■■IHii! iI-^'iHi

Draw TIte Line

P!i

PINK MARTINI

Sptendor In The Grass

@®

■

COLT FORD Ride Through The Country

1®

[UOHWIP«SEVTSWrCL0iMIWiiaBSMnnJE« ImTiTtEUiiTreAv&bniUiHi)

?■/

FUGHT OF THE CONCHORDS 1 ToW Vbu 1 Was Ffeaky iSountlracki

JIM BRICKMAN

Joy

GOV T MULE

tVIL Itin \Z^i2 |14 •tit

By A Thread

HEW

DOLLY PARTON

DOtLV g»-BtrmRnv !av (ib m cddvoi +

Lnre From Lorvdon

NEW

THROWDOWN

Deathkss

■f'ERTIt

VICKIE WINANS

jl '!-.. If Ul-'O 111 981

Huw 1 Got Over

JOURNEY

tx it'l 98 CD.'DVDi

Revelation

■

PUSCiFER Chhf (Please Insal Scfihrnonc G*"

.*>

BETWEEN THE BURIED AND ME

The Gieat Misdirect

ROORIGO Y GABRIELA

HIH.i'.'i[-> , linii I- na CD nvoi +

11 t1

SOUNDTRACK NCtS The OnicialTV Soundtrack Vol -2

3S|

THE XX XX

VARIOUS ARTISTS -ikvSaiitAiac An AtSa Tttiie li> Ma» M Frante BwefTy

[®

KATATONIA

Nioht Is The New D^y

EARNEST PUGH

■■ : ■ ■■ • :. i>::oi iti98.

LIVE Ram On Us

WYNTON MARSALIS

■■■ . ! • '.'iHSt! i9 -IS.

Chnslmas Jau Jam

A DAY TO REMEMBER

Homesick

GRIZZLY BEAR

Vcckalimesi

•

TIESTO

■M l WVCM OT

Kaletdoscope

PASSION PIT

^. ■ ■. M-' ■ .H^H'., CCJLUUBIA (1298)

Manners

PHISH

Joy

EDWARD SHARPE « THE MAGNETIC ZEROES Up Frofit Bdiiw

Ii , ■ . 1 : . 1 .■, . VfttHANI |1) '18i

ERIN MCKEOWN

Hundreds Ot Lions

ii«u»maiLH(w»jfpjinrtHPiS()ji^MTH{rw '■^[?rarx-^

ECHO AND THE BUNNYMEN

The Fountain

RAY LAMONTAGNE

Gossip In The Grain

SILVERSUN PICKUPS

Swoon

ALL TIME LOW

Nothing Personal

^®

■n

MF DOOM Metal F(nger; Doom Presents UrKxpected Guesis

>n unlltely l« appMn high on the Hilfef ItaB ckart INs
week as Tori «mas debuts al Mo. 9 ami HMntCf GnxD" (W.OOO).
It's tlie singei/songwnter's fini Christms cflOft and futures
traditional tiolidav songs in addition to two Amos-pewied tracks;
"Pink and Glitter" and "Our Hew Vear."

THIS 1
WEEK 1

S» at

ARTIST

lUPHirjr ■ DisiniBUiiNG LABa

Tltlegj g

BUbon jovi

HBS ISLAHD /HUMS ®

The Circle

HEW

FLYLEAF

Memento Mon

2 2

SOUNDTRACK Glee Season One

' L tj ' ' •.> 1. .M'...'.IHIA SOflV UUblt

The Music Volume I

CARRIE UNDERWOOD

1. ■. . .Lt bMK

Play Dn

^^^^^

SWITCHFOOT

.M- ■ ii-lf.ftriANTICiAG

Hello Hurricane

DASHBOARD CONFESSIONAL

Alter The Ending

WALE

" ! "1 irUERSCort ICA

Attention Del rcil

'1 IS

OWL CITY

■-l.i ■■■ .U REPUBtIC UUfiG

Ocean Eyes

16 P

' i

TAYLOR SWIFT

niG MACHINE '+

Fearless

fi 1

6 1(F

JAY-Z

The Blueprint i

16 ■

JASON MRAZ Jason r^ra^ s A Beaulilul Mess-Live On Earth

351

LADY ANTEBELLUM

Lady Antebellum

111

15 6

MICHAEL BUBLE

Crazy Love

19 51

LADY GAGA Tile fame
f : ■ ■. vi cntRRvlntt.iHHftSCOPf ;IGA

HOLLYWOOD UNDEAO

Desperate Measures

»■

I? 5

SOUNDTRACK The Twiliglit Saga: New Moon

10 ^

17 23

THE BLACK EYED PEAS

TheEND

20 g

ZAC BROWN BAND The FounOation

I -H 1 1 r jftE HOME GHOAH ATIANTIC ;A6

,5|

?i »

DARIUS RUCKER

Learn To Live

27|

1 2

WEEZER

Radilude

32 in

M - 1 . 1. ■ IGA

KINGS OF LEON

U'il. KMG

Only By The Night

MICHAEL JACKSON Uchiel Jaeteon's This Is II (Soundnckl

Mil fPli: SONY MUSIC

ARTIE LANGE

Jack And Coke

PINK

LItACE JLG

funhouse

-m

CREED

AIIID-UP *

Full Circle

□

TOP HOLIDAY

Ii
O

3at

ARTIST

liriE IMI'RINI & NUmiEn / DISlniBUTINU LABEL (PfllCEl

KM ANDREA BOCELLI

MT CK(4ISTMAS SUCAR D13437/ItfCCA (tS.Ml

CASTING CROWNS

PEACE OM EAHIH - . .■ . I- lllit 1 K IJIij\ 1L-1?f) i.<\tfi MuSit (15

•

ll'jfiVIII TAYLOR SWIFT

nrilmlH THinvUlRSWFTHOUIMrCOLLECIiaMPPtBIG UACHME 07t5 EX (6 98)

STING

rONAWIlrrOtSWGHI tir. -tiiI i, i* LiMV£HSALCUSSIC&GfiOUPne9ei *

JOSH GROBAN

HOEt ■ i ■ 1 ■ AiMCdi i.m . |in rini ♦

SUGARLAND

coin AND f.Hi[M ■■ " t riA^Hviar oii]?&'UM6N 111 98)

MANNHEIM STEAMROLLER

CHRISTMAS ?SIH AHNIUfnSARV COLIECIIOM AMERICAN GAAUAPHOHE (18 9S)

•

CHRIS TOMLIN

ELORT IN Tltf HIGHISI CWISrUAS SONGS Of WORSHP SIXSIEPS 93?6I 'SPARROW ^fl>

UffWTl TORI AMOS

HUM inimMTERGiUCUuWvCft&AlREWBUC(n363aiWR6(tB98CD.1»Dl$

MICHAEL BUBLE

tnrr SNOW' ttPj : 1 1 i;:Hir..t ; -'i;;;-.*! vvAnriiK Ff-ids ir ;ti:i

VARIOUS ARTISTS

IfTTERS ro SANTA A HOLIOAT MUSICAL COLLECTKW 0^\^{^H'.i :jI'WW, ti (y 'I;.'

DAVID ARCHULETA

CHRIS IMAS FROM 1HE tItAAT I'l .llWE bJtH/AG 03 9S|

VARIOUS ARTISTS

NOWrHArSWHAIICALL»C0UHTmCH«SniAS[f.-.IIV'.TRr.J.; MlVOv:!'.' i;']".i;:

THE CHIPMUNKS WITH DAVID SEVILLE

CHRISTMAS WilMIHE CHIPMUNKS ■■■ 1 . .i : : I ' -i-

TRANS-SIBERIAN ORCHESTRA

THE lOSr CKHISIMAS FVI LAVA «>3U6 A{; tlS »ai

■

CELTIC WOMAN

A CHRISTMAS CELEBHATION MANHArlAN 70I?4'BIG lie»8l

BOB DYLAN

CWttSTMAE IN THE HEART COIUUBIA 57323 SONV MUSIC (13 M|

FAITH HILL

JOT TO IHE WOniO ,'..-> -.[14 BROS iNASHVILlEl SIISOOi'WHN nB»8l +

•

VARIOUS ARTISTS

DISNEY HDLIDAr MUGIC 2009 kVALI DiSNEV a04SB0 EX (6 981

STRAIGHT NO CHASER

CHfHStMAS CHEERS ■■" : i .Vf LAHJIC 520;40,'AG 08 98)

NEIL DIAMOND

A CHtB«Y CHEHHT CMHISIMAS ■ '.. ' 'Mi -K. (ii yfii

TRANS-SIBERIAN ORCHESTRA

CHRISTMAS EVE AND OTHER SrcniLS . i'", ' ' : " '-^i

ENYA

AND WINTER CAME. HtPHiSE 5 l2383i'WARIIER BROS (18 98)

•

IL DIVO

IHE CHRISTMAS COLLECTION ' ' ' '1 i W i.'- Hr?IS.'SONY MUSIC 118 9B|

ELVIS PRESLEY

44 I Go to www.billboard.biz for complete chart data

.^^.^^^ Thft weflk'a moal-straam«d vldao9 on 4

ii" IIS r . MPflfHTi'EAaEll 1

Pn GRACE KELLY J

BR!^ HIU ^I^ASABLANCVUNIVER&AL HtPUBLIC) i

_ 2

WHITE HORSE

TATLOd SWIFI (Bllj W*tH1Nt UNrvfHbAL WtPUBLlCl

LOVE STORY

lATLOn SWIFT iBiG MftCHIHEi

OUR SONG

lAUORSWiiT ■■' ii t;r>'[R'jAL HEPl/BLICl

PICTURE TO BURN

TELL ME SOMETHING 1 DONT KNOW

SELENA GOMEZ ► .'i^ 1 K "Itj

TEARDROPS ON MY GUITAR

SHAKE YOUR GROOVE THING

tivM A»D TJ<t CHIPMUNKS Ff AIURING DREW SCCUY (FOU'RAZOR A TIEI

SINGLE LADIES (PUT A RING ON IT)

BfYONCE ■^■i ■■■ :,' 1 ■ , iir.'i'i;.

I M ONLY ME WHEN I M WITH YOU

TAYLOR SWIFI ' ■ ■ i H '.i i

SO WHAT

PINK I

TIM MCGRAW

TAYLOR SWIFI ■ ., ■■.^i.HINEl

EVERYBODY ELSE

CARE BEARS OH Mrtf l URVtl

I M SO PAID

AUDM FEAT HI WAThI A YOUNG JEEIT ^KOHVICI UPFRONT SBC UWVtRSAl MOT

IT WONT BE UKE THIS FOR LONG
SAMUt RUCKER iCAPiTOi NASHVILlEi

ill

wMh's mo«l-vlay«d songs on Wkk>I M

ARTIST flMPRlNT.'lAflELl

1 1 lA KM YOU BELONG WITH ME

BBS nrLOfl Mm IDIQ UACHlHE/UNnnnSAl REPueilCi

^•

SWEET DREAMS

BEYDMCE MUSIC UVUHLD. COLUMBIA!

WHATCHA SAY

JASON UEnULO IBEIUGA KtltiHIS.'WARNER BROS J

' 4

FIREFLIES

OWL CITY .UMVERSAl flEPUBlIC)

I '

BRmCYSmRSi.IIVE.JlGt

PARTY IN THE U.S.A.

MIIEY CYRUS iM'-.LLVWncDi

USE SOMEBODY

KINGS Of LEON iHL.i HMUi

PAPARAZZI

lAOY GAGA iSIREAMLINE.'KOMLIVE/CHERRVinEL'WTERSCOPEl

DOWN

JAY SEAN FtATURING IIL WATM (CASH MONEY llNIVf ASAL REPUHLICl

ALREADY GONE
KELLY CLARKSON i ' ' > CA RM<if

ONE TIME

JUS1IN HIEBin.lSLANri ILUUGl

LOVE DRUNK

BOYS LIKE GIRLS imi IVIBlAi

RUN THIS TOWN

JAY I. (tmitNNA A KANYE WEST (ROC NATION!

FALLIN' FOR YOU

COtHir tflllLAI ■, .'i-CiAl RIPUBIIC)

MEET ME HALFWAY

TOP COMEDY ALBUMS

LAST 1
WEEK 1

»o

TITLE

ARTIST ilMPRINT / DISTRTBUnHG lABEl |

KIjACK and COKE

1 TOLD YOU 1 WAS FREAKY (SOUNDTRACK)

HIGH! C( THE COMCHOROS I ' !■ 'i

THE ESSENTIAL WEIRD AL YANKOVIC

WEIRQ AL YANKOVIC i MUBV VOlCAUO, LEGACY JLG)

FEEL THE STEEL

STEEL PANTHER ' : :Ni . i KSAL REPUBLICi UMRG)

TAILGATE PARTY

lARRY THE CABlf GUY i JACK-'WAHHER BROS (NASHVILLE j.WRNj

INCREDIBAD

iHt lONIlT ISIAND i?fPyBllC<'UMROl

ISOLATED INCIDENT

DANE COOK 1 ' . . ',1. ..

AGED AND CONFUSED

BILLINGUALl ■ .■. ' '. !■■ .■ . l ! ■ WWU

IT S HACKIN CHRISTMAS! WITH FRED (EP)

SERIOUSLY WHO FARTED?

MICK SWARDSON i ■ ■-'-.In ' ■ M-.-'i i

SUCKIN IT FOR THE HOLIDAYS

KATHYGHlEFIN vi: 1' .VI I H A 1 WISI.'OONUIfiUHl

EL NINO LOCO

nODNEY CARRINGTON ■LAF'ITOt NAStlVIIIEt

KING BABY

JIM CAFFidAH 1 ■,'.11 V< LI \MM': .

BO BURNHAM

BO BURNHAM .CGUEDY CtNlRAl)

BEHAVIORAL PROBLEMS

RON WHITE 'CPITGL NASMVIILE^

Data for weel< of NOVEIHBER 28, 2(

HEATSEEKERS ALBUMS

^ll^^jg J ^^^^^ BjOl

IH ARTIST

% Dl ARTIE L

gUiirMWiBi^"""''

J 7 38 COLT FORD

ARTIST

IMll i MUMBtn UCitKIDUttNU L*BtL |>WCE)

ARTIE LANGE

SHOUf tAClPHV 11757 (11 M)

Title

Jack And Coke

Ride Through The Country

ITlTiVtll RANDY HOUSER

Anything Goes

JOSHUA BELL

■1 Hiriv MASIEHWORKS (13 Ml

Al Home With Friends

■t

EMILY OSMENT

All The Right Wrongs (EP)

■

THE XX

■•

■. . i 460- (M 9Bi

ORIANTHI

■ :■! I'MA:': Hi* (9<JB|

Believe

EDWARD SHARPS t THE MAGNETIC ZEROES

- ■ ' ■ 1 S 'UACjRA'lt .13 991

Up From Below

EHIN MCKEOWN

-I: ii {■:■■' ifi SSt

Hundreds Ot Lions

■

FLORENCE + THE MACHINE

M.!";.M Kl-' II; un!7U'UMHG (13 '>BI

Lungs

NILE

'.llCdAH Rl ASl ???4 110 9SI

Those Whom The Gods Detest

EVERY AVENUE

Picture Perlecl

)

RAY DAVIES THE CROUCH END FESTIVAL CHORUS

The Kinks Choral Collection

m
m

COLT FORD

-1: 1 ■■/Mil 1, ■..■. *

Country Is As Country Does

LA ROUX

■I'll 1 LilldflrTHttlNTERSCQPE 0133B9M(iA (leSBl

La Roux

... ■.. ■ ..'"tHSAL MU^>c LMiNO 6bi;o2,'U«Lt 112 9«, Comun. Sueoos Extraordinarios

)

WOMEN OF FAITH WORSHIP TEAM

■ ■ ■ .Rl) CURB il3 981

A Grand New Day

GIRLS

t'. ---. ■ ■. .llO*'IRlIt PANIHEK SOUNDS 98)

Album

CECILIA BARTOLI

ic. :i!ViR^*l CtHESICS GROUP 124 98)

Sacriflclum

■

THE AIRBORNE TOXIC EVENT

I.'- .. ' . '.. ■ > i"-iAS;D017a77'.IDJMG |17 9B|

The Airborne Toxic Event

DEVENDRA BANHART

What Will We Be

■

PAUL BALOCHE

1 ; ■ ■ ij .T liTtGHlIV|H9B|

Glorious

)

THE RANGERS

'1- "RF rb'fiecoBsscaDvoi*

Jerkin Is A Hatjil Vol. 1

■

SIDEWALK PROPHETS

.1 (KU LLif<8 Hdr^DU U'WARNER SnOS |9 9S|

These Simple Truths

JOHNNY DIAZ

Mnrn Bnniitilut Ynii

Ihedelulaliuii
fnmlliestankip
land
ISton
Show" member boon
nail 4,000 cogies
Sid also entenllw
loDCiniedytiuiis
(tiaitalllo.Usee

3.1 2
44 21

ARTIST

L <..tL A NUMIllR nsrHIBUIIMO lAMl imicEi
JOSEPH FONSECA

rule I

Amante Bachata

TRAILER CHOIR

0«Tho MdlbiKy Hook (EP)

Hallord III: Winter Songs

■D 22 4

SI 31 4

33 :» 6

34 ?'! J

BAD LIEUTENANT

i5NiL OtiS^r UUR6 110 981

Never Cry Anoltwr Tear

JAY FARRAR & BENJAMM
ATLAS SOUND

0« Fad McM a ftn Gone: Mu9C Fran Iterouan Big Sir (SoundteK)

"»er Tear
ouncftacK) H

Logos

MATT & KIM

THE RAVEONETTES

In And Out Of Control

KINGS OF CONVENIENCE
BOB SCHNEIDER

Declaration Ol Dependence

Lovely Creature

WE CAME AS ROMANS

t jiM! U'i^inr* ■ 1 1 1 '>tii

To Plan! A Seed

THAO WITH THE GET DOWN STAY DOWN

Know Better Learn Fasler

IMAGINATION MOVERS

DAVE AUDE

FRED FIGGLEHORN

SAII-T ---.i MC.I.' I.. ,3 981

Imagination Movers: For Those About To Hop (Soundtrack)
Dave Aude Presents: Ultra. 20 10

It's Hackin' Christmas! With Fred (EP)

HECTOR ACOSTA

II V Vf,''.'.' ( II'. ■,- R:.*L MUSIC I'tmO 6M6tll''UMLE 0 3 381

THE GOSSIP

Simplemente... El Torilo

Music For Men

CAROLINA LIAR

Coming To Terms

THE LAURIE BERKNER BAND

|| ..I ■ ■■. ■'. > -a u<

RocketShrp Hun

BEAR IN HEAVEN

Beast Rest Forth Mouth

NICK SWARDSON

'.■■.u¥ UtNlHH 00H9 1 12 9B(

Seriously. Who Farted?

ROYCE DA 5'9'

■■- It Ml C i^On.OUE RECORDS |1U9Bt

KEITH & KRISTYN GETTY

Awaken The Dawn

EPtCA

EUGE GROOVE

Design Your Universe
Survday Morning

4 HEATSEEKERS SONGS I REGIONAL HEATSEEKERS "1 ALBUMS

tS SB TITLE

2£ IcS ARTIST •\»mm imowim imu

)

RED LIGHT

DAVID MJL (MCA HASHVlUEj

5 STAR CHICK
YOGOm ■ .li^ (III ■ ".(J^,__
EIGHT SECOND RIDE
JAKEOWEN^

Up From Below
Edward Sharpe & The
Magnetic Zeros

Jack And Coke
Artie Lange

WEST NOfTTH CENTRAL ■ EAST NORTH CENTRAL

Jack And Coke
Artie Lange

NORTH EAST

WHATEVER YOU LIKE

ANT* MARINA <CHOf SHOP AIlANtlCi'RRP)

AIN T NO REST FOR THE WICKED
CAGE tMf ILCPHUIT (OSP;jl«;JlGl

IT KILLS ME

MELAHIt FKWW ISHC liWVER&AL MQTOWU)
1901

PHOEWX OVAUTE/GLASSNOTEl

LA LA LA

LMFAO IPHRiriOCHWlU I HM.CMtRRYTHEt lNTERSCOPE)

SHOTS

LMFAO ftAIURIHfi UL Jl

t ROCK'rtlLLI AM.CMEHflYTREt.'INIERSCOPt)

LOOKING FOR PARADISE

ALEJANDRO SAM FEXniHMS AUOA >ETS IWAHKER LAlrNA)

RUNAWAY
LOVE AHD THEFT i .

SAVIOR

RISE ASAIHCT (OGC/WTEB SCOPE!

BOOTS ON

HANOT HOUSER >li-i ;'P~.!< .11 IMI
CLOSE to YOU

BtBI » CECt WIKANS ' .v.Ui

KINGS AND QUEENS

30 SICOMOS TO MAHS - i .-! VIHGIH^CAPIfOLl

CITY ON OUR KNEES

TOrrMAC . ■ . IMIJJ^^f

DOLLMOUSE

PniSCllLA RENEA . .'ClIOll

MID ATLANTIC 1

Artie Lang*

Jack And Coka

Joshua Bait

At Home Wttt) Friends

Thaxx

Ray Davtelhe Croudi End FestinI Chonjs

The Kinks Choral CoHecUon

Edwanf Shsfpe & Tha MagneficZKoes

up From Below

•

Halford

Hattordlll: Wint»r Songs

Emily Osmant

AH The Right Wnjngs (EP)

Girls

Album

Ntia

Those Whom The Gods oefetr

Florence -f The Machine

Lungs

MOUNTAIN

HURRY HOME

JASON M(CHAEL CARDOU |ARISIA NASHVILLEI

YOU RE GOING DOWN

SICKPUPPIES 'I . .l.iGlN.CAdlOll

SOMEBODY TO LOVE

LEIGHTON HEESTER FEATUMIW MUM IMCa (UNIVERSAL HEPUBIICI

I LOOK GOOD

CHALIE BUT :" I • I , ■ IL^.T lEfiyi

I M IN MIAMI TRICK

LHFAO iPARIY ROCfL'lNIERSCOPEl

ESCLAVO DE SUS BESOS

DAVm BISBAL l./Att UKIVtHSAl MUSIC LAKNUl
JARS

TE IRA MEJOR SIN Ml
JOAN SEBAinUt (MUSARl'.RALBOAi

At Home With Friends

Jostiua Bell

NEW ON THE CHARTS

Ride Tlirough The Country

Colt Ford

SOUTH CENTRAL

Ride Through The Country

Colt Ford

SOUTH ATLANTIC

Hilary Weeks

Chriitmas OnceAfjmtn

Jon Schmidt

Sonus Tracks

Fred Figglehorn, "It's Hackin' Christmas! With Fred"
YouTube phenomenon Fred— the lonely 6-year-old charac-
ter created by teenager Lucas Cruikshank— debuts at No
40 on Heafseekers Albums with this EP. It's the first effort
from Fred, who has the second-most subscribers on YouTube
(1.S million).

CRUIKSHANK

I Serena Rydar
tsno.K
Joshua Ball ^
ArtiaLanga
Jack And Coke

Swollen Membars

Am>ed To The Teetf)

Paper Routa

Absence

UsaHannlgan
SeaSew

Randy Housar

I AnytMngGoes

Emity Osmant

I AU The RlgM Wrongs (EPt

a for week of NOVEMBER 28, 2009 I For chart reprints call 646.654.4633

Co to www.blllboard.biz for complete chart data i 4S

lierial

\ Billboard

^THE BILLBOARD HOT 100

Ji
O

1% us

3 10

TITLE Artist
•■•KOixicfn (SftWA^iiiiWi •ipfliKT ffioninnoH twti
Blmmfl^^B empire state of mind J^Z 4^ Alida Kays

FIREFLIES Owl City

WHATCHA SAY Jason DeRuto

ii . r I' . y i-;L'I[M 11 fNOERSOIiJ DtSDOlHiMlll.l ME*Pl S fltlUGA i*: GH'f. ViJii'.f b fiB .;'.

•

12
22

REPUXY lyai
NEED YOU NOW Lady Antebelluin

3 Brnney Spears
'.''.'■"■ ' . » ,n ^.MAKli^/^tLlH^l^ I AUBEffi 0 ''-'

DOWN Jay Sean Fealurlog Ul Wayne

■

PARTY IN THE U.S.A. M.ley Cyrus

6
16
B

PAPARAZZI Lady Gaga

•

TIK TOK KeSna

BAD ROMANCE Lady Gaga

•

SEXY CHICK David Gueda Feaiufing Mon

•

12
11

i '*

T3
15

11
14
13

SWEET DREAMS Br-vo[ii:r

YOU BELONG WITH ME Taylor S.Mti

MEET ME HALFWAY The Black Eyed Peas

RUSSIAN ROULETTE Rihanna

)

RUN THIS TOWN Jay-Z. Rihanna & Kanye WesI

i',MTEfi*rtE5T£ Wit SON. R F?N1V.* *l*T*Sl 9GO fi^TlOF.

I
1

1 GOTTA FEELING The Black Eyed Peas
.1 ADAMS,* PINEll* J 0Ol*:2,S 'ERGU50B 0 CL-ETT* f filE!.T[ ' O "

l»

(Sir

16
19

17
21

FOREVER Drake Featuring Konye West. Ul vvjyii'^ & Em nem
ALREADY GONE Keliy Ci3r(.icn

COWBOY CASANOVA Carrie Untief..n.-i,l

',1 ' ■"" .■ : ■■ I'.'if :i M EllfONCO 6 J^MtSi O ^t l'P '-.I- '.■ ■ ,

laa

USE SOMEBODY Kings Ot Leon

■

4
II

ONE TIME Justin Bieber

[''84

1 CAN TRANSFORM YA Chris Brown Featuring Ul Wayne & Swizz Beatz

FALLIN' FOR YOU Colbie Caillat

' ■.; ■ Cttiitr.liH*Nt>S iCCAILUIBNOWlLSl e LWIVERSAL BEruBUr

FIFTEEN TaytorSwin

, 1 ■■ ■■■■M, i\m I iiswini o liNivEBSSL nfmi>c.8m wttiih:

EVACUATE THE DANCEFLOOR Cascada

BABY BY ME 50 Cent FeaiUfing Ne-Yo

1. .■- ■!, ..H-RiON Jfl IJMES & KMIItn a iH«U¥ i*UiiVJll< l!i-[hL.L.it-.

21
S

TOES Zac Brown Band

DO YOU REMEMBER Jay S«an Featuring Sean Paul & Lll Jon
. L:'iiMi':DiouJujNFuMOi!:PHfiMiuj.iiuurmjiviuei 0<'

DEFYING GRAVITY Glee CasI FeahJring Chrto Colfr- S, L^:a M cht'l'.'

1 M ALIVE Kenny CheeneyWrth Dave Maiih-?w^

. ■ ' m tHESNtY.O OIHOli « I»MBUR«OI <■■■

32
7

la*

:®

29
40

OBSESSED Maiiah Cr.ir-.

-AtKI WCANETIHASHCASIEWJIflll 9eO

MONEY TO BLOW Birdman Featuring L i -V.i, i- n ^^e

DO 1 ^,1^-. 1.. ,.in
.. !. ,ii >)■,..- 1 t "KWaOOl If ■

55
32

45
39

WHITE LIAR Miranda LamDeri

■ ■ ly .iW&lfll.N HfUBTl ® .. " ■

CONSIDER ME GONE Reba

■ ■■ -,r-: -.■!■ -II .I.'.-.- ■.riMbRHW, « irAf'llHUI..

SAY HEY (1 LOVE YOU) Michael Franli & Spearhead Faal. Cherine Anderson

[4,

BREAK UP Marfo Featuring Gucci Mane & Sean Garrett

Jli

4fl

WA 5TE D Gucci Mane Featuring Plies Or OJ Da Juiceman

f«

HOTEL ROOM SERVICE Pilbull

■U

FUNHOUSE Pink

l«

LOVE DRUNK Boys Like Girts

•

HEY. SOUL SISTER Tram

GOOD GIRLS GO BAD C::z:!a Starship Featunng Leigtilon Meesler

■

7
41

TWO 15 BETTER THAN ONE Boys Uke Girls Featuring Taylor Swrt

■■ . ■ . © :

67
82

SOUTHERN VOICE Tim McGiaw

TIE ME DOWN New Boyz Feat. Ray J

IF YOU ONLY KNEW Shinedown

UPRISING Muse

SMILE Uncte Kracker

55
G

or. GANGSTA LUV Snoop Dogg Featuring The-Oream

o to www.billboard.biz for complete chart data

n»i)ikisn«H
soflQ on Capttol
RKOris Io re«ti UN
togNoltlitKluit
mdlMCoirtiy
Songs (»)«<■
mmi Is No. I)
liKeJiinNtwtofl's
"ITttSirtttesI

Wining.

Uk IS Uw s«onil

taukamstlMs

TMidollovlnii

lodtOatWIoutt

Iwddwlduitlot

iflonkloaittop

N.nKIWtMtR

lUg radio limp
(SO-SO o<i Hot 100
lUrpbrjulllagiin
oHIMtooiiiil-
ente Invnssiofls.

The cad's Uke on
dKdfBattnsoni
rrom the iMBiul
"Wlcfcetf" vmRs
S-ISonHotDiglti'
Sonss CTO.MW: up
ISS\).iMrliin9»K

spike n sales In Its
second week of
miUtMlltY.

The second single
hom hct upcoflitng
-aieVWr album
enlenirtttiS.I}00
first-veek ilown-
loMb. The song also
Mvei Dfl ibe
lUndreanToolO
chirt.

(aiilonu utive
debuts with her
CDWolT.I.'s2008
Mo. I ML Her
versioa, whidi w»
mrnttr ttetuied In
« evbode ot the
(W series "fiossip
m: moves n.OOO
downloMls.

m S2

Ta 89

61 80

63 69

SO SO

Si 49

•4

S3 SS

70 73

71 72

S4 5'1

92 -

76 68

es 84

n 86
7* 7-1

65 71

90 -

®
o

91 -

79 77

9S -

62 64

75 61

97 93

fiD 73

93 -

88 81

41 10

96 -

72 96

87 9S

67 37

SS 82

TITLE

■■ni...i;iii (■ ■nM,-A-t(i£Hi
WELCOME TO THE FUTURE

HAVEN T MET YOU YET ^

GIVE IT UP TO ME

t iMBAtANO JIOC |l ¥ WOaev.S MtSMJU K AtHPSl|D CAWIWl

HAPPY

1 INVENTED SEX

I WANNA MAKE YOU CLOSE YOUR EYES

ONLY YOU CAN LOVE ME THIS WAY

GETTIN' YOU HOME (THE BLACK DRESS SONG)
IMMA STAR (EVERYWHERE WE ARE)

0 MICH SCHUJ^-Jil J.

RED LIGHT
DROP IT LOW

M[:^^GAB_^1 BQIMH OUIIHTC MO«lll*tl.M IIOCtRS>

David Nail

Ester Dean Featuring Chrfk Brown

A )H HOOtfl a HutZU-MiAIICAIIElU illSHtH)

LIVE LIKE WE RE DYING

■ ' ■ •'Ht«JlfftUfflOH,lHKD0HO6HUI>l$MttlUll|

ALL THE RIGHT MOVES
FAVORITE GIRL
ONE LESS LONELY GIRL
BAD HABITS
I M GOING IN

» lE LEWIS B MUWWIIUD S PKAMfctOII H SHIM

Justin BietMr

THE TRUTH

Drake Featuring Ul Wayne S Young Jeezy

Darius Rucker

Jason Aldean

5 STAR CHICK

I WILL NOT BOW

Breaking Benjamin

EIGHT SECOND RIDE

for your entertainment

successful
spotlight"

Alicia Keys

Adam Lamt>en
^ ^ i» R

Drake Fealurlr»g T^ey Scmgz A Ul Wayne

Gucci M«rM FeaHjrIng Ushor

. M VmS U HAVMWD i JWESj a MgAV ASYLUM VtAm^F" bi< ■

REGRET L^Toya Featuring Ludacns

■ :iiLiJ.syscHiiiicscAHHfli

GOD IN ME
JUMP THEN FALL

NEVER GONNA BE ALONE

■ .■til.«U?'i:'. J LAIbE C HHOEflER^_

WHEELS

'.■ill OA>S 6HACE.B SW)

Three [}ays Grace

Justin BietMr

AMERICAN RIDE Tony Keilh

(IF YOU RE WONDERING IF I WANT YOU TO) I WANT YOU TO -Veezer

WHY DON T WE JUST DANCE

■A^i ij cLU'ER&.i S1IIClETaW,l> BROWWj

BETWEEN THE BULLETS

JAY-Z RULES WITH 'EMPIRE'

lav-Z L-anis liis fourtti Hot 100 No. 1 . but his first as a lead or co-billed perfonner. as hb
collaboration with Alicia Keys. "Empire State of Mind," moves 2-1. Tlie rap legend'.s prioi
tliart-toppers came as a featured vocalist on Mariah Carey's "l lcarlbreakcr" 11999). hi:
now-wifcBc70HCt:'s "Crazy in Love" (2003) and Rihanna's "Umbrella" (2007). "Empire"
is also Keys' fourth overall No. 1 and first since 2007"s "No One." "Empire" takes Ho
100 Airplay Gainer honors a.s it risies 6-1 on Hot 100 Airplay (up 15 million lislenei
impressions to 109.S million), the largest climb to No. 1 on that chart since Kanyi
West's "Stronger" jvmiped 7-1 in tlic Oct. 6. 2007, issiic. — -Silvio Pictroluon^

Data for week of NOVEMBER 28, 2O09 ' CHARTS LEGEND on Page

Ib«ar

40T 100 AIRPLAY

TITLE

AHiisT pRnMpririfi 1 "fliu

TITLE

AflTISI MPK 'ir PROMOIIOH LABEL!

TITLE

ARTIST iiMPRltiT / PROMO TIOH LABEL)

Kl EMPIRE STATE OF MIND
mEm jam + uiciA tin inoc naiionj

1 CAN TRANSFORM YA

zm\% HRflWN FEAT LH WAYNE t SWIZZ KAH UIVE. JLCl

49 U

SAY HEY (l LOVE YOU)

nCHUl FUHT 1 VfHtfU i'i XT. mmAftJ&SK P8V».C:

SWEET DREAMS

eErOhCt . 1' LOLUMaiAi

WASTED

GUCCI MANE (EAT PUQ IMIMV.'^O ICCV/WAFIKEn BROS i

ONLY YOU CAN LOVE ME THIS WAY

HCIIXUI4HAIJ ' 'jil.h

PAPARAZZI

lADYGAGA u •:iWiNE,.CHEHHm(L1tmRSC0n |

BAD ROMANCE

UOY(y.l.A ■■■■[.■■.■ -I!' :i:-,T -: -^v IffELWIEBXOPt)

GOOD GIRLS GO BAD

WHATCHA SAY

JASON DtPULO ■■ "UGHIS-WAHNEH BROS )

CONSIDER ME GONE

REU i: Mi.; .'.Mii^'i 1

HISTORY IN THE MAKING

OARIUS RUCKtfl ■■ r-i r- li ii ,

YOU BELONG WITH ME

TAYLOH SWIFT i l, 'Ml HiSt.'UKIVEnSAL HEPUBLH;

TIK TDK

NEtHA <KAS7 MONEv.RCA RM6)

60 '1

WHITE LIAR

M R4NDA lAMHtIt . f 0.. IJM8U (NAS"ViLl()|

□ OWN

JAY SUN FEAT UL WAYKE iCASH FJOFCYUW^tSAL FVPUBUCl

BONFIRE

CKAIU MORGAN iBFtAj

WELCOME TO THE FUTURE

BRAD PAISIEV ■!:: ■'■ liASHVlLLEl

ALREADY GONE

AELIY CLARKSOtI ' - l.i PIJI,i

TOES

ZAC BBOWN BAMO L'*JMt fiRCWSAILAMICWiGEH PCWf,

THE TRUTH

JUSONAIOEAN -■.ii-trj HOrt'i

FOREVER

DHAKF i . . - AMLIHtlf^TEBSCOPtl

EVACUATE THE DANCEFLOOR

CASCADA .■ii'l-f-iri .

IF YOU ONLY KNEW

iKiNEOOWN 1

BABY BY ME

SPOTLIGHT

GRITNtT SPEARS . • I 1.

50 CENIFtAI hE-ra . .M-. I. ■ M !■ i!

GUCCI MANE f EAT LSHE" ■ 'i. i ' ■ ■ ■ '.'.'ARWER aROb )

USE SOMEBODY

AlHCSOf LEOFt ^' ■ H'.M

MONEY TO BLOW

BMMUl FtAT UL WAYW t DMU . <-

ALL 1 ASK FOR ANYMORE

TRACE AOCIMS . : 1 i . . r..'. ..rC,i. .1 1

SEXY CHICK

DAVID GUETTA FEAT ANOn GUM Af.TRAIWtRKS CAI>ITDI i

ONE TIME

JUSTIN IIEBER H^^LASD IDJUl.:.

TIE ME DOWN

NEW eOTI FEAT RAY J 'SHOT tY,i APillJliA"WARNEfl BROS i

PARTY IN THE U.S.A.

MIIEY CYRUS ■ . III!

1 M ALIVE

KENNY r.HEStlEY Wm DAVE MATTHEWS <BNAi

SAY AAH

THEY SONCZ ISONG eOtHCATLANIICI

RUN THIS TOWN

JAY Z RIHAFJNA & HAMYE WEST (ROC NATIONI

BAD HABITS

MAXWflL ii A'KlAi

TWANG

GEORGE STRAIT iMC* NASMVILlt)

REPLAY

lYAZ "I 1 . MONtVi'BELWiA MEIOFH&'RlPRIStF

OBSESSED

MARIAH CAH1Y .1.1 AtJl'MDJULii

SMILE

UNCLE KRACRER >KP DOG ATl ANTIC)

FIREFLIES

DlFaCITY : MVEFISAL REPU61IC

HOTEL ROOM SERVICE

HTBULL iMfl .-r;S I'lJin GROUNOS. J RMGJ

EIGHT SECOND RIDE

JAKE DWtH MSKVtLLE)

MEET ME HALFWAY

THE BLACK EYED Pf AS iPlTERSCOPE i

RUSSIAN ROULETTE

fllHANNA I'lR^ ntl \W 'nJM<i'F

AMERICAN RIDE

TOBY KEITH Ili-O'.V DOG NASHVILLE)

1 GOTTA FEELING

THE BLACK EYED PEAS iMERSCOPEl

1 WANNA MAKE YOU CLOSE YOUR EYES

DltBKSBEHILEV i ■'■ NA'-HVIl , Fl

DOESNT MEAN ANYTHING

ALICIA AEYS i' ■

FALLIN' FOR YOU

COLBIE CAILLAT ' . IM n-rilFLICl

DO YOU REMEMBER

Mr StAH FEAI JfM PMA 4 1 n JON 0O4 UOtOUAERSM. REPia£)

HAVEN T MET YOU YET
MICHAEL BUflLf "t^'H.iEi

NEED YOU NOW

LADY ANTEBEILIIU ■ vULEi

RED LIGHT

DAVID NAIL il.' l'i -v . i ;

LOVE DRUNK

BOYS LIKE GIRLS :: [JLUUBIA)

?■!

FIFTEEN

TAYLOHSWIFI liinFjafHPK

GOD IN ME

MARY MARY FEAT KIERHA SHEARD Vv gLGCK.'CaLUMaiA |

WHY

RASCAL FLATTS .V^iil. !.IHE£T;.

COWBOY CASANOVA

CARRIE UNDERWDOD i l' .-.-r I.'- '. = -.H',ll I 1

CETT\N YOU HOME (THE BLACK DRESS SONG)

CHRIS VOUHG 'f'-'iHV ILi,

- 1

CLOSE TO YOU

BEBI A CECE WIHANI iG&C MALACOi

PAPERS

USHER .LGi

HARD

RIHANNA FEAT JEEZV i^jftP. DEF JAMJDJMGj

68 IS

SHE WOLF

SHAKLHA F^oriY WDSIC LATIK'EPICl

1 INVENTED SEX

TREY SOHGZ FLAT DRAKE iSUFJG BOOK'AILAFfllCI

GANGSTA LUV

SNOOP OOGC FEAT TtC-OTUM >DOGGVSni£imORnVOHTai

SUCCESSFUL

DRAu no TTcr SONS iMite vaowftofimes/ti uohmhi

BREAK UP

MARIO FEAT GUCCI MAFFE « BEJtll EUUQinT iJ.RAFGl

REGRET

lHOYAfEAl lUDACHIS JPirOl)

SOMEDAY

ROB THOMAS iFMBLEM'ATlAfinO

DO 1

LUKE HHYAN i . -sfll'jL IMMIVl.Lt

SOUTHERN VOICE

TiM Mi-.;;iM*' 1

(1 3

1 JUST CALL YOU MINE
URTIHA MCBMOe |RCA NA&KVILLt)

■1

*"*

3T DIGITAL SONGS

TITLE

iRIKT ilWPRlriT ,' PRtlMOTIOH LABELI

Kl FIREFLIES

BCa'J**' Ciff ■ iiii.'tHSAL RtHJBUCl

»|

TITLE

ARTIST IIMPRIRI < PR0M0TI04F LABEL]

Sg
ii

TITLE

ARTIST .lUPRIMT PROMOTIOH LABEL)

e
a

BABY BY ME

SB CIHT FFAI FJF YCl ' ■ .iMI RMAIILWlIBSEMEtj

LOVE ME

JUSTIN Bif Bf tl . .■'in IDJMG.

, NEED you NOW

IAD> at.ItBfLLUM ,(",;,f|-nL r(flSHVllLl)

•

00 YOU REMEMBER

J(F San FEAT SEAM RU A UL JOB :>:JI U0«Y1BHSfcflraj;i

ALL THE RIGHT MOVES

ONEREPUBLIC : :j.tv,iNltHSCOI'( »

REPLAY

ITU ■ 1 \1i;'ifV'«flUGftHHC.HrS.'RfPFllSfl

EVACUATE THE DANCE FLOOR

CASCADA 'Ri'MMiF.^,

DROP IT LOW

E!^ XM FIT »flS Mm >WM> WSKOt t^rF|jlMJlMT[^:F<>

EMPIRE STATE OF MIND

JAt-f . *11CIA lETS -.

TOES

UC BHNM BJIND ilKM GWimATlWTICWGER FCIUG

ONE LESS LONELY GIRL

JULTIN BIEBER .rVIlU'lOJMQl

BAD ROMANCE

lADTGAMibr-itAM.r-twmhUkh'^-fltiaKTFtSCCKi

I'M ALIVE

KEFFKY CHESNEY WITH DAUT MiLTTMEWS iBHAl

■

BOOM BOOM POW

TrtE BLACK EVEQ PEAS ' .'. i L 1 AM INIEHSCOPEl

. TIKTOK

" ■£«« iKASZ MONEy.RCA'BMGl

HEY SOUL SISTER

TRAIN .■, -1 ■

. FOR YOUR ENTERTAINMENT

ADAM LAMBERT . i ' ,

E 3

1 RUN TO YOU

LADY ANTEBELLUM iCAPIIOL NASHVILLEl

•

BIG GREEN TRACTOR

JASOH ALDEAN .H'>tl4{lUWl

•

PARTY IN THE U.S.A.

MIL£r ZtmS -OLLVViOODl

GOOD LIFE

ONEREPUBIIC M-iLLEY'lRItRSCOPEl

SHE WOLF

SHAKIRA 'ir,' Mil .ir lATlN.EPICl

•

WHATCHA SAY

JASOH DERUlO .I'i . i.: >iL idH 1 S 'rtAflNtR HHO^ t

WHITE LIAR

FAIFIANDA LAFABERT i^ULUUBIA INASHVILLEU

TIE ME DOWN

NtW BOYI FEAT (Wf J ,nHOnV.'AS«UIM'WAmER mtj |

RUSSIAN ROULETTE

HIMUHHH ■■ f;-' I'hi JAM IDJMGj

TILL 1 COLLAPSE

EMINIM FEAT NATS DOGC frnfiAnEflAtAlHIFmRXOPf 1

WHO SAYS

JOHN MAYER i :. l AIBIAi

)

SEXY BITCH

DAUIO GUmi FEAT AKOH iGUU ASTRAUWRKSIlAnTa.l

FUNHOUSE

PINK .1 ■■■ M:.t _G

POKER FACE

lAOY GAGA r. l-J:-.',t l'Jt*flH;.tOtRf»TR£EKIHti>';ff? :■

DOWN

M SfW U. WArhf It ^JOtY.IJMRSAl RfPUBlCl

FAVORITE GIRL

JUSTFN BIEBEH >i':l All"' iD.'MG

21 GUNS

GREEN DAY iHtFai:;f ,

•

)

. MEET ME HALFWAY

1HE BLACK ETtD PEAS iriltKSCOt'tl

HAPPY

LEONA LEWIS ' i'-'.

SMILE

UNCU KRACiaR ITDP DaQ ATLAMICi

)

COWBOY CASANOVA

MONEY TO BLOW

GIVE IT UP TO ME

CARHIF IJNDEHWDOD M" i-.IST* KftSMIilUE]

nHDHU FUI LL VFATU 1 DRUl ' J.7I tOCVmiPSAL AIOTCM. i

SHAKIRA FEAT Ul WAYNE a<>K: I

DEFYING GRAVITY

-Mt :^h: .-. t ,iiW}fiI iTJIMSl'^fJ TtmiMUi

USE SOMEBODY

KINGS OF LEOK ■

■

, UNDERTOW

TIFABAiJIKD FEAT H* FHAY4 ESTHIBO lLY l;L:Y YirtKiJj^^i

PAPARAZZI

FIFTEEN

, TENNESSEE LINE

rAIICHTRY . 1- " ■ - M ;

1 GOTTA FEELING

THE BlACIl EfED fEAS iMtHSCOf'ti

TWO IS BETTER THAN ONE

BOYS LIKE GIRLS FEAT TAYLOR SWIFT tCOLUIllRIA

GOOD GIRLS GO BAD

:»»im«*^jULHMHierLf. -■ -rL-.EL::i*v*(>i:\Mn:«=

■

)

irj

ONE TIME

JUSIlN BIIHffl ilf.l avn.mjUGi

ALRIGHT

DARFUS RUCKER iCAPIIOL NASHVILLEl

HAVENT MET YOU YET

MICHAEL BUete --tl--,-

1 CAN TRANSFORM VA

CHRIS BROWN FUT IM. WATW » SWIZZ UKTZ iJvt JLGi

OBSESSED

MARIAH CAREY .I^^LANET'IOJFAG)

IMMA STAR (EVERYWHERE WE ARE)

JEREMIH '.'I'"- "■"II I,. i."i if,M WtJf,;

RUN THIS TOWN

JAV-Z. RIHAHNA t KANTE WfST iRriC NAriON)

•

FALLING FOR YOU

COABIE CAILLAT .lIMWEflSAL REPUflilC;

SOUTHERN VOICE
TIHMCGRAW

FOREVER

OKAKf 1 ■

SAY HEY (1 LOVE YOU)

IKhlEL FRNm A SFfNMAD DX ax MAKW1Y,lMCRS^ KETULF:i

HOTEL ROOM SERVICE

niBULi M ■ ■ . iiun^v.) me.)

)

YOU BELONG WITH ME

lATUlll SWlt I . ■ ' ■ ■ 'i

UPRISING

lAUSE :i:li 1.' j ftARFJLR BROS I

CONSIDER ME GONE

HfSA I""' i ■ : K .i. 1.- ■ 1

SWEET DREAMS

BEVOMCE ■' ■ ■ ■■ -.OLUUbt/ii

•

WHATEVER YOU LIKE

ANYA FKARINA r Hrj.-' SHOP. ATLAN TIC'RRPT

WE WERENT BORN TO FOLLOW

liOh JOVI ". . : -MGl

ALREADY GONE

HELLT CLARKSQN 1 1 S Hi. RfJI^-

JUMP THEN FALL

TAYLOR STFOFT i-IG FAACHINE)

, KEEP YOU

SUGARLAND i'.' ' M.IL.L

)

BODY LANGUAGE

JESSE MCCflRTItEV FEAT. T-PAIN il*rjLLVA'DQ:}|

LOVE DRUNK

BOYS LIKE GIRLS H.ULUMBIA

•

, WELCOME TO THE FUTURE
BRAD PAISLEY T tt.l, LL/

a for week of NOVEMBER 28. 2009 i For chart reprints call 646.654.4633

for complete chart data

I 1

ALBUM CHARTS

Sahrs data compiled from a comprehesive pool of U.S. music
merchants by Nielsen SoundScan. Sal&s data for RftB/hip-t>op
retail charts is compiled by Ntelsen SoundScan from a national
subset of core stores that specialize in those genres.
0 Albums with the greatest sales gains this week.

Where included, this award ir>dicates the title
with the chart's iargesi unit increase.

Whore irKiuded. tNs award indicates the tKte with
the chart's biggest percentage growth.

Indicates album entered top TOO of Ttie Billboard 200
and has boon removed from Heatseekers chart.

PRICING/CONFIGURATION/AVAILABiLITY
CCVCassette prices are sumested Itst or equfvalent prices, which
ar« projected from whoiesaie prices, fi: alter price indicates aBxjm
onty available on DualOisc. CO/DVD after price irKfk:ates CD/DVD
combo only available. D DualOisc availabie- CD/DVD combo
available. ' tndlcatos vinyl LP rt avallaUo. Pridng and vinyl LP avaH-
ability are not included on ali cfwts. EX after catah>g number indi-
cates ttUe is exckjsive to one accourrt or has limited distribution.

SONG CHARTS

See legends on respective chart pages for the Billboard Mot 100
and Hot RAB/Hlp-Hop Songs.

RADIO AIRPLAY CHARTS

Hot too Airplay. Rock Songs, Hot Country Songs, Hot Rap
Songs, Christian Songs, Hot i^tin Songs and Latin Airplay charts
are comptled from a natiortat sampte of data supplied by Nielsen
Broadcast Data Systems. Charts are ranked by number of gross
Impressiorvs, computed by cross -referertcing euct times of air-
play with Arbltron listener data. Mainstream Top 40, Adutt
Contemporary, Adult Top 40. Alternative, Triple A. Active Rock,
Heritage Rock. Mainstream R&B/Hip-Hop. Rtiythmic, Adult RAB.
Hot Christian AC Songs, Hot Gospel Songs. Hot OarKe Airplay,
and Smooth Jazz Songs are ranked by total detections.
^ Sor>gs showirtg an increase in audierKe (or detections)
over the previous week, regardless of chart moverTWnt.

i Where included, this award ir>dicales tr>e titte
with the chart's largest airplay increase.

RECURRENT RULES

Sor>gs are removed from the Billboard Hot 100 and Hot 100
Airplay charts simultaneously after 20 weeks on the Billboard
Hot 100 and if ranking beiow f4o. SO. Songs are removed from
Hot RAB/Hip-Hop Songs after 20 weeks If ranking below No,
50. Songs are removed from Hot Country Songs after 20 weeks
If rankir>g below No. 10 In detections or audierKe. provided that
they are not still gaining enough audience points to bullet or if
tr>ey rank below No. 10 and post a third consecutive week of
audience decline, regardless of total chart weeks. Songs are
removed from Mainstream Top 40, Rock Songs. Alternative,
Active Rock, Mainstream RftB/Hip-Hop, Rhythmic, Hot Latin
Sor>gs and Latin Airplay charts after 20 weeks If ranking beiow
No. 20. Descending songs are removed from Adult
Contemporary and Adult Top 40 after 20 weeks if ranking
below No. 15. after 26 weeks if ranking below No. H), or after 52
weeks if ranking below No. 5. Descending songs are removed
from tfte Triple A. Heritage Rock. Adult RAB. Christian Songs.
Hot Christian AC Sor>gs, Christian CHR, Hot Gospol Songs, Hot
DarKe Airplay artd Srr>ooth Jazz Songs charts after 20 weeks
Br>d if rankir>g below f4o. 15.

CONFIGURATIONS

• CD Single available. 9 Digital Download available. <S DVD
single available. O Vinyl Maxi-Slngie availabie. O Vinyl single
available. O CD Maxl-Slngle available. Configurations are not
included on all singles charts.

HOT DANCE CLUB SONGS

Compiled from a national sample of nports from cUb OJt.

0 Titles with the greatest ciub piay increase over the prevkxjs week.

IJiI'ljj TTiis amrd Indicates tfte tWe, curorcly betow the top 20 arKl on
U3M the chart the week before, with the largest increase In polr«$.

AWARD CERT. LEVELS

ALBUM CHARTS

9 Recording lr>du$try Assri Of America (RIAA) certification for
net tfiipment of 500,000 albunn (Gold). ■ RIAA certification for
net shipment of 1 million units (Platinum). ^ RIAA certification
for net shipment of 10 million units (Diamond). Nurrwrai wtthln
Plat^um or Diamond symbol ir>dicates album's rrtulti-platirHjm
level. For boxed sets, and double albums with a running tlrrw ol
\00 minutes or more, tfw RIAA multiplies sNpments by the num-
ber of discs and/or tapes. Certification for r>et shiprrtents of
l(X},0(» ur^ts (Oro). Certification of 2OO.O0O units (Ptatino).
t Certtflcatlon of 400,(X>0 units (Mulb-PlatirM).

SINGLES CHARTS

• RIAA certificatkxi for 5O0.0OC pakJ downloads (GokJ).

■ RIAA certificatkxt for 1 milk>n paid dowrOoads (Ptatinian).
Numeral within platkium symbol IryJicatas scrag's munipUtinum level
( ; RIAA certificatkxi for net shipment ol 500XKX) singles (Gold).

MUSIC VIDEO SALES CHARTS

• RIAA f»o4cl cwtmcatlon ror nal srtlpmvnl o( 2S,000 untie tor

video singtes. ' RIAA gold certificBtion for rwt shipment of
5O,00O units for shortform or longform videos. ■ RIAA platinum
certification for r>et shiprrtent of S0,0O0 units for video singles.
[ J RIAA platinum certihcatlon for sales of lOO.OOO unlU for
shortform or longform videos. Numeral within platinum symbol
indicates sor>g's mulliplatinum level.

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA gold certmcatton for net ihlpment of 50,000 ixilts or SI mil-
lion in sales at suggested retail price. ■ RIAA plaUnum certification
tor sales of 100,(X)0 units or $2 millkxi m sales at suggested retail
price. IRMA gold certification for a minimum sale of 125,000 units
or a dollar vokjme of tg miik>n at retaH for tt>eatrlcalfy released pro-
grams; or of at least 25.000 units and ST million alt suggested retail
for nort-theiatrical tides. IF7MA ptatlnum certification for a minarun
sale of 2S0.<XX) units or a doUar vokJme of Ste milion at retail for
ttieatrlcaJfy released programs, and of at least 50,000 units ar>d %2
milbon at suggested retail for norvtheatrical titles.

Cci

MOWTOREOIT C0W1LL.

niclstn IV.S'.'^V!

• BOS SoundSi

f ACTIVE ROCK

i—rn

IIILC

ARTIST ilMPRtNT .' PROMOTION LABEL]

Kl WHATCHA SAY

WtSM itsm DCRULO iBILUGA HCIGHTS/WARNER BROS )

1 12

PAPARAZZI

LADlllUtA :.' ■,: MlNLIVLCHERHrTKlLINTlftSCOft

i 15

PARTY IN THE U.S.A.

MILIT CTflUS |HULL>rW00Ol

3 17

DOWN

JAY SUN FtAI Ift WKfK <CAS1 MDNEYUNrvf RSAl. RmjHLIC

,;_6 17

SWEET DREAMS

BfYONCE lUUiilC WORLD/COLUMBIA)

6 7

BH1T«T SPMR8 MIVI JlGi

a 10

FIREFLIES

OWt CUT .;,iN)VEti^.Al HEPliBUCl

7 13

ALREADY GONE

MUY CUFISOtI !15 aCA.HUGI

11 9

REPLAY

lYAZ ilF^t 1:. M. Ni ■ BELlfGA HEHJHTS RtPWSE)

10 9

MEET ME HALFWAY

THE BLACK EVfO PEAS ilNtERSCOPEl

9 23

YOU BELONG WITH ME

TATLDR SWIFT .HIG UJLCHINF'LiNIVEnSAl REPUBUC)

H 21

USE SOMEBODY
KINGS Of LEON R:A RUG)

.17 a

SEXY CHICK

DAWID OUtnA FEAT AMM (GUM. ASIFlALMHftS. CAPlI Ul

15 16

ONE TIME

JUSTIN BHBCR . i^lANO IUjMU|

■

14 24

1 GOTTA FEELING

THE BLACK EYED PEAS iltlltRSCOPE)

13 12

RUN THIS TOWN

JAY Z. RIHANNA A KANTE WEST (flOC NATION)

M 4

BAD ROMANCE

LADY GAGA i.".TfNf AVILINLKON; Wt'CKRRVTHEE WTlRSCllfT

19 12

EVACUATE THE DANCEFLOOR

CASCAOA ii'.[ieiHi%M

23 5

I1:|=T;1JMI TIK TOK

BiMiS KESHA iHASt IIONEV/RCA;nU6|

18 12

FALLIN- FOR YOU

tOLBIE tAILLAI '.r.) M I'UBUC)

■« 4

RUSSIAN ROULETTE

niHANNA : ■( .iM UUMljl

25 4

EMPIRE STATE OF MIND

JAY I • AllCU KEYS iROC NATION)

16 19

LOVE DRUNK

BOYS LIKE GIRLS iCOIuUBlAi

22 9

FUNHOUSE

PINK ,1 if'-Zl AQ)

24 6

BODY LANGUAGE

JESSE MCCARTNEY EUT I PAtN |l<nLlVA'nO[>i

26 6

IF YOU ONLY KNEW

SHIHEDOWN iM.^rriLi

28 3

TWO IS BETTER THAN ONE

BOYS HIE (ilKlS FEAT lAYlOfl SWIFT ICOIUUBIA)

27 16

OBSESSED

MAHIAH CAREY <iM >'<'.:> |[i

30 3

GIVE IT UP TO ME

SHAKm* FEAT III WAYNE f '

. ao

20 18

HOTEL ROOM SERVICE

PIIBUU . i:M,R nNriS.J.'RMe)

5©"

33 3

FIFTEEN

TAYLOR SWIFT -. MACHINE UMtVERSAL REPUBllCl
NEVER GONNA BE ALONE

NICKEIBACK if ii'.. l'liriSfH RflCl

31 3

SOS (LET THE MUSIC PLAY)

JOnOIN SfAHAS I'l II .,.

37 2

HEAVEN CAN WAIT

WI tHE KINGS >' 1

DO YOU REMEMBER

38 7

OOLLHOUSE

PRISCIllA niKi* ■ r.:'lTOtl

39 4

HOW YOU LOVE ME NOW

HEY MONDAY 1 IK T >\< nANCt 'COIUMBIAI

; as

34 IS

SAY HEY (1 LOVE YOU)

MfMafMNn 1 mUNAD ilUWBUO WJU^ANII 'UtIKIHM, RlPUUlt..

40 2

LIVE LIKE WE'RE DYING

KRIS ALtiH . I't 1. G|

FOREVER

DM m lOTMn.tA MM ( na wA> miatm ^vruutrntmrni

iason D^Rulo aumds 2-1 on MmtiMM Top 40 wttft "Wtiatdia Say."
Tht song's (oroiutk>n marks just th« seventh w«t at Ko. 1 on the
chart fof a sok) mate tUs yev, tbe towel sum sirHe 2000, when no
solo mate artists occupM the pMdwuse. Hale soloKts also tailed to
reach the summit in 1992, 1993, 1996 and 1997.

On Tr^ A (vlewabte at biHtraartl. biz/charts), Shcrvl Oow's 1994
debut album. "Tuesday HigUl Husk Club." yields a new chart entry, as
"Killer Lite" bowsal No. JO.

Ihe album was rereleased Nov. 17 along with a second disc of B-
sides, rarities and out-
lakes and a DVD teatur-
Irtg the album's videos.
The package also
contains a newly
produced documentary.

"Klilef We" b Crow's
19th Triple A-charted
title, the most among
femaJe arlists; Irxy
Chapman and Sarah
HcLachlan rank second
with nine entries apiece.

m
wL

nil

1 -.^

ARTIST iiP-cttN? ,' PROHOTlOW LASClt
Kill YOU BELONG WITH ME

BI^^M lAYUW SWIFT lKJ(> MACHINE UNIVIRSAL If KftUCl

[mV^ FALLIN' FOR YOU

nfiTlilTi^l COI.Ut UILIAT lUHIVEREAi fiEPUBlIC)

HER DIAMONDS

ROB THOMAS lIMBLEU ATLANTtCl

HAVEN'T MET YOU YET

COME ON GET HIGHEH

YOU FOUND ME

THE FFIAT lil-'IC. i

THE CLIMB

MILEY CTfitfS iWAlT DISK[V HOLlYA'DOOl

PLEASE DON'T LEAVE ME

NO SURPRISE

DAl>GM7flY ■ I 11 - 1 r.' ,

1 V^ANT TO KNOW WHAT LOVE IS

HARIAH CARi V '1 1 1. UUGl

■■r

CHANCES

FIVE FOB FICHTIN6 i*lS'«n£,'CCLUMBI*

KISS A GIRL

USE SOMEBODY

CLOSER TO LOVE

MAT KlAFtNE T i I'l -'i i' I i 1 1 . llMiii A^

15
17

15
6

BEAUTIFUL WORLD (WE'RE ALL HERE)

JIM SRJCKMM i ADUt CPKISSirr 1 sows HSH. 'BR It", MOUSE tllfSt I

ALREADY GONE

KELLY CLAfli^SOh - i HUGl

WE WEREN T BORN TO FOLLOW

BOM JOVI ■ 'ii ' ■' 1 ; MiJ 1

BATTLEFIELD

THIS IS IT

MICHUL JACXSDH FEAT THE JACKSORS U. : iP>C i

WHEN IT COMES TO LOVE

FOnEIGNER AHTIC RHlNOl

THEN

BBAD PAISLEY lARISH SJ^HVILLl RMG)

CHASING PIRATES
NOHAH JONES 1 1 . L . ' i . I

SAY HEY (1 LOVE YOU)
MowanwNnimwMAD =oj au. wm-uMRSAi neuLC)

1 GOTTA FEELING

THE BUCK ETED PEAS lHJIERSCOPEt

SMILE

UHCLE KHAUEn <rOP DOG'ATLANTICl

saSS
iU US

TITLE

ARTIST rlUPRIIII PROMOTION IA8EL)

KM USE SOMEBODY

ALREADY GONE

KEIU CLARKSON ' ^ - A "MGj

FALLIN' FOR YOU

COIBIE CAJLIAI ■.r.lf. ;AL REPUBUC)

YOU BELONG WITH ME

TAYLOR SWIFT liiiL. VIAtMlflE .NIVERSAL REPUBLIC)

SMILE

IJHCLE IRACHEfl iTIlP DO,; AT. ilHiZi

1 GOTTA FEELING

THE BIACA ETED PUB IMEfiSCQPEl

SOMEDAY

ROB THOMAS EMBLEM. AILAHIIC)

SAY HEY (1 LOVE YOU)

MCHUl FWMI) A VUMIfi iBIX: i>»: iVUIMri TIWYTT^WIWIC i

NO SURPRISE

DAUGHTBT , fll.K,)

nilHiVHI FIREFLIES

liliin^lH OWL CUT ^UfilVtflSAL RIPUSLK)

WE WEREN T BORN TO FOLLOW

BON JOVI iM l-.i ■ ■ .'.li'i

HEY SOUL SISTER

TRAIN 1 1 .1'1,'ii

PARTY IN THE U.S.A.

MILET CTRUS H' .,</.l :D)

NEVER GONNA BE ALONE

HICRELBACK I, l.'l'. H RRPt

CHANCES

FIVE FOR FIOHTINS i AA'ARE .COLUMBIA)

MAYBE

NGnD MCHAILKM lUUm .~4'G>KNA1 SKINU..lMVt RSAl WOTIMtFi

PAPARAZZI

LAOT GAGA i^iniAMM/KimLIVt.€KERRVT1l£lTNTERSCfll>E)

HALFWAY GONE

LIFEHOUSE ^iiLFFEN mTEHSCOPt)

WHO SAYS

iOHH MAYER Cl'llUMBlA)

LIVE LIKE WE'RE DYING

KfltSAALEH|l9 1 VF JlGi

COME ON

GREEN RfVEB ORDINANCE IVIBGIN'CAPITOLI

BREAKEVEN

THE SCHIPI -1 .r ■. ;■ IPICl

IF YOU ONLY KNEW

SHINEOOWN .'.11 .'.'il

ALL THE RIGHT MOVES

ONEHEPUBIIC iMC: LL<' INIER5C0PE)

HAVEN'T MET YOU YET
MKHAILBMLE 1141 REPRISEi

ARTIST lIMl^INT .' PROMOTION lABELI

Kll WILL NOT BOW 1

Jlffijj »i«tAllllHl KMAMIN IHOILYWOOO) |

WHEELS

FOD FtGHIERS ifir'SWHl RCA RMfn

BREAK

IKKEE DAYS GRACE i HV^

CHECK MY BRAIN

ALICE IN CHAINS i . iii. '\ l APItOl)

lai

UPRISING

MUSE i>-i II '.■ 1 /.--.ir.iH RftOS )

IF YDURE WONOEfUNG IF 1 WAMT VQU TD| 1 WMfT YOU TO
WIEIER iOGC.INT£RSCaP£|

JARS

CHEVEllt lEPIC.

SAVIOR

FUSE AGAIMST nGCINTERSCOPfk

THE FIXER

PEARL JAM iM ' ','h ['.'ivc! NCHi

YOU'RE GOING DOWN

SICK PUPPIES il'.f.*-' ', F. 1 ■< :AP(IOLi

KINGS AND QUEENS

MSECOXOS lOHMflS i lM\1l.JFIIAL,'VlfiGIN.'CAPlI0L|

IF YOU ONLY KNEW

SHIHEOOWmtAIlAhTICI

■1-

NEW DIVIDE

LINKm PARK ^MACHINE SHOP WARNER DADS |

USE SOMEBODY

KINGS OF LEON ihl.A RMC.i

OVERCOME

CflEED i.'.iND UP

PANIC SWITCH

SILVERSUN FICKUPS :K.:.LEftblRO|

1901

PHOEHIX iLOVsulf GLA&SNOIEl

MEET ME ON THE EQUINOX

DEATH CAt fOn CUTIf fCHOP SHOP; ATLANTIC I

MEDICATE

Aft i!>(.C IMER&COPtI

NEW FANG

THEM CBOOKEO UVITURES i irilERSCOPEl

BACK AGAINST THE WALL

CAGE THE ELEPHAKT iDliF- JtVE.JLGj

SNUFF

SlIPKMOI iHCiDHUNNERRRPi

JUST BREATHE

PEARL JAM jUOttKEYWTtLNCH)

AGAIN

FLYLEAF l»SF^. OCIONE.'WTERSCOPEl

EAST JESUS NOWHERE

OflEENOAT iKL'^llSb)

£>

SPACESHIP

PUDDLE OF HUDD (FLAWLESS. GEFEEfUNTtRSCOPE)

CRAWL BACK IN

DEAD BY SUHRI&E IWARNEH BROS |

INVINCIBLE

ADEinASWAY iVmm<CAPItQL|

IGNORANCE

PARAMORE illlUfO BY nAMEM<ATLANTtC<RRPI

MONSTER

SULLn .ARnnr'lND.'AIIANTICl

HARD TO SEE

FrVI FINGER DEATH PUNCH (PROSPECT PARKI

BROKEN. BEAT & SCARRED

MflAlLKA lAi-iljt" HM'i'-. 1

FOREVER IN YOUR HANDS

ALL THAT REMAINS -'R':::-. Iltt TlC'RAJOH i,

CRASH

UVO iREi-FllIiEl

FUGITIVE

UAVIO QFtAY tMbXCtH SIREE 1. DOWNIUWN)

SUBSTITUTION
smRtuH noun (damgerbiroi

WHO SAYS

JOHN MATER 'Mil . McflAi

n=JjTiVai SCREAM WITH ME 1

imil.'lJM ■unv^TimEPtf) 1

STORM TO PASS

ATREYU I'fUt^V'rtC'ODl

SLOW POISON

THE enAVERT ii::.LAND.''iDJMG|

FIREFLIES

OWl CITY aUiVFRSAl REPUBllCl

1 LL GO CRAZY IF t DON'T 60 CRAZY TONIGHT

UI IISiAND INIEHSCOi'tl

CRAWL

KPHUOr LEON {(tCAflMCil

HEY, SOUL SISTER

TTUIN lAA'AKt CCllJMilfA^

MAYBE

«CM MCHULKM iLAlIM HtWIBWU StGMALUHhf RSAL UOIOMN)

EYESORE

iAMUS (REALID IlGl

MESS OF ME

SWITCHFOOT (ATLANTICi

WHY 1 AM

DAVE MATTHEWS BAUD |BAUA RAGS/ RCAi' RUG)

JUST SAY YES

SNDWPAIRm, i^YDOaA&MilPtlERSCOPE)

CHASING PIRATES

NOFUWJOMES |8L,;E nfllE'CAPIlOU

Two wngs by fofmal newcomm
EMCh thu lop 10 on Mcmttw
(viewable at btllboard.bWctiarts).
"1901" bv ftmm (Iiaf9« 15-9 m
lis 19th chart wnt mitli lis linl
Greatest Gaioei awaid, «Mit CiK tke Bcftant notclws its second lop
W vWi "hdi AtaM tiM lur (n-m).

TtTLe

WmjT IWPRINT PROWOTIOK lUO.}

m I WILL NOT BOW

m 1

"R'^KINO HUIUIIH iHOLLVWOOOl |

BREAK

THRIf DAVS GRACE 'JIVC JLG)

CHECK MY BRAIN

Alice IN CHAINS .'H 1,111 l*P110LI

YOU RE GOING DOWN

StCA PUPPIES i^LIH VIHiilN CAPIIOLl

INVINCIBLE

ADELIIASWAY i .mC.IN'CAPITDL)

WHEELS

FOOFIGKTEflS jHOSWElL RCA RUGi

IF YOU ONLY KNEW

SHINEOOWN lAIUNIICI

JARS
CHEVEllE itPICl

MONSTER

SKILLEI iS'iPtNI INO AtLANIICI

CRAWL BACK IN

OfAO BT SUNHISE <AARHER BROS )

SPACESHIP

PUDOIE OF HUOO ill AWLES&^GEfFEN/INTERSCOPEl

SNUFF

SLIPANOI IP

'irn'MNNER/BRPl

OVERCOME

CREED.. Mil

HARD TO SEE

FIVE FINGER OEATH PUNCH lI'FiPSPECl PARKI

FOREVER IN YOUR HANDS

AEl FHAI REMAINS ifRUSlHt IIC.RA20« 4 IB)

AGAIN

FITLEAF lASCI iJCTOri: IIIUHSCOPEI

BROKEN. BEAT » SCARRED

METALLICA i.'..'.r.li[ ^ (l^f\

WHISKEY HANGOVER

GODSMACK ii NIVtR^.At REPUBllCl

CHAMPAGNE

CAVO il l -'i; . 1

"©

STORM TO PASS

AIREVU iHu.i ".MICII;.

FOREVER

RED a;.t.bWIUL RED!

CRASH

CAW IREPfllSEi

NEW FANG

IHEM CROOAEDVUITURES iiriURSCOPt 1

YOUTH OF YESTERDAY

IHE VEER UNION UMVIHs'i MOtO'rtM

GREATEST
GAINER

SCREAM WITH ME 1
MUOVHTM lEPICl J

48 I Go to www.billboard.blz for complete chart data

^ HERITAGE ROCK

1 11

TITLE

ARTIST iiMPRiNT fROMOTiON LABEL)
Kl CHECK MY BRAIN
[llQgg Ai ir{ IN CHAINS tVTRGm'CAI'nDL}

OVERCOME

CREEO •Am UP;

BREAK

THREE DAYS 6IUCE (JIVE. JLG)

WHEELS

EOOFIGHIERS ii-:lJ^WtLL RCA,'RUG|

1 WILL NOT BOW

HiirAKiNr. HfMiAMiM itini ivwnnn)

6
8

23
11

WHISKEY HANGOVER

GODSMACK ■ 'i , i ■ ■■ "L :lIC)

IF YOU ONLY KNEW

SMNtDOWN i>;:L'''itKi

BURN IT TO THE GROUND

WCKEIBACK iRCilPRllStirfl'RRPi

■

YOU'RE GOING DOWN

SICK PUPPIES .HMR VlHGlNXAPIIOLl

CHAMPAGNE

CA«0 Fil I'RI .!

NEW DIVIDE

IIHKIN PARK i/h! HIM •iHOPWARNER BflOS 1

WI ll-r

SOUND OF MADNESS

SHINEOOWN lATLANIIC)

1 GET OFF

KALESIORM (AIlANDC)

JARS

CHlVEllE itCICl

SPACESHIP

PUDDIE OF MUDD iFLAMlES& GEMENTNIERSCQPEI

THE FIXER

PEARL JAM iF/LtNHtrWRiNCHI

■

STILL UNBROKEN

LYHYHD SKYHYRO i:'.<|ili ''FH'!: UD.'ROAORUNMI R. Rf

BROKEN. BEAT & SCARRED

MErAllICA 'AiNMH bFI'. ':■ i

20
24

CRAWL BACK IN

DEAD BY SUNRISE //iH',: tift^;S )

NEW FANG

THEM CHOOMED V1H.TURIS lINTERSCOPf )

MONSTER

SAIHEI '.it'in ';t mo AUANHC)

INVINCIBLE

ACIlllTAS WAY , , Kii^'CAMTOL)

ITiiTi'J!!! SEXY little thing

imlm^H CHICUNFOOt <REDI INE i

•4

MODERN DAY DELILAH

IISS IKIS:.!

SNUFF

SLIPKIWT |Rn*nn;i»d»iFR fi.fiP^

9ER 28, 2009 1 CHARTS LEGEND on Pag<

Iscn iiiclscn

itiii :!t!;ni!

BillbMrd

HOT COUNTRY SONGS

2 WEEKS
AGO

TITLE Artist

.I i R . ".DHCrtnitrHi IMPfllNI 4 SUMBfR , PftflMiJtlfIN I ABM

" '■'<im

t£ Mb

1 2i

m NEED YOU NOW

■BflPWORUVlADr ANIteELLUU (D.HAYWOOO.C.KEUEY.H.SCOITJ KEARf

Lady AntebeHum

9 CAP110L HASMVILLE

COWBOY CASANOVA

vH LH' IL U\UtHA[Jl]0 U ELk'UNDn.B jAUiS*

Carrie Undenwood

® 10 anisr,v \iv;;rui Lf

DO 1

Luke Bryan

9 CflPilo. \.isi'|/i|| '

CONSIDER ME GONE

1' 11 fl'lH' WBKIGMI ibdiaUOHDMtiREENI

Reba

O SIAHStHi;tB.VALUflr

TOES Zac Brown Band

■. ,M'm«tt,;m:WJ'W(llflRniEjHOPKWS$AMJjr(S> O HOMt GfiOWK/AlLANnCBIGUER flCtURE

■■

1 1

ll'l'lVtU BONFIRE

^JEIEH I : '. .! UORGA1I1TSOTKIN.K 0EIMEV.CU0AGANM ROGERS)

Craig Mcxgan

e BNA

1 M ALIVE Kenny Chesn«y Willi Dave Mattriews

FIFTEEN

■. 1 •t...--'Aii : 1 iISWIFIi

Taylor Swill

e f.ns ■.•«;«!■■!

1 WANNA MAKE YOU CLOSE YOUR EYES

H !!lJ';tnS iJ fijmtv IB BEAVERS I> BENlLtV.

Dierks Bentley

RED LIGHT

I II il : !i '!i|i,,EtO«.MRElflCE,DMAIKOSRVl

David Nail

® Ml A 'iAs ■ISIL. t

SOUTHERN VOICE

■1 11. i'.'An'MilH(t0(W6lA8.BWPtER0>

Tim McGrairr

@ I nil..

HISTORY IN THE MAKING

iKfflOGEHSCMItlS)

Darius Ruck^r

e CAI-ITOl NAiHi/ll .■

WHITE LIAR

•1 .■. II -1. i:\ .H.'UIRI NHEMBYI

Miranda Latnbcn

9 CDLUUhls

ALL 1 ASK FOR ANYMORE

Trace Adkins

e CAPITOL NASHVlL.s

THE TRUTH

Jason Aldean

5 21

QEII EIGHT SECOND RIDE

UjTijiaj J RITCHEY Ii EhWtN E DURRAHCEl

Jake Owen

O RCA

^ 2D

D3H TWANG

IlillVil:! Q STRAItt SRDWN (J LAUDERDAU.K MAJtVCtJ RfTCICVI

George Strait

9 MCA NASIiVILLE

1 JUST CALL YOU MINE

I.I ^AIES ILACYOMAIPIOSKVI

Martina McBride

ffl H. •.

WHY

II'. : 1 , , A ^HAMH.lN 1! MA'HE Si

Rascal Flalt5

WHY DONT WE JUST DANCE

Josh Turner

9 UCA HASHVIl . 1

THAT S HOW COUNTRY BOYS ROLL

ilSIBINGlON CURRINGfON 0 OAVIDSON B JO«ES>

Billy Currington

HURRY HOME Jason Michael Carroll

'.' ... ■■.Fist G ARIiilf. lU^hVJ i

CRYIN FOR ME (WAYMAN'S SONG)

Toby Kctth

TODAY

Gary Allan

A LITTLE MORE COUNTRY THAN THAT

Easlon Corbin

g « V.i:^

The le«l ungle
ImntlKtiio't
opcmliigsKmil

millkiii immi-
»ons, marUng tlte
group's UEOfld No.
I (see Hot Boi.
I»9e 41) following
"Run to You,"
vltld) topp«t] tti«
lulV ?S (lurl. Ilie
new album Arrives
at retail Jan. 26.

With his third (run
efltrv. and more
Ihan smn yean
after hb chad
debut, tlw Missouri
nativt claitm hh
tirsl Xofi 10 u>ng. He
debuted on the Itst
with "Memphb" in
2002 (peaking at
No. SZ) and reached
No.47witti-'t'in
Atwul to Come
Um" in 7008.

TITLE

■ -'unijCtR <SOSiiWftHtK|

Artist

IWMNT 4 NUMCER / PROUOIIOH lAUV

OUTSIDE MY WINDOW

' ' II'. : ' . lUW.MJHUOSON.GttURFII

Sarah Buxton

L-l-:i

■J'

2tt

BEER ON THE TABLE

■■ ■ , ' ■! ■' ■.• lymsm A ;ACt(i

Josh Thompson

©i:i. '

DIDN T VOU KNOW HOW MUCH 1 LOVED YOU KeNie Picklei

KEEP ON LOVIN YOU

Stwl Magnolia

• BIC MACHINE

■

AMERICAN SATURDAY NIGHT

■ K.: '1 ...u rt*. jjVtLACE)

Brad Paisley

■

HILLBILLY BONE

■i^Ni lAIRD)

Blahe Shellon Featuring Trace Adkins

tt'

BACKWOODS

■ : . -1- -M.iLiN J S STOVER)

Justin Moore

SARA SMILE Jimmy Wayne Featuring Daryl Hall & John Oates

HELL ON THE HEART

■11 MfiHi

Eric Church

3-1

LONG AFTER I M GONE

■ ■■■ .■. • "J in', r/ -(Li-..u« fl Sl'Pa.

Big Kenny

EVERYWHERE 1 GO

./.-I I'tFlEl

GIMMIE THAT GIRL

■ ■I'.'/iOSON.B HAYSUPl

LOVE LIKE CRAZY

ri'. ■! I JAMES)

Lee Bnce
0

3l'

WHISTLIN DIXIE

M : . ^. - -1 II iRMOUSERnTRiaBLEl

Randy Hou

O UMVER -

19 AND CRAZY

Bonishol

?!ffl

. TIL SUMMER COMES AROUND

n i-tl^Fi K i mMt .M rTiWEU-K,URB*r()

K0lttt UrtMn

• CAnrOLMSHVlUE

LOVE LIVES ON

MallaiyHope

THE CALL

1 iROONJCMlPeCUi

Matt Kennon

STUCK

Ash Bowers

• SIOilEVCREfK

■

HOW FAR DO VOU WANNA QO?

.'. ■■■■ V \i MVRICm

Qlorlana

• EH&lEU-WAftNER ftROS .'WAN

THERE IS A GOD

^■■.115,1

toe Ann Womacit

■

HIP TO MY HEART

■ [SRVN PtRHY.a BtAVtRSi

The Band Perry

fiEPUBttt HASF-^nii

CHASIN GIHLS

i !!■ ■■ i ■ . .T-iWS,rHtWitI.SD£ANl

Rodney Atkins

COUNTRY LIVIN'

h'JHij[ iLi J W1UIAMS D GEORGE, tOtttnSi

Wilti.^ms Rilev

SKINNY DIPPIN'

r,' .M- ,v [i„MC*N C lOMI'siHS)

TOP COUNTRY ALBUMS

ARTIST

Ttlle

1 if
1

HQMT 4 NamER / DIStRIBUTING LABEL (PfltCEl

BICARRIE UNDERWOOD „,.„ „„

■H lll.'ARi«tA HASHVILLE 4!n23i'SMN 113 H) ^

1 2 1

TAYLOR SWIFT

Fearless

IH;U.1H.1I LADY ANTEBELLUM

LadyAnlRtMlum

■

TIM MCGRAW

Southern Voice

ZAC BROWN BAND

'J* ^ FourKlation

■

■. :'Ti)l^

DARIUS RUCKER

. : : ■ ;i ya)

Learn To Live

■

MIRANDA LAMBERT

Revolution

JASON ALOEAN

Wide Open

•

SOUNDTRACK

••■,„„. ™"

neti Montana: The Movte

■

SUGARLAND

M'JN I13UBI

Gold And Green

TAYLOR SWIFT

■.' ■ II 1 : (tD«) *

Taylor Swift

UiSin UAMEV JOHNSON
I-148I4:I • ■■■ inar'Winaa

That Lonesome Scxig

•

SUGARLAND

l.lti..Lllil' llll.'..i' ..MGhinMl

Love On The Inside

TOBY KEITH

■ "iiw nnr. N*bnviLLt D?r <1B 1M>

American Ride

KEITH URBAN

1 iMSHVlLtE3irM'(1«M)

Defying Gravity

•

REBA

Keep On Loving You

BROOKb a DUNN

#15 ... And Then Some

LUKE BRYAN

1 .1 1 '.ijWi 118 91)1

Doin' My Thing

BRAD PAISLEY ^

merican SalunJay Nighi

GEORGE STRAIT ^ ^^^^ TWang

•

ALAN JAUr^bUN

Songs ex LxM And Heartadie

VARIOUS ARTlS-re NO«,hBIMalCaAC«t,a««.

KENNY CHESNEY

Greatest Hits II

ROSANNE CASH

The List

CHRIS YOUNG The Man 1 Want To Be

3»

ARTIST Tllle e
. I'fiR mSlBiatniNGUBEllPfllCl. g

""i^^.*!- '''^"^.,1 unsloppable ■

iris NOKiWiiWiacrun/i;

SUGARLAND^^ ^ UVEOnThalnBicle

BILLY CURRINGTON lim, Bil OI Everything

RASCAL FLATTS ^ q,„,^„ ,

'."i^J!'"'.°5?I'^ Justin Moce

COLT FORD Ride Through The Counlrv

"'C,!*':^^, „ Kelli. Picklo,

^^^^P^^IL,i,r....,n,., Natural Forc.

°^"Mi.™fTV.^.i,i,.. FoelThalFlre

HOT

IHOT

HIT

DOLLY PARTON , ,„„ c,™ i

m;.»m™.f*i..9iia)om* Live From London

BIG KENNY ^ ll»OMTl»OI»lta»4nllUFm50(

MARTINA MCBRIDE -nin.

1
I

GLORIANA r-in«,n>
.ii(»mi,siOTowi«m!»i Gloriana

JOE NICHOLS ^^^^^ Old Things N<,»

RANDY HOUSER ^^^^^ Anything Goes

KtNNY CHLSNLY UlCky Old Sun

.11

43
39

JAKE OWEN Easy Does 11

ERIC CHURCH ^ ^^^^ Carolina

TIM MCGRAW Greatest Hits 3

VARIOUS ARTISTS ^ N(»ni«sW«l(MCo«,

BOMSHEL Fight Like A Girl

LOVE AND THEFT WorM WId. Opon

1 .1.1 rm About To Come AI.O

S^.r?"^ 1,1*1,.™,, .1 CounuytsAsaxmryDoas ^

.41

^TOP BLUEGRASS ALBUMS

..1* 55

ARTIST Tllle

IMPRIM & ItliUBEFi OlSIRiBUTiflG LABEL

1 1

d PATTY LOVELESS MoiMaill Soul II

2 39

STEVE MARTIN rnt Ciim Nt* Son^ For Tl» Fiw Sunj Bav

3 10

THE ISAACS llilsixs lainlyAiiMTia<iAC4Ki!laC<Miiii

6 60

OLD CROW MEDICINE SHOW Tennessee Pusner |B|

4 4

SAM BUSH Circles Arounil Me

; 55

STEVE IVEY Ultimate Bluegrass

■1 1.'- 1 :i 5385aMAOACY

OAILEY S VINCENT Snging From 1IK Heart ^

10 9

LOUDON WAINWRKSHT III H^WftiHMsane niaakWcMlU H

•

11 64

=iiiGiWUDeini'rfF»<MM6ne(S l^^UimsianqMlli S

9 9

RICKY SKAGGS Solo SEmgs My Dad Lmed H

SKACCS FAbiUV 901009 ||R

BETWEEN THE BULLETS

CMAs SPUR SPIKES

I®

AVARDS

Overall country album sales are up
^% followinR the 4?rd annual
OHititrv' Music Assn. Awards (ABC-
TV. Nov. 1 1), even considering the
niarkel-inllating arrival of Carrie
Underwood's "Play On" last issue
(IIH.OOO). CMAs-relaled gains account for 21 of the 31
bullets on Top Countr>' Albums, led by Greatest Gainer Lady
Antebellum's "I Run to You" (up 26.<K)<) copies) and |amey
lohnson's "That Lonesome Song." |ohnson's set takes the
percentage- based Pacesetter trophy with a 286% spike. Simi-
lar gains dot 1 lot Digital Songs, where 15 of this issue's 40
bulleled titles are driven by the telecast — Wade Jessen

i for week of NOVEMBER 28, 2009

For ctiarl reprints call 646,654.4633

Go to www.billboarij.biz for complete chart data i 49

TOPR&B/HIP-HOP
ALBUMS

ARTIST

K| MICHAEL JACKSON

1 K

^ 2

JAY-Z

rm BinfPHiNT 3 '=;;■■ ui.- nu ',:'iih','.- j.; .

■

QBE

WALE

ATmnoH otncn JUJoawitnscuH on22S*<iGA

MELANIE FIONA

ti« BKtUEE ■;, Mvl 1.1 ■ ■ II ■ •■■ .

TREY SONGZ

BEBE & CECE WINANS

smi II 'J 1 1 -.i.'.; . .

MAXWELL

ajittsuwniHrawLiw ' l' m.'i m^.i,. •

•

DRAKE

WHITNEY HOUSTON

UOQH li) ri.ij - ■ 1 HMG

THE BLACK EYED PEAS

TNUND ■. ■.■■.:'-'lt»

■i

AMERIE

MARIAH CAREY

vEMoraof MiwpffiHciwca ■ y. i. m.um^

RYAN LESLIE

MARIO

■

K JON

1 GtT AfWJW) ■ 1 ■ : -.".LJ. . ..i.l.'lv

CHRISETTE MICHELE

£PIPH»NI : ■ ■-■ .'.'.lb ■

E3I '

0BEVONCE I

BRIAN MCKNIGHT

Hi ie

EMINEM

LIL BOOSIE

VARIOUS ARTISTS

KID CUDI

TECH N9NE

IOC -'■

I®

3«

■a

35
36

ill

'SI

:«

■n

ANTHONY HAMILTON
KEVON EDMONDS

NEW BOYZ
JACKSON 5

Mtnuit owiiMi amcnoii motoww ini*4»m

JEREMIH

JIMMIH

MACK 10

SOU wHtu i-:io awiEii- 08?MB

LIL WAYNE

MARY MARY V

GHOSTFACE KILLAH
VARIOUS ARTISTS

A-WAX AND GONZOE

JBfCEiSlOhPBnOi ■_ J

JOE

THE RANGERS

Iteel Ht lUhnr" bf ike Badi Eni Pn
nftK n-9 « Ihc RMmk dyrt, |M|
Mr ata LNA" Is MM M
■i »e«BM^mh Mnl. IhtacTi M

rijHtOMHwnwfc.

iiil

TITLE

iHTisT iiMPomi. pnowonoN Lwai
Kl EMPIRE STATE OF MIND

PAPERS

USHEfl . ' ' 1 . I

1 INVENTED SEX

mtl SOnCI ffAI DMKI 1 ^t'i^ BOOK/KTUtimC)

FOREVER

DMH r. r. .--■-[- --IF-MI IliF MfflSCnC

WASTED

fiimuMtniir fuiniuaijUcaiM u.'^rv.ui'MHtRiNBi

MONEY TO BLOW

■OMwnauwimf iDM - 'xi«'iM.tRV4 unwv

REGRET

LtlOTHflM tU«*CHlS .III...,

BABY BY ME

SO cwt ffur Ht-n) ■ ■■ i-.VAiKiNi£fiscnPt i

1 CAN TRANSFORM YA

emus BMWN FUT UL WWM k SIMIZZ KOI 4J(VE/JLG|

,Q UNDER

PVUIUMP CI

lif

BAD HABITS

MA»W[IL M

NUMBER ONE

R KELLT FtAT KEttl HILSDN : j i

BREAK UP

HAKO FEKI 6UCCI MAM A SEAN URRETT ■-■X\^-

—
Hi

PRETTY WINGS

MAXMUl iCOLJMBIi>i

IT KILLS ME

MEIAJBE HOHA ' '■ - ''. = - UOTOWH)

RUN THIS TOWN

SPOTLIGHT

GUCQ MAME FEJR IAMBI ^IVMVi'ASYlUUrWAIQffH BAOS t

1 GET IT IN

r>iuM*w *ijir ii.cci MXM ^'^¥w^itcrtAscwfl(fcSTUi« r.*fTrrij

SUCCESSFUL

Wt-

EVERYTHING. EVERYDAY EVERYWHERE

f«flou;tQrt*i KiH wisONitt.-tm-.^icrtiOt' .'M' ■■

tin

1 LOOK GOOD

P«L«BOV 'I.- . -Hl-i . Vi HJII[«>I

Ht
23

4
6

GANGSTA LUV

SMOPceeeFUTTHf cRLui.. . .[r'T^TiiUPncnnvcum.)
THINKIN ABOUT YOU

MARIO

FRESH

1 Tilt D '. " " ■ " ■|[..WL!lAITEnT|

l1-l!TiVBI

unriliH mumk tan jhi* igwwg JwiEUMia

SAY AAH

iniT SOMGI .0',., .-not ATLVITlCi

GOTTA GET IT

JUUtHH! ■ ■ '■r.ANtlCI

TIE ME DOWN

XfM BDY; rat J iSHOm'ASnUM.WARWft SROS 1

DOESN T MEAN ANYTHING
MICMOTS '.iM> '<Ui,.

■ 1

I M GOOD

CLJPU Fui PNjunai wiuiMn (re upiXolumbia)

I'M GOING [N

;

VIDEO PHONE

WflWCI" 11 wMLDtOl-JMBIA)

RUSSIAN ROULETTE

fllMNNA ' "'

DROP IT LOW

HEADBOARD

Hiii^nr.MNf cwf: ntx puno * RJBipaoGfnrc&inu:ii

SWEAT IT OUT

THE OREAH . . ' KILLAnEF iAU-IDJUfi)

]

SEX THERAPY

ROWNTNICKE. .'-^i "='*il,l)|tf RSCaPt 1

TRY IT OUT

•10 IMK ILMI FEU UMM lOOC) TAP&QEF JUI iOJMr>

LOVE COME DOWN

OlOOT - DHrr MHT «BAO »0V«TEN$COPE)

MEDICINE

PUU RUr.OM WM (BIG GATtS'ATUtNtK;)

WHATCHA SAY

JASOWDI

EMPIRE STATE OF MIND

WniRQC *1AT»IJW|

FOREVER

down"

OAV j£A<|f»I ui wiyii

I 4 16
l» 9

,i.rioKi

PAPARAZZI

lAUTUAOA I - ...L iLF'l'mLIKTIRSCOPt)

SEXY CHICK

[lAVIDGUtlTAIMI AKOH itiOM- ASIRALWtHIIS.'GAfnOl)

■An-

mi 12

MH 1

■Wi

FIM CLilC "JNf I CARRn M'R**Gl

I CAN TRANSFORM YA

KW i »'lO*N ItA- .IL WATMI > IIRHH lUH IJIVL AG>

"REPLAY

.5^

POESN T MEAN ANYTHING

CAN T LIVE WITHOUT YOU

CKUliE Wlisnh . : .'f ',

WHAT IVE SEEN WAITING FOR

BRIAM HCUIGMI I . . . ■ .

CLOSE TO YOU

Bf Bl A CECi WIHAWi WAUCO(

PAPERS

USHffl . •■M: I .'lO-

THIS IS IT

MCRWl lACKSONniT IWIMmW

god in me

IVW

AUnV HAn»FEAT MtBBA TJQ- gWBMIHIW ■tPCKCOHII

ON THE OCEAN

j AINT LEAV1N WITHOUT VO

THROW IT IN THE BAG

BLAME IT ON ME
CMISllttlllCNlU.JK Jt.U..ajU6l

GANGSTA LUV

SNXP CCCC 'tAI tw-onoM iDC0C>SriU«WWrr.OWiai

■1

THE POINT OF IT ALL
MIHOHTWUMTIM .MISTERS WjSJCJWbAQI

TIE ME DOWN

HIWBUIZItilT RA'l L-lli:TtV.ASYLUM.WAflN£n BROS J

VESTEHDAY

TQm lAAIION fUT IMT tOHCt (ArLMllCI

BABY BY ME

•.ycENt fUi HE YD n.-.:i< ni [[iiM«i.i.-,vtlRSCiJ*ti

IMMA STAR (EVERYWHERE WE ARE)

iftifuiM ■' ■ ir I).':;,

RELIGIOUS

B tttLT 1 II .1

ONE TIME

JU-illhtifBtH ■ '.I'lUMG.

COIN' THRU CHANGES

IfDtSI .11. Fris- .l .1 ,FHUf)

OBSESSED

HARIAH CAREY i". -'IT' ll^iMGl

^ <T

DON T STAY

UUM U1B'3H ... .. .1

BE ON YOU

(LD WDAFtA7 HETO i-'i ; Bl:> i'.iXIICl

1 LOOK TO YOU
aXIIMC IIDUIIOM ."iii'ju nvGi

DO YOU REMEMBER

IT KILLS ME

MLURI! FIONA i sMC HSIUEPSai MOI0W\|

PAPERS

THIS TIME

ia<-j! .1. mill II 1 i.liilll iiMII II II 1 mi Ml.

RUSSIAN ROULETTE

RiMAMhA . ■: . -■

STAYING IN LOVE

WHAEl UADIO >' 1 l.'.'l. 1

WASTED

BULLETPROOF

RAHFFM DFVAUdHI. FFAT lUDACJUt . JI'iE ItGl

EVERYTHING. tVEHYOAY. EVERYWHERE
rAK".{wsfw iitryMi.stw "t •.■>' :.F.R'A<:er .nxvtjwii

1 WANT TO KNOW WHAT LOVE IS
MAIFlAHCARfT 1.^1 Artn.n.'MGl

SPOTLIGHT

GUtCl HANI ILAT USHIR ASYLLU AARriCR BRDS 1

31 9
28 4

32 3
I 33 2
I 23 13
|40 2

BKiTNET SI.EAR3

MONEY TO BLOW

SUCCESSFUL

m WtWrFA«»HaH DOTEWW.

30 7
I 3S 4

PARTY IN THE U.S. A

DROP IT LOW

GOOD MORNING

u rTARr.'UNIVERSAl REPUBLIC)

M S

37 10

I M GOING IN

BETWEEN THE BULLETS

BEYONCE'S 'SWEET' SEVENTH NO. 1

Beyonce's seventh No. 1 on the Rhythmic chart. "Sweet Dreams,"
ties 50 Cent. Nelly, T-Pain and Usher for the most Rhythmic No.
I s this decade and Mariah Carey for the most by a woman in the
chart's 17-year histor>'. "Sweet" is her first chart-topper since "Ir-
replaceable" in 2006 and the first from "I Am . . . Sasha Fierce,'
which charted five previous tracks. (The multiformat smash "Sin-
gle Ladies [Put a Ring on Itf peaked at No. 2.)

On Top R&B/Hip-Hop Albums, two newcomers launch their
careers with top five debuts. Washington, D.C., native Wale earns
the Hot Shot Debut at No. 3 with "Attention Deficit" while Cana-
dian Meianie Fiona's first effort. "The Bridge." is No. 4. Chart vets
Wyclef lean, joe and 50 Cent also bow at Nos. 36. 47 and 48, re-
spectively, with early sales. — Ra^had George

7T RAP SONGS

□

1 10
'2 12

trruE

MmiT <1MPRi»I PRUMQtlQN LABCU

BBmiLlllSI EMPIRE STATE OF Ml
EGu ^nEH i ^ *ucu an inoc haii
FOREVER

DRAtS . . . 1 ^-s-tuU'lf.mTRsa

WASTED

nKOiOMtui njnotiuiiAanpM) Mw^iuvWMit

3 17

RUN THIS TOWN

JAT.r HIHANNA I <*«*£ «St .ROC NAriORl

7 «

BABY BY ME

laclHlflA- HID. MKRWAtH-INUnSCW

MONEY TO BLOW

WOWMrtAI 11 KiTHKCnuiMSIIOCmfMMILMlia

THROW IT IN THE BAG

lAMUHa fW TM OMAN OESST SltMHCe iMMX

,«, 1

GANGSTA LUV

SPOTLIGHT

CUCCI KAM FUI USNfl iMIIATi ASVlUWWARNtlt BF

14 7

TIE ME DOWN

mvt aoti nu nn J iSHDTrr,'Asnu«FWANMR M

A?.

SUCCESSFUL

It 9

EVERYTHING. EVERYDAY EVERYWHE
IMOlOUSFUtUKlMllSnii 1 .11

|Q|13 11

1 M GOtNG IN

11 39

BEST 1 EVER HAD

DRAM i.';iiM[MT,m(rvrfisAi.i«Tr
1 LOOK GOOD

CMAlll MY ." 11 ■ . It HAtlERYl

19 17

5 STAR CHICK

roooni.r ■.- . RU&i

HOTEL ROOM SERVICE

19 19

BE ON YOU

HUHIM ItAI HI 10 : . .1 • ..''iUi:\

FRESH

21 12

1 M GOOD

aiPSE FEAT PHARIEiL WIlUAMt I.Ht UP.'COLUMBIA

HOW LOW

lUBACRIS ..r.l i;MOt

BEDROCK

iamm*-i "UCUMyiusiuifYUMKHuaii

SHUT IT DOWN

I'lTi JL. FIAF AKONf-iIF'. JUS PSLO 6RGUMS.'ii1IMI

WE BE STEADY MOBBIN'

L.L mJYIll ( III! iUCL. MAM iFiai ;I^T[0)

GOTTA GET IT
MVUili f - Li .;:

Go to www.billboard.biz for complete chart data

Data for WMk of NOVEMBER 28, 2009 i CHARTS LEGEND on Pag<

Cni

g^HOT R&B/HIP-HOP SONGS

HIH TITLE

Artist WU

HBIlSSH PBODUCCB (SONQWRITFR)

ttJPROIT/PROMQTlOX .ABR

■1

■

-1

)

nl EMPIRE STATE OF MIND Jay-Z + Alicia Keys

PAPERS UshGt

I INVENTED SEX

I '.". . ■ I MCKH<>iEY,TSC*ltS.THEVE«SOW,A GflftHftMl

BAD HABITS

Maxwell

O CQtUMBU

PRETTY WINGS

MaxwoH

9 C01UM6U

Drake Featuring Kanye West. Lil Wayne & Eminem

Gucci Mane Featuring Plies Or OJ Oa Juiceman

i rtft^nJjr.loIJi G Mljav SO ICf V.WARriER BROS

MONEY TO BLOW

Btrdman Featuring Ul Wayne & Drake j^lHj

HMS * SRAH*M.g CARTER.C GHOLSOUt ® CftS>* WHll UrilvEfiS^iL MOIOViN LjMflG gj-jj^B

REGRET LeToya Featuring Ludacris

1^-'.- -i :^--^.KSTEPHEXSOH-JVAm<TIHt.llUCKtliafrtV.t^ft ^mwml B''.:>Ji:.i ® CAPITC,

GOD IN ME Mary Mary Featuring Kierra"KiKt- Sheard !'

.'. ■■'■i .. : ".IPBElL E WMHS-CAMPfltH t ATKiNS-CftMPBELll Q M> SLQCK.CRlUI/ni* j

BABY BY ME

■'ACKSUfi .IH .J JQHES S SMirnj

50 Cent Featuring Ne-Yo

O SHAOvarrTRMftTHIMTrRSCQPt

I CAN TRANSFORM YA ChHs Brown Featuring Ul Wayne & Swizz Beatz

iV.i.V tliAt; iC BflQWHJ BOVQKOrAW J* BERfAl 0 C*RTtfi> Q JIV[,JIG

I BREAK UP Mario Featuring Gucci Mane & Sean Garrett

' :. UWfJ L C0'.7;FGnn iS GAHREJI S.CRAWfORD.R OAVISl Q) "MG

itiiaEE. JR ■tHE«RSQW,rsmtS,N WAim.D COREU!

Trey Songz

NUMBER ONE R. Kelly Featuring Keri Hilson

hLLL"! HiViL'DH KkSMLFGN |H KELLY.H HAMILTON ft MAMILION.K L MILSQM l!)

A MARTIW.H LUTLEJOHH JR .L CAHR.E SHULMtH^

Melani*:
> SflCUNiuERSAL ■ ■

i CIXQii , eEREA. H liErt 1 fRANKUW.T JQHES.K SIEPHEWSOM M COOPEH>

Pleasure P

0 MLVJi

DOESN'T MEAN ANYTHING

■ -i ■ " >■■>■, . BROTHERS. JR I

Alicia Keys

MILLION DOLLAR BILL Whitney Houston

~l HARD Rihanna Featuring Jeezy

I C-SItWART t MASH jTMSH.C A STEWARl.R ftHTV J W JENICWSl SBP Otf JAM iDJMG
CLOSE TO YOU BeBe & CeCe Winans V

GREATEST
GAINER AIRPLAf

■

14
II

:e Winans V ill

.UUCP :M

SPOTLIGHT

FTji n;v Pi Pnn ,q DAVIE ll RAYMOND J JONESi

Gucci Mane Featuring Usher

@ W^:AV iiiVlllM Wia'JF'l SRC'!^

: -EN <M,JACKSO« PAHKAi

MIctiael Jackson Featuring The Jacksons

CAN T LIVE WITHOUT YOU

I I I M.-.yJ^ jK DE IHOMAS.JfAUHrLEROY II SLRUSSELLi

Charlie Wilson

SUCCESSFUL

^HEBiB TNEVEHSOH DCAflTtHI

Drake Featuring Trey Song/ & ta v.'^iyiT

q> YDUN6 MOWTf CAStl tASlit'- 1

Omarlon Featuring Gucci MAn

5 STAR CHICK

AINT LEAVIN WITHOUT YOU

WHAT I VE BEEN WAITING FOR

Brian McKnight

RUN THIS TOWN

' ■ ■ : '. I : . . LARIfR t: WESIE WltSDN R f EfilY A ALAIA5>

Jay-Z. Rihanna & Kanye West

9O0 ^OU SATION

) LOOK GOOD

Chalie Boy

> DIHW m JIvl BAIlEflY

ON THE OCEAN

- ., ■ ■ il . ir. ir.HNSONl

K'Jon

QO uP&UP DEhi TkmE UHTniflSAl REPiifllJC'UMRG

GANGSTA LUV Snoop Dogg Featuring The-Dream

1 'i- ,11 ' NASH.C ft SirWAfiT C C BROAPUS .IR , O D3GLlYSrvi.E pR'ORITY.CAPITPL

LAST CHANCE

^HROi'StllRE W ATI 1

GInuwIr

WARNEii DUOS

EVERYTHING. EVERYDAY, EVERYWHERE Fabolous Featuring Keri Hilson ■nff

□

rhisoltw singer's
first S€t of iM(k-to-
tu<k voits lo the
top five. Prevtous
entry "Pretty
Wings" (No. S)
spent 14 weeks at
Ho.t.

ihe duo earns Uk
highest ranii for a
song thai has spent
S2 weeks OD a (hart

in tfw Mielsen

;iij:iiH,ii.

Kdly 's "Step in the
N^m? ol love," was

' ■■ ■

Buoyed by a gain ol
4.4 militon Itstenei
M^ressloiBlnlier
secMddwtmtk,
Rihanna makes ber
fastest (ltmt> to the
top 20. Meanwhile,
at No. 28. Jaheim
uorei hb speediest
^^:rrin the top 50

I M GOING IN

■ li CARTER.J W jeWMXSl

Drake Featuring Lil Wayne & Young Jeezy

THROW IT IN THE BAG

■\,C A SIEVMRI r NASHi

Fabolous Featuring The Dream

THE POINT OF IT ALL

AHAMlLlOfi,! J AVILA.B R AVIL A.J 0 ViHIGHIj O M.I&IER ^ WU!.-lf. S

Anthony Hamilton

H (K MCOLE.ETAVLOR.OL ALfORDi

Kayshia Cole Duet With Monica

O HiUrtl.'GlFPL^ .1 ■ ■ ■ I ■

K 0 fATION D DAViS R A7tLr£R;

TRY SLEEPING WITH A BROKEN HEART

I . • ■■ - . -I 1 [iHJ.'iKEfl A HEVS PRiYNOLOSi

Alicia Keys

BLAME IT ON UE

I' . I" ■. -Ur" i: HARN'QN CHEllYl

Chriselte Michele

e HEf .lAr/ torn-.

TIE ME DOWN

_i^ r^ ' _ ■ '■ AMiN VP A THOMASI
"SOBEAUTIFUL

New Boyz Featuring Ray J

e SmOIIV.aSVLUM WARNER BROS

■"tISON.L HUISON jR I

Musiq Soulchtid I

A All AUtir "M

Lil Wayne Featuring Gucci Mane '~*I8{

Mil uiMu

WE BE STEADY MOBBIN
I AM

Mmnmu |M jcmut M aiHIKawU HtflMWatW,J*Ugllfl,t WAillMBtlHf WlliiAftUWum

BULLETPROOF Raheem DeVaughn Featuring Ludacris

• ■'r.v r'i>''i " h':'..'A[ r; i r- :irvA,.iiiit^ r. iiRincrr. r r^Avnr.ni ® .iivemll,

GOIN THRU CHANGES

. ■in',., - I. /i :. ' [ r, ..III, n (".iQEOUTi

SWEET DREAMS
THINKIN ABOUT YOU

Beyonce

Mafio M

I GET CRAZY

Nicki Mina) Featuring Lil Wayne

DROP IT LOW

[■ii'i iOMSE DEAN.C BROWNi

Ester Dean Featuring Chris Brown

O HARVEY MASOt 10*11 ■!. SIliEAMEWE iri'EH;

PI VHtLlAMS G IHORNIOM I IMORNIO'lt

Cllpse Featuring Pharrell Williams MM

® Bt UP COCJ\<PIA IB^l

GOTTA GET IT

DJ Mr Rogers Featuring The Party Boyz

ii'.iiiiit in'-ptessKHts,
the rap aew to-
slarrln^ Drake tiotts
21 positions. It's the
thirtl-rnost-played
track at WPWX
Chlu|0(S4 spins).

Mary J. Bl»ge »

TITLE Artist

PHaOUCER ISOWOWRIIER lUTOINT / PROMOriON Utf l

^1^, ol 79

SEX THERAPY Robin Thicke

■MUi'. [>VLCfitCl;ViK:E iKiUl.-J I .n/\: 1 -Ti-'.-'iNfiH .'. I 'J - . irT,ltl..a-X;>.Wiiai'i & :ilWITB,W.v,M,

RELIGIOUS R Kpliy
THE PENIAOOH |fl KElLVE OAWKIttS.A DIXON) n

IT"

YESTERDAY TonI Braxton Foaluring Trey 5c ilj.

■'■iHH E.H MASON. JR IJ FRANKS J ARMSTRONG.U WHITE. T BATTLE. TBRAXTONj

49'

60 56

SO :

BEDROCK Young Money

'i^jiri:£j>fifaji.iujiE:]Duir3tA[iFwwiAUzi,cuiJM5Te«^ iarl^ycmxJ&^m€f^MJgs».llBlOl^¥\Mln

VIDEO PHONE Beyonce

^Ci'.-. 1 <'tDWlES(«IO«MliS,Smwra«.SG«WEnAeEV1IK^ O music nCflLaCOLUMBIA

HOW LOW Ludacris

TMi'.ii ; ,Ki lit i .VILll*MS.C RIDENHOOR.tMOttR.H SHOCiaEE) OTP;0£F JAM'IDJMG

0 LETS DO IT Waka Flocka Flame

TAY BEATZ J UALPMURSt SO ICEV.'ASnUM.'WAHKtR BROS

"ffS MEDICINE
j 63 68

Piles Featuring Keri Hiison

BIQ GATIS

LOVE COME DOWN Olddy - Dirty P^o

I TRY IT OUT

I :.WGVfH iR HOLSfYX BUHflUSS XOOTSONI

Big Bank Black Featuring Kandi

G TUCr tAPf DEI .IHM in.ll,'!,

TSAY SOMETHING

HELL OF A UFE

riArj.ii ir i lURqis jR F« hillsi

|R KEUV.J SUECOF.D CAMPER.C KUlY)

'jnftRMONAOTAMAW rCLAYTOi J MWJlTStTY)

Timbaland Featuring 0

: USHER.C STOKES)

Marques Houston

1 LOOK TO YOU

C STE'AARl t MRIAKOU.H I^ASON JR pR KELLY |

Whitney Houslon

) GRARO HUSHt

BETTER BELIEVE IT

■I.-. ■ "HA'CHWCftADhlEY JR. J

Lil Boosie Featuring Young Jeezy & Webbie

RUSSIAN ROULETTE

■ M TH C HARMON)

STAYING IN LOVE

HEADBOARD

^ .■i.ywneiiaixjTUMoiii'j..

Rihanna

9 SHP^OCF jm-IDJMQ

Hurricane Chris Featuring Mario Plies

Trey Songz Featuring Gucci Mane & Soulja Boy Tell'em '

KbUN I TAY LOR. T SCALES E) WA'-H DAu^bi @ bOM, DDUK AIlAfiTli.

67'
Ml

mm
11

SWEAT IT OUT

THASH r STrWART (TRASH C A STEWART)

DONT STAY

f. I ,;IJI I i/itiOR II l/IBORi

KLiliELL I M MCCAftlHV.K MARHH)

I WANT TO KNOW WHAT LOVE IS

Marlah Carey

O (SLAliii r .Ml,

ALL THE WAY TUHNT UP

KE .J - JGnribU-'i 11 W'-'i K tRU'i^Ui

Roscoe Dash Featurirrg SouIja Boy Tcti cm

THUG

in Lii l!iTK_KWiLfil_ll«),tL.[U.1iJi.« WKUffcLWTBEDtATLVOiGVlCTPailWBnAflXft;-

NEVER KNEW I NEEDED

C HARNriJlf- rit-'D iS SMITH C HARf/UNi

® PEE JAMVMLl DlSNiV

FED UP DJ Khated Featuring Ustier, Drake. Young Jeezy & Rick Ross

TH BUHtFS I.K.M KWLUJ U ftWWC J WjBWg.WBOtBlTS lA taW«ilA>WfLLtf>C^^ I -PWli ® Af 'Efc

SLOW DANCE

KSLOUANJ D SPMSn IKLHKSONJ TMERLAJtEj BEAtlLJMWMCHJlSiDaWUOffWBrn

Keri Hilson

BECKY

J ftOTEM |A L WASHINGTQH.J ROttMi

i
■

H.A.T.E.U.

U CARFY C STEMART T NASH (M CAREY T NASH.C A STEMART)

Martah Carey

jjopumoi

1 AINT HEARIN' U Angle Stone

v."irE 1. vjviini o siAXtMc;

■

'^aa it -

SOMEBODY COME GET ME Melanie Fiona

PRETTY BROWN Amerie Featuring Trey Songz

THIS TIME K'Jon Featuring Lee England Jr A Augunline AK-irez

VSP 82 78

NOVEMBER IBTH Drake
■M I' . ARItH.. YOUNG l*0NEY'CASHMONEY-UNIVt«;..'. M !■ '.n

im 91 12

CANT HARDLY WAIT ND.imbi
.t ::(i:tK-, 11! r.flAI.'BLl HauiLtR.JH fl L BREWJA S M £tME«MOOI,L,F,SyLVtRS «( • COLUREL'

Ii'

YOU'RE NOT MY GIRL Ryan 1 i r

>; L=SLt< 1^ Lti^Liti e NEXISELECTtOHCASASLANCMJNIVERSAL MOTr;.-

BORROW YOU Eric Robeison

SO GOOD DAY26

RAMPING SHOP VybZ Kartel & Spicc

9B j m

SAV A COMMAND Pretty R>cky

■ ■■ 'r R SMITH S SMIIH.C MATHIS.E OEANDAi O BLUESIAfl.BIG CAt.'LiMM- -i'!'

BIG BOI STUNTIN Young Black

.1 "in ;!U-.';', i n-iiiti-KSONi Rn'H

_ _pHB

100 ; an

BREAK UP TO MAKE UP Jeremlh

M SCHULT.' IJ FELTON M 5CHULTZ) # MICK SCHULTI'DEF JAM'IQJMG

■

BETWEliN THE BULLETS

BLIGE BEGINS 'STRONGER' JOURNEY

MaT^ ). Bligc primes hor ninth studio allium with the debut of "1 Am"
at No. 46 on Hot R&B/Hip-Hop Sonj4s. As the lead single from
' Stronger," due Dec. 22. the song earns itiore than 5 million in audience
and grants Blige her liest start since 2(K)7. While it's a lofty beginning
f or Blige. she's no stranger to high debuts. Since her first single in 1992.
I Am" raiiky as Jier 17tJi top 50 bow as a lead artist, the most by a female.
Overall this is her 59th apj>earance. second only to Aretha Frattklin (99)
among females. — Raphael George

) for week of NOVEMBER 28, 2009 < For chart reprints call 646.654.4633

Go to www.b ill board. biz for complete chart data i 51

Cl,

BillbMrd.

unnil SALES D«

MOWTORED St COMPlltl

niclscn nivl^'r'

BDS Sounds

ttCHMSTIAN SONGS 1

TITLE

TI1LE iM-'Hiru £ VUM8ER : CHSTRtUITfNe LABEL

ARTIST IWRIHI PHOWOItOM L*8El

KICITY ON OUR KNEES

EES!

BD9 MEHfNTD MOR ^CCIEIK OlSUOil CMC

UNTIL THE WHOLE WORLD HEARS
CASTING CROWNS bEACH ' i i - f '.. . . .

SWITCHFOOT

REVELATION SONG

PHIIUPS CKAIC A DEAN ItIO

2 G

VARIOUS ARTISTS

«wifisaio ,'. ' :■- ,Ti'jiJ-,-eriivj^.'t'j ;vG

THE WORDS 1 WOULD SAY

SmtWAlK PROPHETS ■■Fr.T'.l A'UfU-C'JRfi

5 6

n-i'iVHI CHRIS TOMUN
BillilllH GU(rrHTifW«Sl?C^'W(M3Kt«QC

WHAT FAITH CAN DO

KUTltSS ;i:i. U:.-.']" & HAIL

1 2

STEVEN CURTIS CHAPMAN

8IAUH WILL RISE i i ::WG

HOLD MY HEART

TEIIIH nvtNUt NORTH Kb UtilOlJ PLU

4 12

SKILLET

awAKf 1' ,: r;riWlJ/ETlc?^fflUi'IlENIMEIriJT'

LEAD ME TO THE CROSS

CHFtiS AND CDNnAO v "

6 4

KUTLESS

II IS WELL r ■ I r.i n.ii ri.T.

MORE BEAUTIFUL YOU

8 8

DAVID CROWDER BAND

JOMtiT DIAZ '.li

CHURCH MUSIC :■ 1. i I ■ ;. ■ '.'i

BORN AGAIN

IHIflD BAY FEAT lACEr (WSLEY I .^-UTiAL.PIG

3 2

THE ALMOST

MOMSIERMDMSEEH 'Ml "(1 -L . : il^ .Mb

. 10

SING. SING, SING

CHHISIOMlIN ' Irf- ,--",ih;a fMI CMC

16 12

SELAH

YOU DELIVEfl ME r-m-, M; /iCVfi ^LFE

LAY EM DOWN
NEEOTOeREAIHC MUVNTiC'-AmO-CURB

9 8

RELIENT K

FOHEtr «0 HOT SUM DOWl MUJ flFECiyH*Wfll)-::,Wi

HE IS

MARK SCHUili 't;!' 1 im^

■ ia

12 63

CHRIS TOMLIN

HELLO LOWE ' n^TLri. il'iHROW ?35B'EMI CMC

THE MOTIONS

MATTHEW WEST ■ -.■■■■H'JJ (Ml LUG

'■'■*»

14 10

BARLOWGIRL

LOVE A WAR Ii -U'tNl eHrU6! WORD-CDRB

BMP'

ALIVE AGAIN

MATT MAHffl t :'ri;.L.'PLG

7 2

SHANE & SHANE

EVERTIHIUCISIIIEEEHEHI I.E'OP U^S.EMICMG

HOW HE LOVES

DAVID CfiflWOtfi BAND ^l)^SlEPS■■SPARf^O^V■tl.'l iiMl.

21 78

TENTH AVENUE NORTH

LIVER MO UNOeWEATH RElMM l012&EKM»fI«1ECniY

LET THE WATERS RISE

MIKtSCHAJR Cim

11 56

MARY MARY

iHsaiffi"' .vsTnnnTYOLiJaAuilrmMced-Kissrf I*

HEAVEN IS THE FACE

SIEVEK CURTIS CHAFMAH T;,nsii',*j fr.'.i a.V..

20 55

MICHAEL W. SMITH

a HEW HALLELUJAH h i.tn rflliiEHCMltHUNTEEjHllY

□

I'D NEED A SAVIOR

AMorjr. THE TMiHsri' rev

10 6

VARIOUS ARTISTS

SONGS i WORSmP 50 tMLCHItV !Er021IME EKE

|:i9

FOLLOW YOU

lt[(ANO WITH aRANOON HEATH fSSENIIALPLG

48 15

JASON CRABB l.ul»<R MU»C GR01A> IIAIIUI CUG

□

ITS YOUR LIFE

fHAhCtSCft BATTISTEILI f E- .-UI WOHIl-CURB

26 32

MERCYME

IQ r, -1 i 1 ,' irilEGRIlV ♦

ll'Ji^iViil 0" 1

[tOTTlIlH CHASEN [HO 1

13 12

NEEDTOBREATHE

THE OUTSIDERS A^lmMM 5I970Z, WORD-CURB

HE IS WITH YOU

MANDISA swqen'/j (ui cwii

17 68

THIRD DAY

REVELATIOH ii ^trillAt tUHajWOVIWM IN1El«lT«

GLORIOUS

NEWSBOYS IM'OI'

25 15

PHILLIPS. CRAIG i DEAN

FEARLESS i ■ ' . HENT |[(T£GRITV

f©

2*1

SAFE

PHIL MICKHAM FEAT BAHT MKLAflO IHO

VARIOUS ARTISTS

THE IWE IIH -HtUimT :» CMFCTWS IHMIIPB TM LEE

SALVATION IS HERE

LINCOLN BHEWSTEH IMtGRITY

18 57

FRANCESCA BATTISTELLI

MT RAflH HIAHI . .'.nflD CU«B

ALIVE

PD»n FULL OF ROCU MYRRH WORU-CUHEl

22 58

VARIOUS ARTISTS

ACUHTS^JtEl ^WbOjn

■Mr

FORGIVEN

SANCIUS HEAL ■■.■|;n:iA'lUiCMG

■7

27 3

niiGciifsmuBtL.: .otm^iBssx

THERE IS A WAY

rJEWWOHinsUK IJPOP

32 51

JEREMY CAMP

SPEAAING LOUDER THAN BEEOAE 3L L 6:SJ ELn CAV2 *

YOUR HANDS

iJHflUK .iiF

23 10

THOUSAND FOOT KHUTCH

WtlEOW TO THE MASQUEEUOE -i . IM '. 1.', I 1 'ii IMl UK,

HOI SHOT
KBUT

SOMETIMES 1
MAH IROUWER n: AC.K SHOE '

24 8

HAWK NELSON

LIVE LIFE LOUOt [■:- I/MI" f. IJAIL . Mjt: tMI CMlj

BEAUTIFUL ENDING

SARLOWGIHL lEnVE'll WORD CURB

KARI JOBE

NARUOBE 1'- K.^JTV J^ftO PHOVIDEHT INTEGRITY

HEALER

KARI JOB* iMi.:.'-i I'l

30 14

BRITT NICOLE

THE LAST EiET fOUHO t .'.^RQW 735B EMI CIAG

rKUM inc INolUbUUI

SEVENTH DAY SLUMBER LH'C ^OriTH S NAIL

28 12

MARK SCHULTZ

COME ALIVE ■ ■ iB<39J

□

WALK ON THE WATER

BRITT KICDIE ■ -. '

15 10

GAITHER VOCAL BAND

RIUUnLO ' ' liROUP G04J.'EM1 CMG

GLORY TO GOD FOREVER

FEE .

MANDISA

IKLIUUM I..-; 1 ■ LMI tUd

HEARTBEAT
RtMEOV DRIVE >\t>rr: riiiii

50 34

ISRAEL HOUGHTON

Tl€ POWER Of OHEINTEtfUTT 4MI «tOVCEVTHIEG«TV

FOR THE FIRST TIME AGAIN

JASON BUTCENTRICrrr

^Bm
■■■■I

VARIOUS ARTISTS

H05ANNA

SELAH CURB

33 12

LEELAND

LITVEISOKTWMOKLS^TJIRt 'trt^.EWMEhTJNKGWV

THE MEANING OF LIFE

HAWH KELSON f^tC. lUOIH S NAIL

43 4

ERNIE HAASE & SKSNATURE SOUND

F(WLIi'lIW!MWSlIC4l!IWJ • '

AGAIN

FIYIUF '.'.M namf IHTEHSCDPE

41 40

RED

mNOCENCE A Ksniic* ■ - •

GOO-SHAPED HOLE (2010)

PLUMB CURS

TERCER CIELO

2Vll>U>Ev!!rl>i5>..r

FORGET AND NOT SLOW DOWN

36 15

HILLSONG

WLItKT K WnriO VJ. ift'lO I^UtfE

FNIH ■ HtPE • IC^E tJrt -

ONE REASON

CHYNNA A VAIiditAN 1.. I INION ^ G

1©

WOMEN OF FAITH WORSHIP TEAM

A GRAND NEW OAT in lA VXJHD-C. "B

i©

LIVE LIKE WE'RE DYING

KRIS ALLEN 1' , :. 1.

38 62

MATTHEW WEST

SOMETHING TO SAT i ' ll .' A JS2D EUl CMC

DONT YOU KNOW YOU'RE BEAUTIFUL

SEA6IF1D ■ 1 . '.^ CMG

29 26

MAT KEARNEY

CRY OF HAOA A WHnE A'.'..'.> j n l ULHAMFW 1«&Eil CMG

1 AM LOVED

A80WI THE GOLDEN STATE i.t'^-lKllA iW 1 Wi.

44 6

TODD AGNEW

NEED ■.: . -"11. ■'■•1;' iSTEGfllTV

SING

JOSH WILSON ■".ptannw fUl CUG

19 2

PAUL BALOCHE

GLORIOUS ,■ -i; i- ; '.T iNIEGBir*'

ALWAYS

SWITCHFOOl '.'■■■■l f Ml

10 25

HILLSONG

NEVER SAW YOU COMING

BESO NORMAN BEr.'IQaTH S NAIL

37 9

PILLAR

CONFESSIONS!' tUTLq ■f'»t FflOvlDENT WEGRITV

□

MESS OF ME
SWITCHfOOT CnrnE»TiAL/EMI CMG

31 25

DECYFER DOWN

B«Be S Ce(e Winans rope Greatest Gabnr
honors on Kol 6osp«t Songs (up 164
plars) in their third (hart w««k with
"Grace," the second single Irom "Still"
(No. I on Top Gospel Albums). The lead
single, "Close to Ymj," logs a lOtti week at
the summit.

SwItcMoot draws lb flftklBp N Avt M

Top OtfKtian Aluns u "HeHo HurriOM"

pops on at No. 2 with 39,CN)0 copies. Up 101
plays, its lead single, "Alwars," takes ttie
biggest spin Increase on Christian CHR,
wt>ere it opens at Ko. 29 (viewable al
btllt>oard.biz/clurls).

HOT CHRISTIAN ■
AC SONGS ■

SB
V

SB'S

it Sis

1 -3

TITLE

ARTIST lUPRINI PROMOTION lASEl

CITY ON OUR KNEES

BffiS TOOYMAC llJKLFHilM LMI d/G

ITli

1 1

ARTIST

TITLE If/PRINT A NUMBER DiSTniBUTmG LAREl

WSW BEBE & CECE WINANS

B^3 STILL [:SG 3110^MALACO

£k
w

UNTIL THE WHOLE WORLD HEARS

CASTING CROWNS ! : ' i ! . : ' .irli^'N PLG

TAMELA MANN

THE MASTER PLAN 11 iVMANS Sl lli

THE WORDS 1 WOULD SAY

SIDEWALK PROPHnS FI - vlUT WQRD-CURB

FRED HAMMOND

L(lVHii.Si:i.'FAHl( I;li VfRIIY 4.T,LJI,.ILG

REVELATION SONG

PHILLIPS CRAIG & DEAN I'.Li

n.H.ljm VICKIE WINANS

LMEIIiH HDW t GOT OVER DES1IMY JOT 8120

Hi--.

LEAD ME TO THE CROSS

CHRIS AND CONHAO VSR

BYRON CAGE

FAITHFUL TO BntVE ' iUSTO CENTRKi VERITY 43JOXG

BORN AGAIN

THIRD OAT FEAT LACEY MOSLEY l^'^ENH*! FLU

MARY MARY

THE SOUND 1.'. 1 ■>.caiA«A?aasE*.S(nYMusc$.>

ll'Hi'ffll WHAT FAITH CAN DO 1

[^nniS KUTLESSHEC lOOlHtHAIL 1

EARNEST PUGH

LIVE RAJh 0*L US HV in ACKSMUKE aOTOIVOREOWOt

7 26

HOLD MY HEART

TENTH AVENUE NORTH I I UICNPLG

HEZEKIAH WALKER & LFC

SOULEO OUT . ' 1 . . ■ . :..

8 24

LAY EM DOWN

NEEOTOeREAItlE AILANIiC WORO-CURB

BRIAN COURTNEY WILSON

JUST LOVE .1 . l:i. MU ilC WORLD

HE IS

MARK SCHUltl .VfiRD CIIRR

ISRAEL HOUGHTON

TWPOWEHOFONE '.'"i IH-i ti:ERWA2WASC»fFUlJE*:

SING. SING. SING

CHRIS TDMIIN . ' M . (i-iRU/J EV1I CMG

THE WHISPERS

THANKIUL . Ill; ir:iEI

MORE BEAUTIFUL YOU

JONNY DIAE

VARIOUS ARTISTS

WOWGDSni i«B .MHIKEHaiMCU&VtflJn Jl^^SlG

GLORIOUS

NEWSBOYS 1 .■ 1

J MOSS

JUST JAMES t-^MI l.USKi CINIHIC-VEWTV i^SlO JLG

THE MOTIONS

MATTHEW WEST ;.|''.HROW tWI CUG

VARIOUS ARTISTS

iltui[jiiii,iMit[>fisTi^ ■vV"En;jaE;*8,i« J-

15 16

IT'S YOUR LIFE

FRANCESCA BAITISTELLI EtRV-NT/WOHII-CuRil

THE CLARK SISTERS

in aAPN SSTEBa FWALY CMBISTHAS •

FOLLOW YOU

LEELAND WITH BRANDON HEATH ESSENTIAL PEG

^"rIO^S ARTISTS
GITTIWflMm CHFSWS

HOW HE LOVES

DAVID CROWDEfl BAND '-.M.SIEPS.'SPAflROWi'tMl CMG

VOUTHFUL PRAISE FEATURING JJ. HAIRSTON

ALIVE AGAIN

MATT MAKFR IMl'. - f.

SMOKIE NORFUL

LIWE . I". 1 II.' f.

HE IS WITH YOU

MAIiDISA ..1 ,-, ■

VARIOUS ARTISTS

GUyilSHESI WNWYIMINCHIARS^MIOC^EWAtjEA

YOU'RE NOT SHAKEN

PHIL STACSY "LUMUNfLv.

124

MARVIN SAPP

IHLRSTT .1 1. -

SAFE

i>HIL WICKHAM FEAT BART MILLARD lln:

VARIOUS ARTISTS

CCmHFVT &3iPtL' 7 ■, ... , i'.' .tNIHt\tWSC:i AG

HEAVEN IS THE FACE

STtVlN CURTIS CHAPMAN " i i - iVI I MG

'•a

VICKI YOHE

H^EAE YWlHGlinT LIVE HUM TM COlOmL ->WMF« S777

WHAT DO 1 KNOW OF HOLY

ADOISOH ROAD 1'.''

DONNIE MCCLURKIN

WE ALL ARE ONE llIYE IN DETRWTl .1^ '■ .i.l lH l;

LET THE WATERS RISE

MlKESCHAin - ..Rli'

BSHOP PAUL S MORTON PRESENTS THE FOBCRUC
CRY YOUR LAST TEAR lih ,1 .■.-! . i; ■ LI tiT

GLORY TO GOD FOREVER

FEE IMl

LEE WILLIAMS AND THE SPIRITUU. OCS

FALL OH ME 1.' : I. ■'"

f CHRISTIAN CHR 1

HOT GOSPEL
SONGS

ills

TITLE

ARTIST .WPHiMI PflOMOIION lAHEl

KICITY ON OUR KNEES 1

IMYMAC inRtFRONI.EMI CUG |

■

Si xS

1 2;

TITLE

ARTIST iVPRINT PROIADTIDN LABEL

RI CLOSE TO YOU

ffiSS BEBE A CECE WINANS B&CjUALACO

WHAT FAITH CAN DO

«iti;uss II i'. NAii

THEY THAT WAIT

FRED HAMMOND FEAT JOHN P KEE HAMMONOTFEBITl

HEARTBEAT

REMEDY OHIUE /.". "L) CL.Iili

1 WOULDNT KNOW YOU
j>uoiiFriii|iiii-liT>t:f*xmrjMmiWFKRBiaw»t

BEAUTIFUL ENDING

BARLOWCIHI MK'M '.'.'Mh i I' I-

JUSTIFIED

SMOKIE NDRFUl l "l MVLLS.'EUI GOSPEL

UNTIL THE WHOLE WORLD HEARS

CASTiNC cftoWMS ■■■111 T-ii / T i.r.iijirw rn;

BiBi

GOD IN ME

MKRV MARY FFAT KIFRRA -WW SHEAHOMY BLOCKraFl

e 10

FORGIVEN

SANGTUS REAL !.r;FRRrjrt EMI CMO

PRAISE HIM IN ADVANCE

MARVIN SAPP .i ll. . LU

HOLD MY HEART

TENTH AVENUE NORTH REuNIO*PLG

GOD FAVORED ME

RE^IKIAH WWI.EH A LFC FEAT HWVIH SAIVAUEIOetKVERI

9 8

ON AND ON

CHASEN ■!!

WAIT ON THE LORD

IXINNIE MCCIUHKIN FEAT KARfN ClAflX.SNEARO VIRITV

THE MEANING OF LIFE

HAWK MM > llli ''I IKfl

RESTORED

J MOSS 1 ' 11' 11' I D CENIRIC JEC

FORGET AND NOT SLOW DOWN

RELKHT K ■■ -1 ■ .■ ■ !. li^^liJ LUI't

RAIN ON US

EARNEST I'UCH i ■ " Hi ACKSMOKE'WORLDWIOE

IT'S YOUR LIFE

FRANCtSCA HAIIISTEIU <f RVi'lT' i^OR!) CIJRR

HOW 1 GOT OVER

VlCKlL AlNAhS ILAT TIM BOWMAN. JR. Of STHEY JO

?'.)

imiVtU '^^^ WATERS RISE 1

[nilEIIIH MINESCHAIR CURB |

ALU 1 NEED

BRIAN COURTNEY WILSON rililT RtSING MUSlC WC

FROM THE INSIDE OUT

SEVENTH DAT SlUMBEfl ri:U lOOlH & SAIL

FAITHFUL TO BELIEVE

BYflONCAGE' r NI RKl VLRllY JlU

HEAVEN

JARS OF CLAY GRAY MATTEflS,t5BEritlAL'PLa

ALREADY HERE

BRIAN COURTNEY WILSON SPIRIT RISING MUSFC WC

18 6

OUR TIME

tROUP 1 CREW '(1 .fil .Mil-;.i ( IJHH

BACK II EDEN

OORALR LAWRENCE A CO QUIET WAIER.^EHIIY JLl

DONT YOU KNOW YOU'RE BEAUTIFUL

StABinU 1 ■ ■ ' '■ ■ -.'Ii

AWESOME GOD

THE BRDWN SISTERS mNGDOM

17 18

HOW HE LOVES

DAVID tHCWUeil !IAI*U ■ lH'!.iSPAJ(HOy*.EMlCMG

ll'llliVtll GRACE

^EmH BEBE A CXCt WIIMNt B&C^MALACO

FORWARD MOTION

THOUSAND fODT KRUTCH Ul .i ri.'. L

EVERY PRAYER

ISFIAEL HaUGFFTC« FEAURING MARY HARE INTtGRJUGLE.

THE WORDS t WOULD SAY

5ID£WAlKFH0PHEISir'-..l.'.l -.MiH -luhB

BROKEN VESSEL

JEFF MAJORS FEAT lASHELL CRIFEIH V1U^1C CSt

BEST OF ME

THE IfTTEfl BLACK TOOTH i HAIL

NOBODY BUT JESUS

SHIRLEY CAESAR FEAT J AlOSS 'HH f.ll IKillF

AGAIN

FLYttAF :.:l< ■ MOSf 'INTf RSCOPf

THIS JOY

UKP :iio ; "KSKij AmnTE rwje wi twet stf ^i iJ.I

ANTIDOTE

B HEITH .in ■

HELP ME BELIEVE

KIRK FRANKLIN " in.. l.ll-.F'n Cf UlRIC ,11 1.

SAFE IN YOUR ARMS

ABANDON 1 ' i-U 'II tUI UMG

LORD DO IT FOR ME

ALUIN DARLING LM'i M i. i iL

FOLLOW YOU

LEELAIIO WITH eHAHDOM HEATH ESSENTIAL.'PLG

1 LOVE THE LORD

PHILLIP CARTER A sou ■ '.n 1 1| '.'(" M" !

TRYING

ELEVENTYSEVEN ■.(i:k[P r. □

1 LOOK TO YOU

WHITNEY HOUSTON

52 Go to www.billboard.biz for complete chart data

Data for week of NOVEMBER 28, 2009 I CHARTS LEGEND on Pagi

nielscn iiiclscn

JAZZ/
CLASSICAL

■

hlOT DANCE CLUB SONGS

TITLE

AflTisr ]!.■ ' ( til MtOMOTIOM UWiL
UJF-CKYOU

BBS CLT ALLEH CAPITOL

M
IS

ARTIST IMPftINT / PROMOTION LABEL

vrti 1 iiecn Tf\ vurtuu
TUU UacL^ lU KNUW

AHDflU CARWLL CdRVV

S O S. (LET THE MUSIC PLAY)

JOHDIM SP»miS ■ .'IVF ,Ji:.

SUPERSTAR

MVIO MAT FtAIUKING MOISES MOOCSIO Mf~Z<J

HANG ON

PtUMB 1

DRAMA QUEEN (TEXTING U)

SIMQNf DENN» . BAftRT HAHRIS HARRY HAHRtS

1 WANT TO KNOW WHAT LOVE IS

HUUN CARET : , ft :< Mj

LOSING MY MIND

All KING :L.' ':AN

PERFECT

OIPfCHt Moot M;.It Vlfilil«(,C*P1I0L

RELEASE ME

ACNES M';.. i....;NL1 ll'JJ'.'- SIAR'KfM

WE ARE GOLDEN

HIKA L A ASCAuMVEftSAL MOIQWN

MANOS AL AIRE

NfltT FURTADO '.i L :,-J,H iJ-iiVEHSAL MUSIC lAIIKD

SMOKE

JUS JA£K WITH PWl GARANT FEJtninMO HmUIIWniMDGA

STRAIGHT THROUGH MY HEART

HACKSIflEET flOVS ir.i" .11

DID YOU SEE ME COMING?

PET SHOP BOTS ASTHJlLWEfiKS CAPlTOL

ANGEL ON THE DANCEFLOOR

DAVE MATTHIAS FEATtlfllHC NATALIA FLOHES CAn»llLO

}

TURN IT OUT

ALTAR FTATUniNG lEANIE TRACT MAUAH0U5E

SEXY BITCH

OAvn GUCm FCAIUnMC AMM CiLM A.ST(lALMnK^CAp[IOi

MILLION DOLLAR BILL

WHlTNLT HO-JSTOti - FiWG

BRITNEV SPCAHS JIVLJiG

SEXY PEOPLE

LOLENt -1 1

THIS TIME BABY

EDDK X PRtSEHIS NIKI HAHIS .il.'r

BODY LANGUAGE

JESSE MCCABINET fE AIUHIMfi T-«IH HOLLYWOOD

WORKIN' GIRL

KELLTKING M -m r/,::.

PAPARAZZI

LjLDTGAtiA ■ ■ , ■ MIVtCHERRTTRttlNTERSCOPt

BRAND NEW DAY

GEOfiGI! FOUGIE , ■■'.I

FIGHT FOR YOU

MOHDARPACE .'.tn-

HEAVY CROSS

THE GOSSIP : ■.' 'I'/Iii-':

DO WHAT U LIKE

BAD SOT BILL FEATJRIRG ALYSSA RALHCR NETTWERK

FRESH OUT THE OVEN
lOLA FEATURING PITIUll F»IC

WAKE UP

SLiiMT 1: ; •

DOLLHOUSE

PRISCILLA HIWK .

OUTTA HERE

ESMEE CENTERS If.NWJIi IPiIfR:H~nPE

GIVE ME LOVE
STEPHEN KETES '-'Mi' ,;r

PUSH N PULL

MOfERINI A lAAnN VS SYIVU TOSAM IRVERlfillSEA TO SUH

AIN T NO STOPPIN- US NOW

BAD HABITS

MAXWELL :i|i:V<PJA

COME BACK CLEAN

TW CHYSni. METWI) FUTUMC EMU HAMCS Ttf> HKftMWn

MISS YOU

RON PEHKDV ■■HPtt

FINE PRINT

NAOIAAU Smi IN QED

SAO SONG

BLAAE LEWIS HJWMT 90T

HEY BOY
RADKA sirn nvfNU!

WISH U LOVE

CHAD JACK A TIM LETTEER VS. HWN HADES

EN EL MOMENTO

STED-E i HTBHIO HEIGHTS ilt- TO SUN

tESM "AKE ME 1

I11[H!H JAW? AAIA'UUC 1

SHE WOLF

SHAKItt* ■■i.iN- '.III';.):. 1 EPIC

LOVE SONGS

AMJULIE Mf AR CM'',

TONIGHT

CAIWELL !-'fAi> Hi.Vji.ilI

MISTAKE

PARTY IN THE U.S.A.

)

^TOP DANCE/

V ELECTRONIC ALBUMS '

t 3S SS TITLE IMPRtNt A NUMBER / OtSIRieirTlilQ LABEL

, H EIOWLCITY

OCEAN EVES UMRSAL RBMUC 013T41 'AMK

5 .r LADY GAGA

■

. y VARIOUS ARTISTS

4 19 LMFAO

, ,P DAVID GUETTA

ONE LOVE iir: Kiia-lT- ASIRAUVtBKS

5 7, 30H!3

" WANT 1 :.i Mriiv :.■ i-Ht

t « VARIOUS ARTISTS

^ HCMIHtnWMICAUCUJilfll-MtfMRStliKU^IAISi:

g IMOGEN HEAP

' ' ElLffSE MEGAPHOMC RCA SOMiHMG

8 B Jl^,fJ.°„ ,

)

,1 p:, BEYONCE

,„ 1, LA ROUX

lARCUl .TRItWlIJfiCaEtOIMrNil

5, SOUNDTRACK

SLUMOOG MILLIONAIRE fJI-RSCOPt OIZMJ.IGA

„ , DAVE AUDE

DAWE AUOt PRESENTS ULnU.a»TII ULTRA 2197

)

,j , FAMILY FORCE 5

FAWIT F0«;E is CMHISTWASPWEANT 'Wjli-air TDOTHAWi,

)

BREATHE CAROLINA

HELLO FASCINAI10R-..IL: i 1 " "

,= CASCADA

EVAniAII IH! OAHLIMIHtB N' 'MIA*

. LUIS MIGUEL

Nfl ClllPt S • lA MKHt CILK RtWaS A««R lAIHA i?1318

,, g DEADMAU5

FOR LACA Of A BETTER KAAIf MAUblRAP 2UAiTjaRA

,. , FUCK BUTTONS

lARfll SPORT ^'l- .II.*

19 6

LOVE?; I'- Nr. ASTRAimRKS

DJ SKRIBBLE

TOTAL CLUB HITS 3 .■ ' . -UflNCE MBHilHHIVl

)

„ c NEON INDIAN

PSYCHIC CHASVS . . r

■MB LATE NIGHT ALUMNI

IglllH OF BIROS BEES BU'TERFLIES. nC ULTRA CIGIIAL EX

■

, COLD CAVE

LOVE COMES CLOSE lUihl AOHM SUVMAIAOOfl

,. , ZERO 7

" YEAH BMOST aTLANIIC S20260.'AG

HOT DANCE
AIRPLAY

IS Isss

TITLE

ARTIST IF^PRINl PROMOTION LABU

Kll WILL BE HERE 1

BSS TIESID I SNEJEKT SOUU tYtlOl ULTRA j

3 9

RELEASE ME

AGNES ' . ..'.II r,i|.:. . f.TAfl NFM

2 12

SEXY CHICK

DAVn GUETTA FIATUHMG AKON ^'ASTRALAfRKSCAHTa

12 4

EVERY MORNING

BASIHUHTER UlTRA

4 14

SWEET DREAMS

B{YONCE AlUSIC WQRLD.'COLUMBIA

6 19

THE SOUND OF MISSING YOU

AMEERAH RDSBINS

7 8

KISS ME BACK

lOM SOZZI ULIHA

5 10

PAPARAZZI

LJUPFGAU :.i^^iMlMjl«WL(Vt.CneflfiYTREEINTtRSCOP(

10 5

HANG ON

PUNil '

8 18

EVACUATE THE DANCEFLOOR

CASCACA II r II

9 20

1 REMEMBER

UEADMAU^ • KASKADI MAUSTRAP/AND PRESS/ULTRA

It 4

SMOKE

JUS JACK WITH Pm. GARAHT FEAniNMG EUTINA PWUI lAOriA

BMIWY SPEARS JIVL'JLG

t .1

14 12

1 BELIEVE

CYBerSUTIH FfAIUM lU THMFSM no STOCSTRCTIY FtfTTHU

16 2

MEET ME HALFWAY

THE BLACK ETED PEAS IIHERSCOPE

1 r.

22 2

HOT

IS 6

FIGHT FOR YOU

MORGAN PAfiE III MWERK

17 9

RIGHT HERE

CARMEN nCECE REAL MF

19 4

EMPIRE STATE OF MIND
JAT-1 ♦ AtlCIA AETS ROC ■..'.IlL-N

18 15

SHAME ON ME

MET »YT FEATUnNG UWHeCI AUXMCn rv^RK^^ IU1EAU

SAD SONG

BUUE LfWIS IDMA1Y BCV

23 4

GHOSTS N STUFF

DCADSIAUS FEATURING ROB SWIRE ' IHAP.ULTRA

ai'

13 5

PARTY IN THE U.S.A.

MIIEY CTRUS III 1 WO>>U

TIE ME DOWN

HEW boy; FEATUHaiB MY J SHOTTY ASYLUMWAflttR BROS

25 3

SEXY PEOPLE

LOlfNE CAPIIOL

TOP TRADITIONAL
JAZZ ALBUMS'

ARTIST

TITLE IMPH'NI 5 M/MHFP es-R.'l. u; ■ .

MICHAEL BUBLE

5ARBRA STREISAND

lOV; IS IHt ONSMifR ■ ■.' ■

•

IQI

VARIOUS ARTISTS

UTTm 10 UNIX > WUMY WSCAl DXLinOt

HARRY CONNICK. JR.
VOtlRMMS i ii.i Kr-jit .1- mf'.^ M.,;.

PINK MARTINI

'.miNDOft IH THE CRASS n , .' i.'

WYNTON MARSALIS

c nmsTMAS jAi! iAM .vv/rri af.-Pi^SS «E3 aaMBSET

DIANA KRALL

U'J E! MIGHTS .■ .■: VJ*n\G •

2<J

MELODY GARDOT

MY ONE AND 0«H TMRIU ,■ OtJSflJ-.'VC

THE BRIAN SETZER ORCHESTRA

tiOtIGS FROM LONEIT AVESUE . fi.FOOO

MICHAEL BUBLE

BIP?

FRANK SINATRA

SOUNDTRACK

l-RANK SINATRA

MtCHAEL FEINSTEJN & CHEYENNE JACKSON

IME POWER OF TWO ■■Ai'ililfs-iEfl .i>ij4

Lib

NELLIE MCKAY

Vlfm U lUOEFKr PC. I TMUR TO Gim on >* ^p': ' ' .

TOP CONTEMPORARY
JAZZ ALBUMS

nil

ARTIST

TiTlE iUi-Rilir & HLIMSER E}iSTHtwnwO LABEL
VARIOUS ARTISTS

CHRIS BOTTI

CxPiSBOni IN BOSTON COLUUM3a73&SaMrMU9C»

IQI

BRIAN CULBERTSON

L iVl FROM THE ihSIDE GRP a^3^3^■^VG ^

EUGE GROOVE

SUNDAT MOnNlNG r-AUACHIE 51 TS

GEORGE BENSON

SDhGS AKD STORIES MONSTEB 3l)3W/CDNCOflO S

6 41

BONEY JAMES

SENO ONE TOUR LOVE CONCOHO 30815 ♦

PETER WHITE

(iOOtI OAT C'EA*. Jt006 CONCORD

KENNY G

% JPE H HTTS M>ri' MUiK CUSTCN MimiM) GflOUPMZU

NAJEE

MIND OVER MATTER HEADS UP 3156

SPYRO GYRA

UOVfh THE WIRE i UP

HERB ALPERT & LANI HALL

ANITMMG cots LIVE VCQRD JiZl i1 141 rijW:ORD

ESPERANZA SPALDING

i SPEFANIA M- 1" ii|- j'lr

HAILEY NISWANGER

iiS^.

EVERETTE HARP

HHSt lOVE II

PAUL HARDCASTLE

SMOOTH JAZZ 1

A i

r4«l

TITLE

ARTIST IWPFIIfn RRUAFUIION LABEL

Kl BRIGHT 1

^ESpEIERWHIIE -v .- Ml. I

Itii.'i'Jtll TROPICAL RAIN

[tMinil^ JUST J PEAIC CMfi I

BURNIN

PAUL TATLOfl PIAK LFJG

TALK OF THE TOWN

OARREN HAHN .KOOyE

SONGBIRD

cmuG CHAOUICO ■'■ ■

LIVING IN HIGH DEFINITION

SWEET SUMMER NIGHTS

IIAJ!£ i ■ ,

CHASING PIRATES

NORAK JONES . <ii|lt L Al'IPrjl

WHO WILL COMFORT ME

F^ELOOY GARDOT 1:.;

GO FOR IT

BLRNIE WILLIAMS Hi.l SRU ROCK RICNIE

TIJUANA DANCE
RICA BRAUN AHI. i'R>

TOUCH

BONEY JAMES r ^IjrnR:? -^LIG

ON & ON

CANDY OtlFER .| '11 . UP

BOGOTA BY BUS

JESSE COOK 1 ii.v:.. "imsf 1 1

NIKKI'S WALK

JEE( GOLUB ( 1

TOP TRADITIONAL
CLASSICAL ALBUMS

r ARTIST

I TITLE iMffl'M J. M.iMilO) OiMfiiainiKG LABCL

RICECILIA BARTOLI

THE PRIESTS

THE PHitSTS -1' " R 3396»'SONr EAUSIC

RENEE FLEMING

VtlUSMi) ' H|..'I1|I,A ' 1 M .• ■ 1

Ai'

PLACIDO DOMINGO

HKREIVlUi: iOlClieFR!:

LANG LANGVAOIM REPIHMISCHA MAISKY
tMAngi RKMUMOi RMC nns

B. FLECKlZ. HUSSAIN E. MEYER
MI«UXi«»*YR«TWifCO«WT!)»«JiJCHI»RWi'

JOYCE DIDONATO

ROSSINI COIBRAH THE MUSE '.WaN CLASSES 9A&7a BIG

' s

ANDRE RIEU

||\T A WBaBBV1KafMAKMRBl(SOIi7;n&e

MICHAEL JAMES BATTLE

CHOPIN AFTER MfllNieHT SPECTACLE ?O0<IB EK

JOSHUA BELL

y\A.a M iiai^ ILWJlS 1 .i^.jjX ri'iy^pw/^.niw.iK.

n€ CSTS1CIAN MOIKS OF STIFT HBJGENKHEU:

CHAVI HRJCPStlHESXt • . . '

SARAH CHANG

BHUCHBEMMS VKHnCONrERTOSi '1 i 1 . i^' l.

LUCIANO PAVAROTTI

THEOUtrS"Ff.-. •■■■I- ii'.i, II . .v- i,p-<ic

i
J

GUSTAVO OUDAHaiDS ANGELES MLMARMOHC

BHUimBKtmiKBIiEHL 'IV

SERGEI RACHMANINOFF

AmNMETNAIIMIMMET

Atop classical
w crossover albums '

^HiiiP ARTIST jJ
Hpk» M Tnit m=BinT f. \umiH rii^THiSIJTIMC LAKE H
1 I ? Kl ANDREA BOCELLI

B^aMT CHRISTMAS :.Iil,f-.:i j: JJ37,<t)ECCA

2 3

STING

»«i>«-nw>- i.iiss'UWMaMSESoap^ H

3 7

JOSHUA BELL ■
AT nml ATm F41IWS . i^SCALU'liSOKKHSIBMOncS ^1

1 53

IL DIVO JM
THE PROMISE 1 UMERA 399e&»)FTY MU9C ^ 9

5 13
7 54

MORMON TABERNACLE CHOIR ■

RNCCH^TMASBEUS'^i^JONUenMlf CKWUZSn ■

ANDREA BOCELU

INCANIC ' 1 ' f. t ^

6 24

DAVID GARRETT

IMVOGICTRETT .

8 6

CHARLIE BAGGETT

I ONLY OREAH OF YOU i ' i . Ii

9 36

SARAH BRIGHTMAN (

SYMPHONY IIVE IN VIENNA l.'i.'lH,' |..\ 'II ♦ ^

10 3

THE CANADIAN TENORS

IH{ CANAUIAN TENORS i - '" i

GREGORIAN J

tM.s-v.i,.n«T< .h:sii» ^

11 29

PAUL POTTS , I
FiVSi.il'l' 'lA 47J39 SONY MUSIC iM

13 34

MORMON TABERNACLE CHOIR ■
:-M < ' ^ IliM! lOmaBBaROEMIISBICB H

16 6

A JOYFUL NOISE B
««.T>^^iaiihrii>r.3](iaAa)iLBQSDriBBRMliS ^1

14 25

ESCALA ■
ESCALA .'LU.C0LUMB1AA7423J-SONVHUSIC ■

TOP

WORLD ALBUMS

ARTIST

nUE ItJPYTINI A HUMBLH OllilRIBUIWC LABEL

RODRIGO Y GABRIELA

n II 1 Ill ■ AIO * 1

CELTIC THUNDER

^ TANI MI HIYMI ' I^AT.'RFCCA

THE IRISH TENORS
CHRISTMAS

VARIOUS ARTISTS

PIAYMC IIJP CMNCE SOiGS JROUHOTHE HMUlf JR J1I»®

CELTIC WOMAN

nC DOIEST JBUEBfY EHenW CtELBMM IWtWUA M IMU

CELTIC THUNDER

LOREENA MCKENNITT

A MtnrtRRAMAH fflTf SSET IJHAN HOAOWM OOAOMl

}»

REBEL GILBERTO

Au IN ONE lliJ'VG

JESSE COOK

IHF BJWBA FOUNDAriOM COACH HOUSE JOOZ/EI

DANIEL 0 DONNELL

PEBi;F IN IMF VAIttY .mOCKWELL B I'UPTV MEDIA

THE VERY BEST

WARM HEART OE AERICJl GREEN OWL 047

;.>ia

NA PALAPALAI

NAICA HULU KUPUNA I09?S PUNAHELE

RUPA ft THE APRIL FISHES

ESTE MUNDO CUMSAHCHA 15

KOLOHE KAI ■

THIS IS THE Lin GO ALOHA lot 1

RODRIGO Y GABRIELA ■

LIVE IN JAPAN =1.1 ?iE:.S *

9 for week of NOVEMBER 28, 2009 I For chart reprints call 646.654.4633

Go to www.billboard.blz for complete chart data i 53

BillbMril

»s

1
2

KB SS

i 10
1 8

TITLE

URTIST IMPRINT PHOWnltON lAOEO

Kl ESC LA VP DE SUS BESOS

QqI DAVIO BISBAl i^i^'-t . MVM'^ M M y >M T,Ui
LOOKING FOR PARADISE

TE IRA MEJOR SIN Ml

JOAU SEBASTIAN ' V USARI. BALBOA)

HAY OJITOS

IHTDCABLE ■ ' i •HV MUSIC lATINI

SU VENENO

AVEt^TUHA :.' lATINl

L08A

SHAKilU .1 - r.'i ii: 1 Am)

TE VES FATAL

El TRONO DI MEXICO (■ '.i IVISA.MUSIVISAI

ME GUSTA TODO OE Tl

BANUA El ftfCOOO 'ii'.

LO INTENTAMOS

ESPINO:* PAZ ;r ■'- i'^i -

Ml CAMA HUELE A Tl

nio tl BAMIJNO- FUTUMNG HON t amOX (SICNTEj

SUFRE

lOS DARETII OE U IlERfU tCM^A)

12
18

GRACIAS A Tl

WISIHAVAHDEL lA'V. MACHETE)

MANOS AL AIRE

N(IL» FUHTAOO .'l^LSTAH IJNtwffiSAL MUSIC l»IlNQl

DERECHO DE ANTIGUEDAD

lA ohm;inai banua h imou \. .^^

YA ES MUY TARDE

lA AnRDllADDRA BANOA EL LWON iDISA EOtMONSA)

FELIZ

KANT GARCIA ■ '.r MUSIC LATUJI

19
14

RECUERDAME

lA QIIIKTA ISIACIOK ;;;<JSY MUSIC i*1IM

Ml COMPLEMENTO

I OS HURACANES 0(1 NOHtE < 1 1 i

Nl ROSAS Nl JUGUETES
PAUtlMA nuBIO .1

ERES TODO TODO

JULION ALVAREZ T SU NORIENO SANDA

LA CA LA BAZA

L« AKHOllAOOHA GANIU EL LIHM '.HbA,

27
30

18
9

1 GOTTA FEELING

IHE BLACK tnU PEAS .iMfKSCOPE)

ENCONTRE

CONJUNIO ATAHOfClfl <mii. ASl |

CELOS

(AMNY lU ill'. vtH .il r.'llMr 1 iTilJfli

Nl CON OTRO CORAZON

PtOHO FERNAWDfi "r.

HOTEL ROOM SERVICE

PlIflULL '.'I ■ .1 LUiOS.J'RMtil

EL BORRACHO

GIUPO MONIES OE DUFUNGO iDlSAl

EOUIVOCADA

IHAUA 1 -'C lATIHJ

SE ME VA LA VOZ

ALEJANDRO FEftKANOCZ |l.'NIVERSAl MllSIC LATINO)

ESTUVE

ALEJANDRO FEtlHANOCZ I' nrinviSAi

TU DEFECTO

.1;

l1'l*lVtU ^"^ EVIDENCIAS

COMO VOLVER A SER FELIZ

lUiS ENRIQUE ■ ' ■1

33 5
38 2

EES

35 4

CAMINOS DIFERENTES

HOBIRTO lAPlA ■ h .MjVlSAUUSlVISAi

SIN aUCRER

triHITA KAJAHIO n'.V MljSiC 1 AHM

SEXY CHICK

DAVID GUrnA FIATIMNBMM KStiMMSmAlWEmSCiVna)

TE AMO

CUMBHE hOnHNA . r,', ■ \ /.h;

GRITO MUNDIAL

OADOY YAhKEt : L ^LMttiH

ADIOS

JESSE A JOV /.■.■■l-ltrH lAIIHAt

PAPARAZZI

LADt GAGA i'jTR[J,yil\f:».DMlJVt.C»«fln>TF1CElNTtRSCDFf 1

\if

DOWN

jAT a«NFUTURMGLi.w*nCriAsiu(iwiiMH5>'i. R(nai::<

EL DOCTORADO

lONY [IlJE ■, ■ .

LLUEVE POR DENTRO

LUIS FONSI '.1.: ■ ■ i !, ,L LAIINO|

41
49

3
2

SOY TODO TUYO

LOS TUCANES DE TIJUANA 1 1 '■.IJVISA)

CIELO NU8LADO AKA CIELO NEVADO

PISAUO - .

AMOR QUEDATE

JEHCARLOS : ■ ' - [

CELEBRATION

MADONNA ■■.!

ME ENAMORE DE Tl

SENTIMIENTOS DE CARTON

DUiLO

CREERE

lEHCEl' CIELO • ■■■ "1

k ntr Ii (M aok, EMy-Ct

MqimOJiii

321%). Ikt tet imr ailU ito nt 0
a a M MoM to reKk Die !•» M tMi
«iiltr » H>l«, aM "DM Mm' k
906 (6-) k b nwii «Mk N dK M).

^ TOP LATIN ALBUMS^

sbII artist H

2s SS TITLE lUnfiml PROUOIiaNlABELI ff^

r if , J Kl ALEJANDRO 8ANZ

W^^M Hd P'UUiSO EiPRESS '.VARriER 1 f<Tr;i: '-■?::']''■
JENCARLOS

<IU^r.AM!

NEW

VICTOR MANUELLE

YOMtSMO' ' '.H 1 jlC LAllN ^

2 23

AVENTURA

THi lASI i t.tVlUU til/II .'i: KM SONV MUSIC LATM HL

1 3

EDNITA B
SOY MUSIC lATIM ^1

3 2

MARCO ANTONIO SOUS ■

MAS [IE MAilCO ANTQMO SOCIS ' i r.r M^^A JWIbUkU 'fi ^1

4 2

EL TRONO DE MEXICO H

HASIA Ut f INAL "i UMlE

5 25

WISIN & YANDEL B
LAdtVOLUCION ' ' ' 907 UMLE ^|

8 33

LARRY HERNANDEZ H
lewicacoHRCDs " . ' '.^inxQriMf ^1

13 2

GILBERTO SANTA ROSA S
iQui.iw n; :49in^i: [hm WkUAat vr^wLsCLAiMvan ^1

11 8

DON CHETO B
El KIM( HE USIIDES i'.AriNOS832 H

10 6

VARIOUS ARTISTS B
HAIIAIEXIIOS El DISCO ML AMO TON EISA 7?4ta7VM£

12 36

TITO "EL BAMBINO- Wh

El PAIHON ' I Mi ■:

6 10

LOS TIGRES DEL NORTE |-l

lAGHAKJAI , . vriin? UUIE ♦

7 4

DAVID BISBAL

15 4

VARIOUS ARTISTS ■
MII1H *i (rw I* N-'t'-i* 111 i«'i:;i I'tYAA IsiiB&UMl ^1

16 26

ESPINOZA PAZ me
m NO CANTO PtmLUMnEEnMOS AX EISA nEMt lMi Ip

14 64

LUIS FONSI fel

rUAUlAl U{1 M£w:ia '--.V<AU/KLAIN)OIIIWMi HE

9 8

JUAN GABRIEL ■
uiscAMxKs wsAMijosijecoEiaEesrnssEHrutycuon^l

tin

OLGA TANON

vA>

34 15

UiaS TERCER CIELO

1*=' ic"l_i_J .„■. .1.^

ffi
w

2t 26

LUIS ENRIQUE ■
Crtios "HP >iap 11910 ♦ ^1

EL TIGRILLO PALMA H

EL REY DE LA HUSH ■ ■ ■. ■-i' ■ " J"116'UMIE

17 21

LAURA PAUSINI g

PRIUAVERA ANT1C1PAD* : ■ '.i -i I AtlNA 51fiC?7 R.

■B

JOSEPH F0N5ECA WM

AMMTIMMt'l 1 'J JLlWaUrU'JtfE ^|

\if

23 S3

EL TRONO DE MEXICO W

ALMAS liEMELAS ■ ■ -iK UMLE

22 39

LA QUINTA ESTACION Bj
SIN TflENOS . -14947 H

27 25

HECTOR ACOSTA S
w>.iiiiE<iii B.T;frTri ' - 'MIUCIAWHORUU ^1

20 4

ELCOMPACHUY

GtHT[ PFLlCnos* ■ ■II'. 1" ■ -

19 9

NELLY FURTADO ■

MiPuwv-L ■..'.■■1 .;.i'j .1. ^ir.ii

26 22

EL TRONO DE MEXICO |H

DESOE U PATniA EN VIVO 'UfitlVISA :iM08a.'UMLe « ^1

29 34

MARISELA

21) EXITOS INMORTALES i".' ■> ' 1

24 19

VICENTE FERNANDEZ

HECESITO !)£ II ■■ . ■ I I ^MS ^2262

25 8

GRUPO MONTEZ DE DURANGO

EL BORRACFiO : ' " .'1 ' ■ /

28 •

LUIS MIGUEL

WCmPElAIAMXX aUHEM(IESf,',U<U^lATriA!dtI1g

52 5

NOEL SCHAJRIS

UNO HO ES UNO ■ n'.' M;i.;i:: iMm 58390

LOS CAPOS DE MEXICO

HEAVY HYPtn

JIMMY GONZALEZ Y EL GRUPO MAZZ

ETERNAf^EKTE ■ ■ i .

39 40

MARIACHI HERMANOS BARGIAS B

CAKKl^. * AlABAH/AS -iJajt,-; ',',9 V1HA >¥^H

33 66

DADDY YANKEE H!

36 3

PATRULLA 81 *
SEMOUMANn.3oa»CREnTin[iSAr2i:fi5EXuMU Hi

53 3

LOS TEMERARIOS S
soKDWUincNiimEnotnsAmitrpcuMLE ■■

31 19

TIERRA CALI H

arunMS.ir<»jSCUMi8M.MjH:LATiwi»:inxtuUE ■r'

37 3

LOS BUKIS 1

Sm[WAU*(TlJI>lPWinTO(ai[Wj64ZBElL'Jl*t 5

35 52

MAKANO 1^

47 47

VICENTE FERNANDEZ ||n

PfllMEHAFIlA III;- Mii.'.i:: UTiN JOOI? + HL

38 13

CONJUNTO ATARDECER H

CONTIGOPARK SIEMPRE DISA T7nD7 UMIE

40
©

43 3
56 11

CONJUNTO PRIMAVERA B

SERIED.UAAKTE » SUPER EHHOS h r<.VbA £42^ EXUli

VARIOUS ARTISTS B

OUHANGUENSE »1S ?0OB i - " r(;l HI,' [

41 52

RICARDO ARJONA r~t

5TD PISO ■,■ 1. . ■■! ■ ■ ■ . ■ ■-! ^

TITLE

ARTIST ,IMI'>1INF PKOMOtlON LAflEL I

nHAY OJITOS
INTOCABIE .iM.bOMVW^IClAm

TE IRA MEJOR SIN Ml

JGAN SESASTiAS :,' 1,1 bAlSOA

TE VES FATAL

EL rnONO DE MEXICO i I'.ilVISA MlJSIVlSA

ME GUSTA TODO DE Tl

BANDA EL RECODO r .'/luiSA

LO INTENTAMOS

ISPINO^A PAi - L

SUFRE

lOS OARETES DE LA SIERRA .lll-A

DERECHO DE ANTIGUEDAD

LA OHIGINAL SANDA EL IIHDH F< 'JflVlfiA

7 39

VA ES MUY TARDE

EA ARROLIADORA BANDA El EtMON DtSA.'EDIMOElSA

Ml COMPLEMENTO

EOS HUHACANES DEL HORTE £tl&A

NO ME DEJES DE AMAR

LA APUESTA

ERES TODO TODO

JULIOM AlVARE; Y SU NORIENO BANOA ASl

COMPRENDEME

GERMAN MONIERO i \ . " lUSA

LA CALABAZA

LA ARROLLAUURA BANDA EL IIMDN l:<SA

ENCONTRE

CONJUNIO ATARDECER 'I I " A A

Nl CON OTRO CORAZON

PEDRO EERNANDEZ >- '.H'.TSA

EL BORRACHO

OflUPO MOHTEE OE DURANGO

TU DEFECTO

lOICKAlCfCTHLPUfTOIWlMUmfCtALnfiniUMm '

llil.Wtll EVIDENCIAS

BlIElIiH BANOA MS li;S-l A-.L

CAMINOS DIFERENTES

HOBEMTD lAPlA in', , . l:!! ,i;,A

COMO UN TATUAJE

K PAE DE lA SIEREU I111.A EDIMONSA

« ss
Kb at

3 1-1

TITLE

ARTIST 1 I'-liliT ' PROMOTION LABEL)

RISU VENENO

Bfia AtfEMTUM PREMIUM LATIN

Ml CAMA HUELE A Tl

TnO -EL SAMBIHO- FEATURING OW * LENNOX SlfJIL

ESCLAVO DE SUS BESOS

DAVID BISKAL . ' 1 '.n LAIlNO

LOOKING FOR PARADISE

ALEJANDRO SAH2 FEATURimi ALICIA UTS A'ARNtH LAIINA

COMO VOLVER A SER FELIZ

LUISEHRIOUE L 1 "1

TU PRIMERA VEZ

HECTOR ACOSTA : l M i-IIFMi; 'l

IIMiVtU BESAME

[■TLlKTli^ EOOT-K PREMItiM UTH 1

ABUSADORA

WISIN A YAHOEL iS T I/AIIIEIE

LOBA

SHAAIB* EPIC SONY MUSK LATIN

9
9

COMO SERIA

IHQIO riu IIMIIl

CARITA UNDA

GRUn MMM fWUM OtfiA TAMN /lAG'SON' UJSJC LATh

RECUERDAME

LA GUMTA EBTACMM SONY MUSIC LATIN

SEXY CHICK

DAVID GUtnA FUHMMG AJIM GUM ASTHALWERXSCAIlia

SABES BIEN QUE TE OUIERO

GRUPO RUSH ' ' . . 1 ^. N

BARTENDER

ALEXIS A fIDO MiJ.. L.'.l II

HOTEL ROOM SERVICE

PITBULL VH • ,1 !. ' , ^MG

CHINITA

MW« ORIS Nl flAA ■NO HAHKM LAWTD MMA HMA.AA^W UAt lATh

VOY A PINTARTE

NC? .1:'.' '.' 1 ill'.

1 GOTTA FEELING

THE BLACA ETEO PEAS iiri^licripf

SENTIMIENTO

VICO C FEATURING ARCANGEL EMI lEI E VISA

TITLE

ARTIST I l.t-^ni',1 PROMOTION LAHEli

LOOKING FOR PARADISE
itiMan uta fiajuhng auch on^mu

ESCLAVO DE SUS BESOS

DAVID BISBAL . . i ... .. ' ' . ..■.'ll.'.

LOBA

SHAKIHA H'lC SfJ»V MUSIC LATIN

MANOS AL AIRE

NEUY FURTADO NEl STAR. UNIVERSAL MUSIC lATINO
FELIZ

WINY GARCIA WUaC lATIW

SU VENENO
AV«TURA I hiMHttl lATW

RECUERDAME

_IA QUIHIA tSIACHW SONY MuEiC LATIN

Nl'^R O S A S^NI JUGUETES

PAULINA nuHIO , ■, !■ '.lUblC LtTlSQ

GRACIAS A Tl

WISIN ft TAHOtL MaLHft

EOUIVOCADA

IHAIIA '.1 r.- IMI I Ml'.

^ELOS

FANNt lU I . ■■' ■ I'" LATINO

SIN OUERER

EDNITA NAZARIO '.liNV MUSIC LATIN

EL AMOR

TITO -EL BAMBINO' SIEHTE

SE ME VA LA VOZ

ALEJAKDRO FERNAWOEt UNIVEHSAl MUSIC LATINP

ADIOS

JESSE a JOY ,■, .

1"G6fTA FEELING

THE BLACn EVin PIftS ,

CELEBRATION

MADOhHA ,V.'il-'l- R DRn'.

Ml CAMA HUELE A Tl

HID El BAMBINO- FEATURING ZION t lEWIMMt !,

COMO VOLVER A SER FELIZ

LUIS ENfllQUE " ll' ■ ■hi'

CREERE

lERCEH CIELO ' i^ i'

THIS 1

TITLE

ARTIST ilMPRINI ' PROVOHON LABEli

KM Ml CAMA HUELE A Tl

DS3 TTTO -EL UAMMT ElAIOIWG BON I EBMK S»

LOOKING FOR PARADISE

ALEJANURU SANE lEATUHlNG Al'CIA KEYS iSA'IMIl L!

GRACIAS A Tl

WISIN A TANDEL <S < M^LHLU

NAOIE TE AMARA COMO YO

DYLAMO Y LENNY ' i ll- MII MC LATiM

WATAGATAPITUSBERRY

SENSATO DEL PATIO EEAIURINC BUI£K POINT 1l^lli<lr

DOWN

MY SEAN f EATUfWG Ul NAYIK IJUjN MOtfVEMIHtSAl It n

SU VENENO
AVENTURA I'l.tMU.M LAIIR

SEXY CHICK

DAVTD GUEHA FEAEUnMGMaM GLM ASTRALWTEIXSCAP

GRITO MUNDIAL

DABBY YANKEE f ; CARTFl

ESCLAVO DE SUS BESOS

EL DOCTORADO

TONY DIET i'lr,.'.

HOTEL ROOM SERVICE

PITBULL '' i.lUtlDSrJ'RMC

Ml MUJER

YOMO 1 : ■ 1 !

PRRRUM

COSCULLOEU iNt!

CIAO BELLA

DON OMAN MACHEIE

CALOR

ELOt OFF JAM.IDJM6

BARTENDER

ALEAIS A FIDO t' NY MUSIC LATIN

EL AMOR

TITO EL BAMBINO- SIE'JIE

FELIZ NAVIDAD

HID -EL BAMBINO- ^IIIUI

MOMENTO QUE TE VI

OC LA GHETTO ( ir>in AUlli NATION PFIEUICM LAIIS

to nfeni to dK darts imht
Ito.lMilol'liNsiM-'oiiTnwtal
Uaiin, Miily 6,000 coiMs. Tht IWe
k NMMle'i mndi No. I Mwi on dk fet,
tti Mt kllM dort'i 24-vw Mstocy. "Yo
Mas' iko Ms H Do. 3 on Top litii
Mtan, Ms Mk to* Dw Mail on Obi My.

BETW^EEN THE BULLETS

SANZ: 'PARADISE' FOUND

Despite competition from Latin pop newcomer |cncarlos. Alejandr
Saiiz debuts at No. 1 on Top Utin Albums and Top Latin Pop Album
with "Paraiso Express." selling 9,000 copies. It's his fifth top fivedebi
on Latin Albums and his highest Iww since "No Fs [xy Mismo" star
ed at No. 2 in the Sept. 20. 2003, issue. Lead single "Looking for Pa
adise" continues to dominate the airplay charLs. residing in the top fiv
of every tally except Regional Mexican Airplay. — Rauly Ramin-

54 I Go to www.billboard.biz for complete chart data

Data for weeic of NOVEMBER 26. 2009 I CHARTS LEGEND on Pagi

km mmw : i k ± i : i =t vi«] :} ^ an

^ UNITED KINGDOMB ^ GERMANY

ALBUMS I ALBUMS

f if*

IMHSHIH'SDUHOSCAN JAPAH>'

PUNTECHI HOVCMBER IT, Z0I9

MICHAEL JACKSON

I FRANCE

5» ISHEP'IFOP.'TITMIUE) MOVEHIEH IT. 2ID«

NEW

ITKE OFFICIAL

UK CHARTS CD.) NOVEMKR 19. »H

NEW

JLS

JLS fcfi::

NEW

ROBBIE WiaiAMS

niALirv Kiiiici nc voco star CHFnsu&WGirj

NEW

SNOW PATROL

UP TO MOW ill IKlr* ('ULTOOR

SOLDIERS
COViKti HOME RHWO

THE BLACK EYED PEAS

THE t N D 1 ■

_3.

MICHAEL BUBLE

CMlf LDlfE i-i"-. i..F--K '-f

CHERYL COLE
3 WORDS POLYOOH

NEW

B(FFY CLYRO

mHV REVOLUTIONS 14TH ELOOfI

FOO FIGHTERS

(ifltMESTt)rTSH -::/,.iL HIiii

HEW

ROD STEWART

souiaooK J

O CANADA

Al nilMG

(WELSa MS-SOUHDWaW MNBaniLlM

HEW

BON JOVI

IKECIHCIE I I ft-HD uNIVEBSAl

MICHAEL BUBLE

emit LOVl ■ I VHEPFlrSE'VlAnMEn

HEW

VARIOUS ARTISTS
MUCH UAHCE 2010 SONY MUSIC

MICHAEL JACKSON

HDiUl jCUOrS THS G IT 1 tOUHRMOQ KueViWIAa:

HEW

DANIEL BELANGER
NOUS A..Din;,r(,'F,r --.f.Ef:!

HEW

BLUE RODEO

THMGS W L0T KMD fmiR t/tSC CVMAWUW}'

HEW

JOHNNY REID

CHRISTMAS inHliriv MACMORAINE

ANDREA BOCELLI

UY CHniSTMAS SUl.AH;l)EGCA<'UNIVfRSll

CARRIE UNDERWOOD

PIAVOM tg. ARISTA «A£HVII LE "ifJIiV MUSIC

IMA

CHRISTMAS :>IVII(E ANGEl.

(MEDIA CDNTROL) HOVEMIER 17, ItOt

NEW

ROBEIIE WILLIAMS

RtAlITY KIllfD THE VIDEOSTO [H-:- j^Li-. M^' ,r.

RAM M STEIN

IIEBE 1ST run ALLE DA MOTORuNIVERSAL

BON JOVI

THECIRCIE ■ ..'-'i :

MICHAEL JACKSON

HIUUULiAaSON~STHIS&IT{S0LHmH>a<iL:. ' i

HEW

ADORO

FUER IMMEH UKD DICH I'JI'.'i i. : .'< .

XAVIER NAIDOO

ALLES KAHN lESSER VTERDEN MAIDOO

WESTERNHAGEN
WILLIAMSBUfte AiVRFJER

DAVID GARRETT
CLASSIC ROmUKI WAANER

STING

IF ON A WINTERt MBHT CHERnVTREb'OC

NEW

ACDC

AUSTRALIA * i

Al RIIMC

lARIAl NOVEMBER IS. 10(19

NEW

ROBBIE WILLIAMS

REALITY KlUEO TW VIOfO STAR aflYyj.f.iVl(ll.r.

. •

FOO FIGHTERS

GHEAKSI HITS . !■ A' .L

NEW

SOUNDTRACK

GLEE THE MUSIC SEASON ONE KOLIU!. MIL-

NIW

BON JOVI

THE CIKCIE ; ...I', 11

MICHAEL JACKSON

MICHAa JACKSON S TIIIS tS H ISOUMnWK) MUf )i:

MICHAEL BUBLE

CRA/Y lOVE L l i HFPBISE

VANESSA AMOROSI

HAZanil'Tll?, '

THE RLACK EYED PEAS

THE F H 0 , 1 . i •

•

SOUNDTRACK

THE TMIWT SlU WW NOOH liJMT.CKP SIffiFCjVm:

MUMFORD i SONS
SIGH MO MORE l^>LA\D

I ITALY

Q MEXICO

[f IHl'NIELSEHI NOVEMBER IS. ZBDB

§5

(PflOMUSICAE'MEDIA) NOVEMBER 11 lOOl

(B)MMI HOVEMBEn IT. IO«B

MICHAEL JACKSON

MTHAll JACKSON SIMS IS IT ISOUNOTIWai'.' ..M

NEW

ALEJANDRO SANZ
PARAISO EXPRESS DRa

SHAKIRA

LOBil S^m MUSIC

NEW

ROBBIE WILLIAMS

ntALITY KllED THE VnCO SWI CHflVSAL£^/«GH

EL BARRIO
OUOMEVtU SENADWt

YUniDIA

NAOA ES niUlfl K ROM SONY MUSIC

NEW

MARIO BIONDI

If TATTIC*

NEW

BON JOVI
THE CinaE ISLAND

VARIOUS ARTISTS

UTREVETE A SOMR VOL I UNIVERSAL

ALESSANDRA AMOROSO

SENZA NUVOLE EPIC

DAVID BISBAL
SIM MMRATftASVAlE

NEW

RAMMSTEIN

LIEBE 1ST FUR dllE D* MOTon uNWEnSAL

MICHAEL BUBLE
CRATY LOVE U3.R:PP;SE

FtTO It FITIPALDIS
ANTES DC QUE CUIHTE OKI O R 0

VARIOUS ARTISTS
UTREVETE A SO*WR UNIVERSAL

CARMEN CONSOU
tlinRA POLYOOR

3
HEW

MICHAEL JACKSON

MCHML MCKSOH S THIS IS IT llOUMniWOD MUOC

ALBERTO BARROS

maun) A U SUM COOHMM WL 2 SW MIX

MINA

FACN.E POU

ROBBIE WILLIAMS

REAUTY lUlLID THE WIDEO STAR CH-(Y'J.:lf,'.l(i;j%

I4A00NNA

CELURATMN WARIIER BROS

STING

If ON A WIHTERt MGHT CHERRVTHEL'DG

SHAKIRA

lOBA L ■ . . J 'a MUSIC LATIN

LUIS MIGUEL

NO CUtPES A LA NOCHE DRO

MADONNA

CELEBRATKW WARNER BROS

MILEY CYRUS

THE TME or Dun liVES H'JLLVYfUOU<UNIVlHSAL

■4UARES
VIV1RA81 WARNER

ZERO RE NATO

PWStHTE TATTICA

ROSA

PR0P1EDAD DE HAOK VALE

I^ICHAEL JACKSON

NOtfa JMRSONS IMS a IT (BOIBIITRBCIO LUiERC

SWITZERLAND

' w

FINLAND 1

OWALLONIA 1

UST
WEEK

(MEDIA CONTROL) NOVEMBEtl 1T, IBOV

mis !

WEEK 1

lYLEI NOVEMBER IS. 200*

lULTRATOP.'GFIII NOVEMBER 1B lOOt

BODIES

IHOBI)IEWlVLlAM$VI»(ilP«

UMBRELLA

IHf BASEBALLS WAHNEK

MEET ME HALFWAY

THE BUCK EYED PEAS INTEPSCOPE

MONDAY MORNINO

MFIANIE FIONA jMVEflSdL

■i

SEXY CHICK

DAVID GUtTIA FT AKON LLIV Vl-"_"il.-i

BODIES

HOBfllE WILLIAMS LH-YSALI&'VIRGIM

1 GOTTA FEEUNG

THE BLACK EYED PEAS IMERSCQPE

BAD ROMANCE

IJUJ-GAfil -I ■■.V. . . . :■■ '-"I t.iTf"S3T(

ALORS ON DANSE
STROMAE /i-RF

NEW

RUSSIAN ROULETTE

HHANNA DLF .AM

RUSSIAN ROULETTE
filHAHKA . ./.rr "III -lUl

1 GOTTA FEELING

THE BUCK EYED PEAS IMEB&COPE

PAPARAZZI

WDvgm ■ ; .V,'.N,t;W-W.OtWVTPEE.*TDCCCPE

HEW

OCTOBER & APRIL

RASMUS FT ANETTE D120N l\AVGnaitlDVERT)r>0

SEXY CHICK

DAVID GUEHA FT AKON (ilJU.-VIRC.Ih

HEW

ROBBIE WILLIAMS

flUUTY nUJO THE VKCO Sm CMTiSAl&WGn

THE BASEBALLS
STRIKEI WARMER

..1.1

MICHAEL JACKSON

MBWa JAOOONl TM8 B IT (SOUMinWCK) liil^n:

MICHAEL JACKSON

MCHAEL JACXSOH S TW IS IT iSOUMnTWZI •J-.^Pe

VESA-MATTI LOIRI
HYVAAPUUTA WARNFR

ROBBIE WIUJAMS

KlUn HUB) IK Vna tM (>A«SAL&^1MM

BON JOVI

THE CIRCLE ISLAND

ROBBIE WILLIAMS

REAUTY nUOl THE VIDEO niR CWrSALfinMGH

MUSE

THE RESISTANCE n^E IIEIIUU jmARNER

RAMMSTEIN

UEB£ l!T FUR ALLE M MOTOR/UNIVERSAL

ANNA ABREU

JUST A PRETTY FACE? SONY MUSIC

VAYA CON DIGS

COMME ON EST VEKU... COLUMBIA

BUGG

M1B Uriiv£RSAL

RAJATON

BEST or tlfO • ZOOfl PLASTINXA

THE BLACK EYED PEAS

THtEHDIMtRSCOPE

EUROPEAN
HOT 100 SINGLES

THIS
WEEK

(NIELSEN SILLBOAROI NOVEMBER tfl. ?OBB

1 GOTTA FEELING

THE BLJICK EYED PEAS JNTERSCCPE

BODIES

ROMK WUJMIB CHRVSALISyVIRGM

NEW

HAPPY

LEOHA LEVnS SYCO

SEXY CHICK

DAVrD GUETTA FT. AKON 6UM,'VIRGIN

MEET ME HALFWAY

THE BUCK EYED PEAS INTER5C0PE

J AIMERAtS TELLEMENT

LADY MELODY

EVERYBODY IN LOVE

JLS L . "

PFLASTEH

ICH + ICH DOMESTIC POP

■i

FIGHT FOR THIS LOVE

CHERYL COLE POIYDOR

HEAVY CROSS
THE GOSSIP COLUMBIA

f«
13

17
13

TIK TDK

KESHA " '1 MONEYi'RCA
PAPARAZZI

mOYGlU !■: "'.';f. ■■I., 1 ■ 1 1 .... .
RELEASE ME

AGHU CUPFNIIAGf P(i'3 BEAT BLU&AATW

BWTHET SPEARS Jrvt'JLG

BAD ROMANCE

UWQIM5TSLMAfe.lttMJftOg«Yng,WB13OTE

EVACUATE THE DANCEFLOOR
CASCADA 200LANDiZESRALATIDN/AATW

NEW

1 NEED YOU

N-DMZ ALL AitOUND THE WORLD/UMTV

NEW

LES JUMO
IltMO SELESAO UP

EMPIRE STATE OF MIND
JAV-Z • AUCM KEYS ROC NATION

EURO DIGITAL
SONGS SPOTLIGHT

[NIELSEN SOUHDSCAN

INTERNATIONAL! NOVEMBER 21. 2009

PFLASTER

ICH + ICH POLYODR

NEW

HAPPY

LEONA LEWIS SYtO

BODIES

ROBBIE WILLIAMS i IHVSAI iS.VIRGirt

MEET ME HALFWAY

THE BLACK EYED PEAS INTERSCOPE

NEW

BAD ROMANCE

U»OYG«a:-.I+:.WU't^»lAl.tltl*fi''IHe'hTB-iW

NEW

RUSSMN ROULETTE

HIHANNA -'.R^ riff .1AM

SECRETS

DNfHfPUBlIC r/ i 1 ' s i\'l -■ ■

NfW

1 WILL LOVE YOU MONDAY [365)
mjflA OlOM ■ -ii fij- l..'.\l . :\\

HEAVY CROSS

THE CQSilP . ' I' .■■

1 GOTTA FEELING

THE BLJtCX EYED PEAS INIEflSCOPE

Veisatile vocalhl Van«sa
Amorosi gains her (hiril top 10
d«biil album on Uietastnlla
MlMK (hart Willi "Itonloiis"
entefing at No. 7.

\zmia pnooucEKTow

AUOnnOEOI NOVEMBER 11. »»

STING

IF ON A WINTER'S NIGHT CHERRVTREE.'OC

HEV

MILOSC UWAUA? RATUHKUt POMOCY' til

AGNIESZKA CHYLINSKA
MODERN ROCKING t":UATI7r4

KULT

HURFU'

TOMASZ STANKO QUARTET

DANIEYES -1 W

NEW

MACtEJ MALENCZUK
PSYCHOOANCMGVa 2 ALCHEMUROSaMVi'ii'fltf:

RAMMSTEIN

LIEfiE 1ST FUfI AtLE DA MH' OR.' UNIVERSAL

MICHAEL JACKSON

NKHui .oosoN s THS IS rr esouMnmai MU€Pc

MICHAEL BUBLE
CRAZY LOVE M J i^tfKISt

VARIOUS ARTISTS

SIESTA S . MUZYKA SWIATA - PflEZENTUJE ' M <

EURO

DIGHAL SONGS 1

MM tiS

x!t! «1S
3iB

1 2

(NIELSEN SOUHDSCAN

INIERNATIDHALl NOVEMBER ?S. 7B0S

MEET ME HALFWAY

THE BLACK ETED PEAS IN1ERSC0PE

i 2 14

HAPPY

LEONA LEWIS SYCO

3 NEW

BRITNEY SPEJIRS JIVE^JLG

4 4

TIK TOK

ISSHA KASf MONEV/ROA

S 1

EVEHYBOOY IN lOVE

V s

FIGHT FOR THIS LOVE

CHERYL COLE ''M , r Dtlfl

7 1?

BAD ROMANCE

UUY GAGA . : I. MM-fltWraWBtSCtK

8 C

1 GOTTA FEELING

THE BLACK EYED PEAS IMTERSCOPE

e NEW

1 NEED YOU

N-OUSI ALL AROUND THE WOnlDl^lUTV

?10 10

EMPIRE STATE OF MIND
JAY Z » AUCU Km ROC NATION

11 NEW

ABOUT A GIRL
SUGABARES tSLANO

12 NEW

YOU ARE NOT ALONE
X FACTOR fMAUSTS ZOOB SYCO

13 S

DOWN

JKtttMtaVL WMK CASH ■/ v \ M,l i-.v. H.».m.

14 S

BODIES

ROBBIE WILLUMS CHRYSAUS.^IRGIN

IB 7

BAD BOYS

AUXANORA BURKE FT. FUl flCU SYCO

EUROPEAN
ALBUMS

ii ii

1 NEW

INIRSErnLiaOARO) NOVmBCR 11. 2MB

ROBBIE WILLIAMS

TOAIITT KILLtO THE IflOEO STAB Lf*l T'^UU'.TiL.r*

2 1

MICHAEL JACKSON

MICHAEL JACKSON S THIS IS ft UJJ EHC

3 2

BON JOVI

THE CIHCIE . n\?

4 3

MICHAEL BUBLE

URAZY LOVE ' i ■ t^HISE

5 4

RAMMSTEIN

IIEBE ISI FUR AilE DA MOTOR UmwiRSAL

■ a

THE BLACK EYED PEAS
TMEEND ^.-.i; ..

7 6

STING

IF ON A WINTtn S NIGHT i,

• NEW

JLS

JLS i

9 5

FOO FIGHTERS

CAEAIEST HnS HOSWELL RCA

10 KW

SNOW PATROL

UP TO NOW tifinrj POIVDOR

11 S

MUSE

THE RES1STAMCE Aat. HELIUM a.WARNER

1^12 41

HOD STEWART

SOULBOOK .1

13 12

MADONNA

CtLEBHATION i'- ■'.■'■.L i i n.i:

14 11

DAVID GUETTA
ONE LOVE '..IJM VmyN

15 17

SOLDIERS
COMING HOME i'.HI<<0

EUROPEAN
AIRPLAY

ii ii

NOVEMBER IS. 2040

1 1

1 GOTTA FEELING

THE BUCK EYED PUS INTEHSCOPE

2 2

SEXY CHICK

DAVID flUETTA FT_ AKON '. .\: . f.<. '.

3 3

PAPARAZZI

lAOYGACA."-..'.'.'.:i.^ iV.^i I'lTr'^^JW

4 e

MEET ME HALFWAY

THE SLACK ETH) PEJU INIERSCOPE

5 11

RUSSIAN ROULETTE
RIMAHNA :-t-.k :'.| i :.W.

e 4

BODIES

ROBBIE WIlllAMS i MM.'. .Ml-- VIH:.!.'!

7 6

J'AIMERAIS TELLEMENT

JtHALEE M:i,i.ii>'i

8 E

EVACUTE THE DANCEFLOOR
CASCAOA ZOOLANO'ZEBRALATION/AATW

9 i

EMPIRE STATE OF MIND
JAY-I * ALICIA KEYS ROC NATION

10 m

WHEN LOVE TAKES OVER

DAVID KTETTA FT KELLY ROUND GUUVTRGIN

11 7

HOTEL ROOM SERVICE
PITBUU MR 3n5..PCL0 GROUNDS'J

SWEET DREAMS

BEVOMCC MUSIC '/.■'min cnujuiiu

13 13

1 WANT TO KNOW WHAT LOVE IS
HMUH CAREY ISLAND

14 20

HAPPY

LEONA LEWtB SYCO

IS 23

BRTTMEY SPURS JIVE'JLG

1 for weel< of NOVEMBER 28. 2009 I For chart reprints calt 646.6S4.4633

Go to www.billboard.biz for complete chart data i SS

[NOV

2B'
12009

I AMm« 5TM«W« Mm tUMMvMMo. »c.

ISUflCMOI

rti BustB Uu. ASCin C5 «

_ __ ■l»,*r,Ti:nB,*SCAPllIM

M'l lUVH WTHOUT TOU W MfiK Cap

■ .j.WiMi«*SW.W'iii(Wwtit,

BUUma IMl SESl>UbmeCiT MW.

aUOMnlAM (UMm M. H/MM IBH <fl
«L I MI m«mM iSavAIV ta« (to* WUK
BW>tortl bTHUw nfiltfMig Cup . MTtMi Mm

!)«'■ H.WW CST<
Ml nC RHMT MNB iMd<b Max Use

'^-i.a-'Vrt. Ari iiTOu.c AsWiM Nidi
milMtwWTURKtUPiKM ;^W,S(Oii B« W fm

•A.-. M -..--'v lTV-r8MSmMCiiP,1i™r

■v-iwi»!Uft*SCff|H>a3

MV vr Mt ;» CM WW nxMng. KDV.UMsd

■W Mm (SoqMTV IMS liC ISWMBMl

tSW/NMiMrMnm nMftra Cop .

lUn PMui niura Mim

OtAdNf SMOI BIMNM IlKMM:

KeWMaM

tTBtBUTanoiUi

CrOah flurNLinULWtBD

Cod *SCM>.ltUigMir HOC tK. MOI BkdMmt
Hoc tt. eKMV K PlCHira MfiooM M All Ptfr

UMrTWWijBI«F(nfHat,S[

.t^inc ^ycxmmmmuacSL

>(niMEi:n: ASURiSUECa UC,;tiCW«nn

StSlCScngtaUhwal K StSKdUlODMiUiw.
BUCTib B sun lihsc SfSiiC*! ltd Nh« M On I

_ CiMmJESiuj SMnsTuUUtMni

'a:AP:S(msOtLlnnl re HUtOGS kliac. BMHa
Conn Mac ASCJiFAirMnvttu: UBSom
MCitfVJMnonHiiK A9&>P>^M)lyi»c.
KOfMmMMsc CMimraiHsK
M|.tUMU.K1D(l]B
■aMFM «n B»n Hue EMAidfi HsK.
MteMSM b SM«, BUm Mac. SH«te Ms-

a NflMoio wmv KCVI U 27
BOMKM nu «fcc Sni MM. ASCM«I M

■KH lEU EbDMsdJCMr HukUD. SOCMOm

ir« Scaw rw*Mii» WCWIMhi Mac MWMb

SOCNKU BUmoI H« M. M, ^ HICOA

MUjEnm»Oapt llm. ASWMra] iWM
«CAnun«ai MM ' 2lM9 Lie . ASCtf ituttnt
WniMdi (UHWa. h: . IISCV.CU PAac. tN

jnW»t.SOCwCS<i

Uk. KSUPAr U) lAac. tSCA^tni Key HiK.
COnnttn «i:jlnHL>NW.KH9)

GMTUK wnmrnD (I *M Ik ifcw (uM>i«

ilSCVAJrnwtf Hm - KB Svgi ASCNMteie lu

ASA>Dilli(--- -

OHMr IMI (MM QrtttiUc. Bbi^ W UUK IR

AsovykaHMNUK fioinwn kwt. BUI

M/MHCS4I
ffa^i^ BTH f WO WW MW WMillHilllM I) II

SbcMcdW he . eiMH Haca SA M CV. SMAtl

LT45

CUM TD 'nW lIwGnm Cimn^ (Ml PHh ; I

COM nun A tn FBJZ fSoTn AIV OBon Mrc 1^

COMBER K «M nt'l M I Ujsc UCV.fn-
Cw C^Kirde. BMVBTWbnMMFUfaMeCOp
HUi»WCS<tf1»3B

caumrr uvir i^MrwQrt BMAgSwB kkac

AStAri:,„„r >.';.".jU^«,3o« ISWCSI9
cowmcASANtwAii ■■ >. ->ti9i.mmiao
i.tr.(,ASCtf«mimt

MTS VOirilVF HB »f,n * t« Vox, ncMitij

0OiCH0D(JMT|GutDJIfi.'i..'-.i Mri«ljnan0-
OOrr nJU KMOW HOW MUCI* I LIWQ) nil (UmssI

f-jretamfM: htVlttlCSJB

aDocnmu)Oih<fLrtMiiT«

0«m l«M unTMM (Mm PmUton. ASW.Qi

DOir -

H >)nM(ni U«K UMM HtlUMvtf MM -
aUliiWUAMM?S
uum tHuM MusKQap LH MCtfjlMnMt Mnc.

[)0 TOU HLWLMHLH ' iTtn-fW.kAcK
MtXI^ itoA IteicFRSljIJiml Mot FVlBtnc

ByisoviOiiNMiAhc ewsm«Ty5««sirc.

MyirUMMMSMRnnin it BUttensOl
UMMiV. he . (MQf arm Dm UUt: nu:*M
hnn] U Uwwne (Uwniiit SMI. t^jVCM wm GT

. OriMl Um. >>SCVOTDEr Mac.
ASCH^SUtoeMlUcK EMtWxrn bnnlna FW«Mu
Cop BHl HLnMUt)»lB7
BanKCSHOHBErUcnitUEU CanneMr9»

EMFMETmOf HMDitM^IMfilC K.

UCAJ'.Oter Bm PAnc itSCW/A StuUuVl FfSOUi
•I Ueat FTtSOi Fmt Mat. SISlCMen Dmhc
Msic. SOUJ SMtti PiMUm ASCtfnMMFWc
Mirbdi Auc IH»1iinti Mac

eMti.hLHiQai.mi

--- ,.JRM«cPmBl»n

ESOJWODISUtiaWMWwaMMl n..

mil

ESHM ^

EHOuniHFMfdcsFunRin'^ - — nil iBiim
}ian '-:u : !! iv;i4i0O27

«!*&:.'<■■.■-. ■'. .. '.. jjBNBfaran.

(WI.\'j:Jf -i >-..fJ .. ... ....rt:<v*SC*Pl.

I1,VI(W *!•
CVnfWMIflOif^iheafMQK tc.«SCM>\WI*i
SMMMocBMVJtonMMai HtCSX

nUW PBRiaifCaonK Mac MtU «pi

te, WCtf.BhW ttec. WW HLH1D025
— nt, WoiflW Mmc BIAn OtD Mm.

R0 UP IDJ ta«M PLHMu BMrtUlM Ml Hi
eUCH «trt Mk IK, lkMMA« Mm

BHSi>wM.rv Sbtb tic. nwihi nMnrg Onow O
Aitm BUIac Nr«MEriaranTM lie.
ASCWilWiq DM SttW he. ASW.fte B ? Pimm
he JUiUFvfiuaUtfclKliV^^

FHJIlWtfccgCgp.Aaijyill IE

fmJD (QOMi C% FM. ASCAPUwd MsK Coma

imiTWlBlMtWS6_

"inBRBMW?^'"'*'
WrkUCBWBIBk

inc. BurauoMMrnMMDtK-

Utanl Ic Ml Wtm HIOD

MabBMSnwauMm

C«|i.BUl(Hinr
niMUtEilMM*>M»iUAi'i iiPAri>iftit:r\()
Ismg, SWnut 9>p Mux ASCf'UitainnAM
ASCM>,eUi AonlMiK. K. HSCAFI. K. HIOIU

tM> thui M'JiD ::4ifc3n Mac HWWit Mb.:

« L«l » irn MM. JSCtfl HUHBU. CS 37
OIK n irn K IDc Cnrri HUB HOC. BWedai
Um Ci)TO«M MW MOK Ctm . ASUnvhM
Bm HiK AMHM ASW/VtfV Mny PlttSa^
Ic . BMMM MocniNMo Mma W. UCV).
MUHIC058

•DD M K lEM W UM. he. ASCWIM I* U MM
taACIw sUtf^ Sov ASCWJVI H Vne. JSUP)

ttifC'KiWttCi

onr Tm MMieES iHM nn wiwudtBidie'i

w.!^. C:.:<iit.ci (^.htMMttH«B
GOOD BNU ED IW IHU BM MmC ASDVffM
UacM ASCWAoiAWPUiWWtBWIWlwHilW-
M Fui«MMgCW. EHiSnAnhiMt.MtaUw

Gim LfE Wd* MocKifcK ASCJ^MAIV hiK
U£; ASUPiKnim Mm; ASCtfMM MM PU^
MJirmci K. WCAPniMGra lUnhw

KWxt^m^f^. /sun tt. hkdbs
Min 11 aoMMv (iiMvtmtra piMtm r

MVM tu Mb ItetaMa tK . S0CWZB»4lL
he . SOCWifitA Dnd SdCWBKt A»r MM
9XMM» Muic PndKtm. SOCWi WW. CS 6)
flOni BET IT iMi Mac BH(U BtdMool Mac M.

_B«1I«

■ITD HIMHL iUe C«VB FIMSDig . ilSCAPi tl 39

Hami Mm. BUSoW^'V SohbUC MlMMUac

HM lEK MM RMMv, ASCWAW Mek Ovp .
AS»^«tS MM MM*« AXVAhM Unc C«-

Go to www.billbDard.biz for complcto chart data

MMFMMira.Eowni&H:CsA 1^
fto L)L«WyiitK>«iKUf^ ^
«CVlS«NiDmUM.ASCliMhmta MM
'HmMaASCIIPUuftCwtaFU*^ ASUPMrtM
FWdnum lsC«PtM w Mate inl. ASCAPi M.'Aeu

HMfBn NET nu Vn : The in U(i SBHrn
SCCMTtriZniUsE. BHMi DmMm RWVam-
irmre'W&ivfiCo': EUweuscQxc ASCtf:
VHM.HI)CS7

MVOmiiHSttiwaxIMMiK MlMMmMu
7\iitiliC «S&V^OMiHMFU>UM«SA(k!

■W MM MIWv, ASCWM- HMfUMM
BWHawriWiWi MMiiiQip. BhWia W IkW

imwfLWIpwwCMilUitimBMWMwlnM-
Me FUlWq , flMtirtfm MA SEW, «^
nB17l

U « TKMIHT CSMWinviH FUMm Cnim

BwSi^AKOiKita MM nMam.«w»^
a iMmk tK. tuf^mrMMMfiiMt BytL
•MWMtSM
MTC ML avmOttUns MM JeCN-iW
MM te. IGCWM Svv UL MM BbMod

MMtK.Bui»t.moa*6

Uk BHAnMMMJHI CSM

MUMiyntiBfaiwitakr

WPn Mr KWr iFanmv MM eWkiftM Mac.
hc. WMMMi FMMv. BWVUwi I Q) to Ra Hm

MM. BumMa MoctEttui ton MK ewsw

CMMM taMa. BWL WBU. CS «7

mnn MTic Hiaa (cidw RMM« jiscMim

S« G«ft MM ASC<nm W MM be jeCVMC
" xASWSHWM«F0l)iiVibnnJiSDm£
ISCSCS1ZM10077
~Banwri inn AMMn.
E -MSSa«j5!«VJnn£MiK

HOW DO rail www go? iMNM k. Kom-

MRCMSra AM A h^iiHM, ASOVlQMteMK
AM>% aUVton^iMi WcM«Qap. Hint-

dout Rw ttac BMI HJMBM CS a
UK Ua Hm BtmS lEM MM IC- «CWStM
EoH. ASCV.'IMM FOTflWlMC BMSMtlto
lAKhc BM'.nMrdUwOmiMftASCWjM
BiKtaicalUcctK.eUfUMEKRMAtDIM nSl,

a'WSM Htcnro

LLC ASCAFToftt UiAl Pilnlim ASCf^ ll 43
lOU are CmM hUM MiK. BUftaanrai l\tf.

EMCmta Scnpi MM Coi3 JSCtflia

UMnmniMviMM. uc. (md ii »

lA, >) (W* hvMoli MWnvtaMcPiMslMv
Qni. MM lUKiim Mac PUMm MO«
Hiimita (Uttiaa BlftSxib Bit H an Mbc
BHCfenn 9Ktp Hc(L Mw CM n tomn.
BMftKhc tom UtK Ona. l£C/m MM Cap.
.VSCAFf U B^dwcd MM tc. BIA MJWH IBH 76

UM Arm ni BOK A] IM Mm, BUOoWtt

HM •£W,Z>Ti>rrTOatMscASCtf)CS%
ll)lll«WFI«PIIWaW0&M«Cllf;1Wi»Om<

UbkSeuisa s»Li«iMnHbiu«*sciipaiJi4iii

S»LHbIv Sal Soatft. ASDU>Mt Mbk cop. ASCJtn

LOW GawgOMI iBMFW, MQa Ktac BMW
ElxM>aMI4acW.BWQ(DM*ncM*q,BH1A«v
%M R<tM«. ASMM VIMU> HOMav Canm.

— . iB./4c«'»BiM«»«.

^ MKMl^nlMMn:.
ASCWm WUM MM JifiCMt, H. fl»i BS
UM BMK (Mm JMMittM ASCtf>1M tol
Mac he. ASCM>«^ UtK Mjk. ASCWiSBtt Oa
Sntp Amaxa. ASCWS1 Soati eCtfifM IMana
Him K MflapHahMM Ml. UMBM HIOKS
UM UCaWT (MeCiAHM. HSnM FMci
MM. BWMrolmBtaM RM*q Cop, BWtBMi
Msc.B^WW.CSSB
UMUMMtSMMTVCiaiNMlMr
*SCAP,W, bad aW. ASCJtfWmSa
ASCAFAMiBMScnKeiUMll
Deadw.Jla«^M/l£u.CS«

. .-- , - . „_ _B)f«iWira

he MftitacMaKhc MMMatnASCtf-A)!.

top^jecAnsnv a ita MMo 9h JiaciPi. V

.awPiMftmASCmWtolM

»%c.aHaiaKkndMM

K.Ml!l.

M«vAr/ MM IK PRS). WU HiODl
! nin OF If ML fii taU MM tc. AS

niueMa

ailMi«».W,BHllp

OrMMMAkVra

*SC<miBteUnlM

PBETTV MMM M fi« ntiWan A!

CiipM»i.AStJWJIhlNSW«»l>«aKU»»i«aw«w

Use ASCV.fU Apd MM he. ASCAPMa taaacM

ftt^m«CAPi w;imu, BBH «
ncm WMB iBwAniMac. A5CM>.fU Jic«l Mm,

W- UUP'SiMt'AIV t«a lie ASCVMiuMl

ASCW.H.IWS

, eZSfiBUCASCJU',**!

Ii TteOMftdMiv ASCAr;SayKrv IMnv*
ASCAnUMMMtlL (fiUfVMAlMC'UiUMt

■BUMiCnniaMiUH
FUMMgihanahcJ

SMBb^ann ..

ofeWB ttne. i£cin cs IB. moose

RBiErjMttI«MM,ASCM>«MFiuM>MK.
ASCWBI W MM M.KCiim. Mm Ml
ASCIAkMilJMMncR.BMSM^^I
BUtetaHM MM). AS(WSnv*n£
ASCWMfeNM30lUMAr''" — '

-col ASCVVJS
!i<awtavicJlamMs

TMTi HW CtUmrr Bm BOUiMnasa Mac <
psmn AXvm M nWMM ASCAFWte
«MMm kE. BWSlMBanMrMM; BUM.
MM ASCViWnh > Mac ASOn KMiCS;

1MBItOI»(SinKaCinaMlwiHaic,ASCiVll
a Vlh<M«|I. AKA^Iipl MoK. hTMO^
tekMM MM ASDV1. M. CS «

1t» IWirinlto M KSM Atan.
SESiiCaiil FowMMSESKXHw RM
l>9oa( SESN>ta N M EMMnaa tic.
/OM^HOm (WeSovM. ASCABUMM MM
nnlcnASQVnrMM^rM ' ~ - .

Dt>i1La;fiMl.>t/MU.ntHU

,EMt,IHMHBfZ3
im 1M (M WMac BH) RBH ii

nmimiiciiiiEMMMBc K,«scAni

tacaMMi *SCM>fiani Oin«Ui. AS6VMR)

AsctnacMM nMA« AficmwitecaM

nU (9ta TTug fUMaq. MWdAdor Wttrn.
BliMUlm'«Ulifai£«ECtfr1MBlgd>TO]di
iKjUAmaMMac Mt.lt.twe

■,Byamam»r43

naH«n,hc.ASCN>l,HJM
SmELeHCDOiMHMI

HMBMHMntr,fiHf

.« Mate MWm D« Kaa At
L«CAMi*Bli

SmLliC,

U (MM ndge MM M fBH S8

■> SeRH Ufl, BMb ht/MM OH «
ICMfTBlliC ITNH (Scm 01 liM BUK^
MM MOI SkhiaDd Mm K EMM MjK Cw.

•eCAPiW AUM nim MM KUPMMat I Mnr

vuKfit»misaf\Hjm»csx

IWIMHOmttC&RBUIUMVlK MUkM

OrUnralic S£S*OM»wBocia

— - (\iwj>mc«p («;■ Hjym

FVOUOMTKNCW r. l^t EMIMBIiMKal

IV rWJ R£ WtWUt HIHb IF I WANT (DU TQ) I WMCTTDU
TO ^ i :;-! -;, .. 'MiU^cJMgfataMid.
AfiCAP.OiliicKllAnc (c,ASWn.*t,m(XlW

inCMniMoiMM SESiCtaaUmvAaiM
>K,BW*TOIWaMa>UM<aia».MlMliirtl
MMe.>c.MB9<iiMMMi«awOrU«»«

BWLht/mKnMii

IflnffN (U nn MMAfiCmWFiMiM Mac
ASOWm 4« MM M, l£CAn«mB t» MM
M««V<*tVMM MSngMBMl ASMVDabM
301 MjK.ASCi>MiteitayO)MMlc.StSACaK
fMf HM SESNMMDM MM Gnai ASCAP/HB
MacCa» U0ViFt,WWinilD9RIW»

lOIFmfmMMi'xnMsc.BiKliimirHat.lie.
mM) MmK, BMGMry Ita, MiftMteaiMi
WMa« «QW«M icM Mae. he. ASCAMutiti^

BmW & Ol. Ht. ASCAftftiB Edkn, <UCtMl
OAMCHlBlI&Ua
I imRD IB flMMTOMM M-^'ATV SoHK u C
BMWWrtftliMMftMWBMVJtawilualL

IMMh^wiaAaAraDagw

UMMM leUPMaiQ^ ASCtflfU WMm.
Iv^, ASCAmi Mt A RM Mac. ASCAPMrinlfiiaK
<GC>AMXN Mac FweWqlmsia K, iSCAPl »«.

CSIB

I UNR BDODOMul Mac, BM) HEH 31

I UmiV na inMeh IWm R . BNIUnOTtf MM

-ZSmBUi NLWUmn
MIUW (Sm'AIVUlM Mac ASCAf.Urtto* Mac

mUa: ASCAP.St]UiulBuCB.eMi

lie a;

»ist.tt. _

H._CS?,HICOr

■ M (Be FUMtaig Dngm 9 <uMy IMtan

MWiAaCiiv.M««BJKrr
iBkMntfMMiK

niODOO V,- ,., , ". .'v.. -^ASCAPffMIW
^i'" '•••patanMaaq.Mt

■•M s lAH itvtHTWHeiE wt MB gamv IMn Kfr

wira i>su« ASW.tMi MsAiMm own.
MiS>v9UMari. K. ByHM SchttPlMira^
BMAhMna MMCMum AXIVKM FIM^
ASC«Vh»F«to *fiAm HLWUmOSH
rrnUI ME iM ^ -Mt:^ ASCAPjStrvW
LI- t. -.-. ^u.T-. ..i -yiiCAtoeSjBQnBO-

I WAHHA *(AXi Tiju :msF YWR EIB i»a« « nw

rsWmMBtr -

namiiso^rtivtofUifaMiiccnm.
srti MM n% K. Him 91

UET CMMMZ |M Itac Qw.

[AaMac»,ueMllT2I
IMMac Cov. ASCARSiKEknw My a
' ASESACaifairMac.

APiWkmltnatM Fiitsuq

MMbi JLiW (MtMta MM SSvtSgl^N^
SIXMWtaba rUM«ii M SCCAMfU AM Mat he .
A5CV),Ft.UI3
■OKBK iTitV N- GoU FUMHB. BUmtoV%rtm
P;tt9«nCup.BUWmaanEllM|,lWMmH
K BHMDH « H lU lata Mac MHM« hciyO LT

c, M'teMgrac BMOwynia, _
Ma FUfthqi ASOVlW W Mac L^ .
ASCAPM.$MM6mnUEl«)0ASCApf^lVa
MMAailMUSmASCAACIcrrpaiiMiui:

OWWVSoosUC,

IUM»MBWW(iirBfD&Mac.aiMn-
Mug MM K , BtHMB Atoc HNa MM
IJIB UI. «C«VjMaib8n«N«
. , bMM WMvUMht BWtMT

ASCAn^VW>IOa4
Ml Ml TOWH (tU AM MM he ASClfWt» Btn
Mac ASCtflifte GfaiaM. FUHW Ic, BUM
. — -„t(tti,JiionMB

■nmKUi:.»MkM«e

'^^^Sta M EMI HIOD 10

Mac. SCKftIn Ita MM ewhad nc MM 1

BMLit/MKCS*!
nW (EMfan MM ZSKMUr na CMa I

SM(»omF» WL BNHMMnMM lie MC

baiCtn<&ftBMICSI4
« (wSaaSri Mac Mir CUi MM MMa

MM MflngMErSak, BWgi«Mac M«

OMMlCsTKI0e2B

mr sitWMti KCMuxna MM - Msai

ASCAftOiBir^"— — - --' —

MacM.ASW,HAWlHHpt6;HW73 lWMBlM*imiW«(l*A(«

ASCAPMCms

HIM '5

WfiUinTOOOKTIlGAMMnfitntv

Mud hi: HUiiia
MCAIUHuaiAnjr.ut>IWUKm«ASC4>11I ^

UE (UKMoai Mac h: . Bl«. «m CS 33
TMHrFbww Fntai^JFUMBOnm
H4^i Bof MA 8WWm«n|AtF3wiV

HSDfVtMMtBHK
TWnWMfiM1lMSamASCIR»-««v.
Mac l9«mt>M«g n£ta« Ca», M(CS I&

ASCtflXSw

""lUPMMIUBMBflilWIITffllMiAUM

i«Eiwm sm tie BMiMM PuiSra,
M-At AiamaK tt, lOWWinntfi COM

™H41

TCOncre (fMc LJH CiMMl he. ASW

nnn MM> MutaiSlfta MM tt. MA

Myi Mis^M^ OIWlbiMIFWc BHVIII
— — - ^*«cM<PJA- ■ ■ ■

H a3MnBCIin) :,hMrd Mac MGB Sara.

lUJW OCUM BU lMwPM«ara KOratl Aoti
PAAchc t^uv^uniaiferaiasACUwtBatoB
~):S>CSxv 0 Lmeral K, SEUDSm Ok Mac
Aima eWf 9JS, MfOUd* Dm MM l\CM>ft
awi tCVAAmiS

mn TO Hm MsKf uxk MM Mi^MMmr
i^fcMi] he. MWMwlKnin l\fMm

HM-'tuigQunniASCAP.WMscCap. &Cmnt
wme 1 1 C . BUM Sacanoo Mac K . Mira ftMfi

•gos^n 01 u-vv ;m] . ti.vieu H 1 0) 34

m GHU l~t<tMdR Ma: M'J 4 t McK M'JfF
MM MIMEfadOKolUatn (MVcmMk
ASCAP,WIAert<MM: rcASU^.tUKiliiCtat^
IWq. ASCAfMa Mb PUMwQ Ml . n , F»< n

. Ic MWOOeuiitSWaMn

MWferOaa Soast. SlCiai F«9 MM
SS*C/*>(illaOa)MKASOV«at>Bu»iMac
ASCAMaeti ArtTOM, Ml MM CS I, HtOO S
no BHHBiMfiiiMawteartta PidHHO
Oxp. BH«ni1hf OfenaMan W . SOCArtaK>C
MMIK.S0CAinBaDa9ri,SUlHtatA(UrMM
SDCMUiml MM Z UIB lie . ASCtf^Ol-OMM-

Bl MM CsqnMn ASCmMmlMOinMni

- ftigCAfVtt/aMAmilB*?

AECAPM BMMoaMM tc . BUi
lOOBI IBH14

MMM Fkoa M«
MraJMOhe MM FuAh« ei
MwHSB

Mnn h ne QnMEUlBM^ ASUPAM Faao«^
HDK FUMtfag ASCV,iaaBiCA.. UC. ASCAmnM
H»T! MM n.^Uti( ASCAPAI ip» Mac he.

4,=tAf .tniCrtrU FilKUMaM. M

aSAafUMiMHFUMniAG
Mac (Ulcmg Lie ASCAnll 19

■aman iMN OM MM lie. Mira Fuwim

□■MMtaAiM* aMim MM BBdHaHl MM ne.
ewA«Fn*4MaM nttMagOw. MfttM Mny
FUaamhe, M|. tiAWUWK
HUWBMlRWrUMaaR EMfUNMMMC
ISongt.BwliiBkiMBc.B«HiD«MI WKai^Q
Unwu ac_ MWmM liteOwakn
ASCAPIlRdv MM lECAri rt/MBU. Wl 1 5

maKMacPiAUniAS
ASCWWSMMIUIbtMaJ

Bciaofi AscAPi. HMWHiaoaa

aM|ta«iAHMMnMMB.SESAC<lM» hiK.
SfSACScngi a llfwM K. S5N;itlna MsK
MMacaOaa Mm. BUB KMM. FBH SS

0 lin 00 n bar hWHa ASW FW U

wmim.amSi- —

igCe«.Ei«WTMMEM|.MAKM
H1[D«

UOriOMnMi (Wgna BNOMacfUHMa

A£CJV>m MntCov, ASCV^Mna tanwinMi:
lioac MWaai^ialn niMMo Cap.. Ml w Ma
ue MAC MWntOngntOUMyUau
BMW BUMGd MM he. BMSa I m SknM
ASCiPUaacl MM COHOMi UCAF/^m la Pia

" " UC,^ ^„

Hi^UjGKF\iimu.M
KXiWMrrjittFfn [meUcK (scAPiucaMi

DM>Uei..BM'24USaDsLtC.tM(%(iTTifiK MM
U«S)m[rran*,he BM^nsCiUrNaa k
MCod Cai Ljk MQWMl iO] . AXAn .

ttnCNOimapan BaMMACa. he. ASeiP^dnm
SoacFM FUMan, «CAf^SayA1VHin^
ASDVniM PMi£re lu ASCM^SMpAWScroi UC,
M4ta Saras, BWHU KUn Eflpa Mac
BfcWiBUi-ijjTAinOOt

■ICMIf(ThaCa>TW-'

ASClMMiWttat— .

CUM SlAaiB Qmci MoKSoan U.

ttlMlQ)BHac,MM

-jattacaMtwaMK

BMWMKMMASWfCSSS
M EWBMS Mb« Maca. BMfkM LatDmni^

iMscAniifi

MaiaB|SaafATVMataAfiC««a««IVOw»

MMIWaB[lC,ASCAP)Uai
niMWM^tSmiaiMMASC __,

ASOimaMidAS&intliutSBnASCM>ICS50

ttmiiiMXjimwM£^ASumiS^

Cn ASCiP/kanran Im ASCWWMSI Mat - 2
UC, ASOMaMalm MMM l\Mlm
- IHBttFHtMHftASCtfTimMnc
noM SOV hC, ASCAPl. HLWW

jPUMaBdnLMeaaMsc

a CaibMn BUMc MM W. MSmx
B IMC BMSns Itc BM MM. BWJnT
MMaMMNHUacOaHDHiLASCAfnHiMr
■ w».4|. ASCAMiBOnMa Mae Od*. JeCAft.

^i^lB^csaHtl)D5^

iWUiniM.iSMCiiaMme,ASCiffUaMi<Ma>.
Cvpnkn AfiCtfJUKBiSaft ASCVjUAptI MM
M, ASCV^WMi BUU ASUP) iW «

soooooMantiMMiisummM A£c«m

MMCBg..«SCAW*flMMM0«».g5AeWa*QH

H_C£W

TWO n KTTBI THM OM LWnilJMTbui McK

ASCtfAOMriMJOl H

KCfeM. SKOMI Mac. ASCATMr .

IMBROWUi BMMaC A5CAP«i W Mac
ASCAPAawiaJCfcMBCASWWr^- '
""noMC^mw MatCms. AS-

HKIt^MOltCDiaO
tHBMOfWiiiiillaiiMiif

KIOOU

nnMrta&wASWAimCICom

AISCMVMW n MaMM ASU^o^
IMBlftnMM he

lavMlHlODZI

toiMM..._.

MMASCAruMfamiMMI
EMUkchanMFUMav'

nOeOMOIC SOvMolM}. ASCAP,fUiW Ml
ASCAfMMgs FUimg fmrn he. . ASCAI
Pnctca M'fean>S[KIFUttftr«M'^ '
Mac ASCAPl »t.FEH$l

wim (snofioa^ Mac ASCVWApa mi

■k , AS»Pi«Mlc Dm UiK Qm« «SCM\M M

cup. ASCAnna W GM HflUMn B

r^ftwmr^ mr 4jV«m«i5).
nfKjrtAcryr ■

-, ^HrniQK .MVeMfi

MLOMf TO IHE Fl/TURE iltine 01 Gnat Ms

liieraUMAManMUlGBi

rMMtUBMaaASCIPAnJaifUaMn

ASCimxMtTiAM LU; ASCAPHIoii^M^

C aM)M<tMWnrMacAScSSo^''^<
C ASCAMFaoanSaavllLnfiMiwMaeCa
ASCtP,gMtf>OaaaaaH ElMwv Mac IK , M
ipiW>fcMBcflM)Hi003
HHDEBBIIWLIIE iCaatOUi Piaw>« MW
a ftMaaanCiip . Mmofi MM, Ml
MM ASdV>Dleia()Ma?iia>t M_ M

\tmmi rc MMaaJOMSGACUwaMbcc
SQACWUm FIMMka ttCAIVASDVfMMmi
DBMMOinietAIWFttlinnfMWMMIC.,
MWMiie amamat UC, BMi Ft/am. FtlOO 74
OMIM^m D Ita UA. UQVilMOiin
ASCi>nMe«BSai|ii MOSS OatoK ascv**^
CcnvMat ASCWUMart Mac Csmaar,
AfiCMVtMM MM.«CAmttia So* AECAP.^
OnMwtfLK.BMUaMaiMM UGGSetv.
ASUn.M/MN.m003

owmi OBI iMHiMB Mrsovwrv soagi ae

MSoaRAIV Hat IK PfSm BMMCd Mac K.
MBM M En Mat, B« 4. ma067

urmaiiPnaniiTuv

MMm&HMilSCAfUkauMUlK HUf^n
JnwUmaiMM PWtiimiaat Mat. BWDatti
Hoc BM%m CI mk SESACServ « CJqm ^

omMK HV wnWMi a Gmx) ta Mu Mac.
BMMA^SMgL he . £lSADAiAj Mac K SESACm
W MflChc. ASCM^Saav Sengs tS^P.M Cos

Astw n-csa

U.(S*igO(C»i»e. »££Af,Bm

NnOIBFMMStSllOHnaia

AfiOV>iS0MA1VbmUC
DMSpBl6CA«j.HLI»
•OWMTIUIWtMM-AS

ASCtfiCawSpi'ltedjSitiwiS w
M0I OVM FUMHa BMV Ft, FfiaoK
■OUnm mx v-SovATV W FUMaaCowa*.

BMTurikuciunu: Mlm MrtqrMK. M. >1

I'M I HlC(i*9

SOT moo ruVD iHim MfiK he, BUI U M
IPOTUBm iFim iM Mw Gmcura^
Cap ASCWiaaAK-, " '

&iftSGi£|iwi»
BOHOgOT CM BRBK (BW Oaw Mac

ASCNM>*i QCtaMM ASCAPiSannnMac

TVfcfaaiitASCAftMMatBlni

"«.HLieNIB
jMMASCAfVOIAtnMMlK.
ASClftMlwche.ASMW^'MaEntMw

ASCAraHAdlMMkcia^Ft/flW moOK

mMN IM (IHnai MM ASMWrtaW Mm

CouMDn. ASOin KMU. MH 74
ma (Man MMM MFoa Mm Mac

M««MHMMf«ueailbiinMM at).

SUCGOIfU, mmrttiatn IMWaq Con M Trr
FWOantogMrOl Mar Wail HUe Wit
BH«lBhd«aadMac tc. MWs to U i'<
BH^MayfWaaqW.SMlHUlKW i''

•UnElUMmuMac CaNnMAnKucU..-

e 4£CAPiCSI))

.jiVMnaraiiMnMKn^MB

ifiCAniBHa
■MBi lUJ lacM Mac BM4 UM TlMFMM
MSaavOUMnfl.ni.,BMlMrnUadvAI|icK
A5CiiP<1nM»Mac CoptMsn aSmwMbEi
MM BMftfl MM tt. BW HUWH HtOOaj

aSAC/lraaffHSBN^amn^^^

SESAG»ryMc6naStS<Qra 3B
IMIt IM ISa««TV la^MMOma, M

Oa|FMWi«MlMalMMMM(MMIM

OoB MtaW MM Hk It. CS HMO 3
■Wlm jSpactc FBn MM ASCWVSmwMVIj

lieASDP|,Ft.HI0071
Mff B|i* Qi Itaa Mac itfCAms MataMK,

ASCtfAM BMMnd MM he. BUHMe iSii

BUIMJWH.CSI9

Mrrran M JHBI OBKC (smtMai iwai
CotmJIWMame lm BAAb^
MM eOMW liMfKMnMnK M.
ASMPfl* M MM ASOft Fl, ft « mJoSB

imiiNii rur wMn j^MiATv cna «ni

FUMmASCAfVlfe^^
CHBJMMeMaala,^- - " — '

— tCMBw

wamr—KHCPMiaamASCWU ii
ytsmamv FaWwMMiKCAPAiBMMC
^:aP ^i3lt(n(Utatfiagte».MQDI«Ms
< . U: MacMWabnaaaafUMW
'", .VtsF^MMefin^Mt ASCAP/kai
'«3an».A2cVt,HBMFWH
<iAJiiL.tii«lHMlCrSaaffrviKFU~'' '
'>^^--■.>^MKMnom9afll

mVTK HOrW OBB. iWiawiai FU

Data for we«k of NOVEMBER 28, 2009 t CHARTS LEGEND on Pagi

EXECUTIVE

Send submissions to: exec:oibillboard.coni

ECORD COMPANIES: Sony Music Nashville names KerrI
>x-Metoyer VP of sales. She served in the same role at
'alt Disney Records.

EMr Music names Shane Naughton CFO and Kyla Mullins
^neral counsel, effective In February 2010 and Nov. 24, re-
■ectively. Naughton currently serves In the same role at
3M Information, and Mullins was group legal director
id a member of the executive committee at ITV.

Warner Musk Group in London promotes Jim Reid to the
•wly created role of senior VP of synchronization for Eu-

pe. He was head of film, TV and advertising at
arner/Chappell Music U.K.

>UR(NG: Buddy Lee Attractions names Kevin Neal pres-
ent He was senior VP.

APA taps John Pantle as a music agent for Its concerts
'partment. He was an agent at United Talent Agency.
Live Nation Florida names Carlos Orjuela Latin talent
lyer. He previously ran his own booking and concert pro-
3tlon agency. Orjuela Music.

-Edited by Mitchell Peters

WOODWORKS

RTtSTS HELP BABY WINSTON

iies frontman Black Francis may have his hands full balanc-
> family life (he and his wife. Violet Clark, have five kids),
ongoing Pixies lour and a solo career, but it didn't take much
ivincingforhim to participate in a two-night musical/com-
/ benefit in Los Angeles for9-iTionih-old Winston Berlrand.
lo was born with lymphatic and venous malformations.
"I saw one picture of Winston and I said. 'Alright. I'm in.' "
incis says. "He's too culc, I can't stand it."

The first Winston Calling
: >L ncfit show will be held Dec.
s ai the Echoplex and feature
I : diicis performing solo and
V. illi members of the Pixies,
plus appearances by "Weird
Al" Yankovic (who plans to
sing the Pixies song "I
Bleed"). Michael Pcnn. Flea.
■H8. Grand Duchy and members of Love & Rockets and She
ints Revenge. The following night at the Echo will feature
nedy sets by Tim & Eric. Bob Odenkirk. Pbcies drummer
vid Lovering and another perfonnance by Frauds, who will
it each night.

'I'm hoping to raise $30,000 through this benefit," says
irk. who helped organize the events and plays in the band
and Duchy with Francis. "It would be nice to see it become
early benefit, at least for a few years until (Winston is| out
he dark times."

vloney raised will go to Winston's family. Clark has also
rted Winston's Village (winstonsvillage.bbnow.org). a Web
? to help raise funds for his medical bills.
3lark became "e-mail buddies" with Winston's mother. |en-
er Berlrand. after reaching out on MySpace to congratulate
■ for winning season three of H DTV's "Design Star. " " Since
- whole family was kind of addicted to HDTV at the time,
had all been rooting for her." Clark says.
Several e-mails later. Clark learned about Winston's condi-
■1 and decided to help. "As a mother of five, it hit a really
■p chord with me and I was moved." she says. " I was hearl-
►ken for her family." — Mitchell Peten

m left CMA Wmrtfrf James

Randy Travis i - "r;<d
I J . Tom Whallfy John

Ricti J i.:: Tom Gossin -■ ^ ■•■ ..i ,i ,it

I RIGHT: Universal

] Music Group
I Nashville cele-
I bratcd multipio

CMft wini inlth

I an after-party for
I staff, artists and
I managers at
I Cantina Laredo
I From left:
I Jullanne Hough.
I Rascal Flails' Jay J
I DeMarcui and
1 UMG Nashville
I chairrrian Luke
I Lewis.

1 lESV OF PEYTON HOG£

RIGHT: UniverMl Records
South celebrated country
music's biggest night with
newcomer Baytl* Brown, the
Eli Young Band iwo-time
nominee Randy Houser and
former CMA winner Jo«
NIchfrii. In the front row. from
left Ell Young Band's Chris
Thompson. Nichols. Universal
Records South president Mark
Wright. Brown, universal
Records South senior VP/GM
FIctchtr Foster. Houser and
EYB's James Young In the
back row, fronn left: Eli Young
Sand's Mike Ell. Universal
Records South VP of promo-
tion Ttddi Bonadles and
EYB's Jon Jones

2009 COUNTRY
MUSIC ASSN.
AWARDS

The 43rd annual Country Musk Assn.
Awards (CMAs), held Nov. 11 at the
Sommet Center In Nashville, were co-
hosted by Carrie Underwood and
Brad Paisley. Paisley picked up two
of the night's honors: male vocalist
and musical event of the year for his
duet with Keith Urtjan, "Start a Band."
Taylor Swift made history when she
became the first female solo artist in
more than a decade and the your>gest
performer to take home the enter-
tainer of the year award. Swift also
picked up the trophies for fennale vo-
calist, album ("Fearless"} and music
video ("Love Story") of the year.
Other winners included Darius Pucker
(new artist), Lady Antebellum (sin-
gle of the year for "I Run to You") and
Sugarland (vocal duo).

Sony Music Nashvilli ..i ; i i i-r ■ k and spocial guesis to its CMAs after-
parly. In the back rov, ■■-■'I ■ iTv Music Nashville VP of promotion Skip
Bishop, show prc'j'-Ti'i i I '11 I-."- Jake Owen, Kii Brooks. Sony Music
Nashville executive VP of A^vP Renee Bell Ronnie Dunn. Sony Music
Niishville VP of marketing Tom Baldrics .ind Sony Music Nashville senior VP
of sales and operalions Paul Bamabee in fit.' tronl row. from left: Sony
Music Nashville exeruiiv VP Butch Waugh Brad Paisley, Martina McBrlde,
Miranda Lambert Carrie Underwood Bart>ani Mandrell and Sony Music
Nashville chairman Joe Galante . ...n.', . .. -..itn't-^

INSIDE TRACK

NEIL SERVES UP 'TEQUILA'

Motley Cruc may be taking 2010 off,
but fans will still see plenty of front-
man Vince Nell,

The singer is working on "Tattoos
and Tequila." his first solo studio album
since 1995"s "Carved in Stone." He
plans to hit the studio the first week
of December, with Night Ranger's Jack
Blades producing, and have the title
track first single out in January, fol-
lowed by the album in f^larch and a tour
in the spring and summer

"It sounds like rock'n'roll. It sounds
like me, basically," Neil says of the new
material, which comes on the heels of
the Crije's new "Greatest Hits (Up-
dated)" album. "I'm not going to go out

and do any experimentation with stuff.
I've done that before. I've found what )
do t>est is sing straight-ahead rock'n'roll,
and that's what I sot out to do here."

Neil says Blades "has been a buddy of
mine forever." The two worked together
on the 1992 single "You're Invited (But
Your Friend Can't Come)," and both
have homes in northern California near
San Francisco. "Jack has a studio up
there, so it's convenient to work on
music and just hang out."

Neil— who owns tattoo parlors, a
tequila brand and a growing restaurant
chain— anticipates worWng on now Crue
music in 2010. The group is also gearing
up for its 30th anniversary in 2011.

NOVEMBER 28, 2009 I

V. billboard. biz | 57

„ &RiIEB,BXJSEISUtiA

■4

'.OrvtC V
Futuf !

.m MONIEY CONFIERIEiXw..

The third annual Media and Money Conference, hosted by Nielsen and Dow Jones,
was held Nov. 12-13 at the Roosevelt Hotel in New York. The two-day event was
designed to unite the most important forward-thinking leaders in the evolving
media and entertainment landscape to discuss its challenges and opportunities.
Event sponsors included Booz & Co., the Salter Group, Cisco. Loeb & Loob, Lough-
lin Meghji + Co., the Boston Consulting Group, SNL Kagan. UK Trade & Investment |
and Mozes. photos courtesy of luis garza/jowdv pmotograpmv I

EDIA- MONE'

t-rom lo^t Fjritjsv Sports ^ntures CEO
Chrlftoplwr Rusto. iMG Consulting global
hedd David Abrutyn. LenBermanSports com
spo' lie lister Lvn B«rnMm. Madison Squore
Garden Sports president Scott O'Nell and
ESPN pfSfaenl of customer marketing and ;

sales Ed Erhsrdt mjj^t prior to thoir panel, i
"How Sports Compete as an Entertainment i
Option." whtch Berman moderated

ipeakers on tnj Xi

WMiDubn^ •m4ilyF<CPD< hit lire ti<]lwnkm.Wru3ry by NwDit. Butincit Mnl<n, Inc . "0 tkooi^v. Vock. NT 1[>I>0}-»9S ^uOKnpOgn mlT nrxiunl '■!«. ContntrM U S. tI9B 00
u a rwwtpjpoi al ttia Bftntfi Poit Ontc*. Japjn K>9 000 v«<i, PonodlcatspoMsgetMlOMNvw Voti. NT. indo(a(ldlIicini<miilingonic*i Poitmaila: MnaH Mnd cfiangn of MMran 1o BUfcoai
X). MlllnaoO. NV.TOS^GatXercMUnlvcnilyHlcronimiu P O. Bcu Ann Artnr.MI 4SIDE. For Msmls conCKT Doufl Kinc. BS a trcVQSgnHip^onv >-40O-I9(VS'40, Bit IS3. UndW CMWMn
IT)L2 vol 1 Jl -^itw 47 PntUBO <n tne U.S.*. F<w Btot* wtucrlptton tKoniifltWo. call fc«6-6S4->Ml. For i>ite»cf»l»n«Hnft»mMI»cn.all aOO-WWa«PiHlWt >*»,; MT-W-THll or ■ mMI bUteoi

■d, PO Boi JS95

JLVB04RDMAG*

d) Blldoard. Howe SoyDf«*on Pvli.

IL 60O6S-3S9S. Cumni jrd Uck <oo»M of
U. *00)17?9 ™tum unOiitvo
Mr nformMMn, CM MM54-«40a

58 I BILLBOARD I NOVEMBER 28, 2009

YEAR IN

MUSIC

WITH EXCLUSIVE DECADE-END

CHARTS AND ANALYSIS

The issue referenced year-round by the most
powerful people in the world of music

Covering: TOURING • PUBLISHING • TECHNOLOGY • and more!

On Sale: December 12
Issue Ad Close: December 4
Special Section Ad Close: November 25

ADVERTISE TODAY! ^ 4^

New York: 646.654 4759
Los Angeles: 323.525.2299
Nashville; 615 352.0265/615.376.7931
Latin America: 973.452.3528/305.864.7578
UK: 44.207420.6075
Australia: 0402.431 106

SPECIAL DOUBLE ISSUE 250+ CHARTS

Cni

Ronnie Dunn and Kix Brooke
RECEIVE The President's '
Award at the BMI Country
Awards. Brooks was also named
XMA Broadcast Personality of
•Year.

BMI Country Pubushcr of the Year Sony/ ATV Music
PuBLiSHiNG's Troy Tomlinson and Martin Bandier.
Del Bryant. BMI Icon Kris Kristofferson. BMI
Country Song of the Year honoree Taylor Swift.
BMI Country Songwriter of the Year Bobby Pinson.
and Jody Williams. Clay BraOley and Phil Graham
AT THE BMI Country Awards.

Del Bryant. BMI Icon Kris
Kpistofferson. Jody Willie

Cni

Billb^rd

LORY & PRAISE ^^^^^MW (Sft

lasting Crowns / fl^^V %

ixtends Christian ^» ^^^V^. HIH m^m

*^'*'*T f^f^TA. -.-^ THE

I ^p^b^ BOSS

oEX THERAPY' / ^ 4^ m ■^^''3

> GIRL LIKE HER ''

l^ilianna Sparks
Hew Wave Off
I Barbados A«s

)CKETTORIDE

IJONJOVIi

our prkale
.ellsalBums

TALICS

BRUCE SPRINGSTEEN

On Why He's Still
Bom To Run

/liy Music
IzXtpposition
^Af^t Neutrality
imiGrow v;:^

1 CEMBER 5, 2009

\ wW.billboard.com
\ vw.billboard.biz

$6^9 CAN S8.99 UK £5 50

A . 1 1

DON'T MISS THE CHANCE TO HONOR
THE TOP SOLO TOURING ARTIST IN
BILLBOARD BOXSCORE CHART HISTORY

TO ADVERTISE, please contact your Billboard Sales Representative
or call: 646.654.4627

A portion of the proceeds will be donated
to the Raising Malawi Academy For Girls

* ★ * * * *K*

Photo: Toi

Cni

Billkofrd

ON THE CHARTS

THE BILLBOARD 200

CARKE UNOfnWOOO ;

TOP HOUDAV

AMORA BOCEUl

TOP DIGITAL

CARRIE UNDEflWOOD/

TOP INTERNET

ANDREA MNXIU/

HEATSEEKERS ALBUMS

SERENA firKR /

TOP COUNTRY

^ ^ CARFUE UNDEilWOOO /

TOP BLUEGRASS

PflmLOVElESS

TOP R&B HIP-HOP

MICMHa MCKSDM .

■ ' " ^^.ifurivm

TOP CHRISTIAN

STVEN CURTIS CHAPMAH

TOP GOSPEL

BEBE & C£CE WINAMS

TOP DANCE ELECTRONIC

owicmf

TOP TRADITIONAL JAZZ

MICKAK BIMLE /

OP CONTEMPORARY JAZZ

CHfllS BffTTI /

Hi. , in rinonw

>P TRADITIONAL CLASSICAL

CECILIA URTOU /

>P CLASSICAL CROSSOVER

ANDREA BOCELU/

TOP WORLD

45
46

fiODRIGOTGABfOaA/

TOP LATIN

EDMITANUMttO/

k SONGS

net ARTIST rriLE

THE BILLBOARD HOT 100

owi cirr ;

HOT 100 AIRPLAY

LADY GAGA 1

HOT DIGITAL SONGS

OWL cirv 1

HEATSEEKERS SONGS

UIRANOA UUHKRT/

MAINSTREAM TOP 40

LADY GAGA <

AOULT CONTEMPORARY

TAYLOR SWIFT

ADULT TOP 40

KINGS OF LEON

HOCK SONGS

FOO FIGHTERS

ALTERNATIVE

40
40

MUSE

TRIPLE A

JOHN wafRi

HOT COUNTRY SONGS

CARRIE UHDERWOOO/

lAINSTREAM RtB.HIP.HOP

JAY £ . ALICIA KEYS ■

RHYTHMIC

42^
42

JASQN ClERUin

ADULT R&B

MAXWELL

HOT RAP SONGS

JAV-Z * AUCU KEYS '

HOT R&B.HIP'HOP SONGS

JAY-I . ALICIA KEYS /

CHRISTIAN SONGS

TOBYMAC

3T CHRISTIAN AC SONGS

TOBYHAC /

CHRISTIAN CHR

TOBVMAC /

i;iin»[S

HOT GOSPEL SONGS

BEBE SCECEWMMI/

10T DANCE CLUB SONGS

PEr SHOP BOYS

HOT DANCE AIRPLAY

T1EST0 A SNEAXY SOUND STSTWi

SMOOTH JAZZ SONGS
HOT LATIN SONGS

45
46

PETER WHITE ;

ALEJANDRO UNZ FEATUfflNG ALICttnn7

HOT MASTER RINGTONES

JAY-; » ALKIAKETS

MIS WEEK ON .biz

MTBT,' IITLf

P INDEPENDENT ALBUMS

THE SWELL SEUOH/

TOP MUSIC VIDEO SALES

NIRVANA ;

HOT VIDEOCLIPS

FOO FUHTEia /

TOP DVD SALES

-1

ICE ASC: OAWN OF rH[ DINOSAURS

CONTENTS

UPFRONT

The Indies, 6 Questions:

BRICK BY BRICK

Steve Bursky

MySpace Music

Digital Entertainment

maneuvers to reinforce

On The Road

position in on-demand

Global

streaming.

Latin

Retail Track

Q&A: Rob Cavallo

FEATURES

16 THE BILLBOARD Q&A: BRUCE

SPRINGSTEEN The past couple of years have
been busy for Springsteen, but he and his E Street
Band show no signs of slowing down.

20 MIXED TIDINGS Retailers look to strong
music release schedule for holiday cheer.

26
27
28
30

CROWNING ACHIEVEMENT

With "Until the Whole World Hears," Casting
Crowns extends its reign on the charts.

INI r SIC

DR. FEELGOOD
Embraced by the
hip-hop community,
Robin Thicke
continues to croon
about sex and love.
Global Pulse
6 Questions: Thalia
Reviews
Happening Now

32
33
33
34
49

IX KVKRV
ISSUE

Opinion
Marketplace
Over The Counter
Market Watch
Charts
Executive
Turntable.
Backbeat,
Inside Track

ON THE COVER Bruce Springsteen Dhotograoli
l>y Krvvin M«zur/Wir«lmage com

Online

NEWBIUBOARD.COM

Check out new. exclusive
content on Billboard.com,
including a Q&A with Bruce
Springsteen and interviews
with Kara DIoGuardi, Rakim
and Enrique Iglesias. Plus,
don't forget to take a look at
the picture gallery for the
Photos of the Week.

Events

MUSIC AND MONEY

Join members of the music,
legal and financial
communities March 4. 2010.
at the St. Regis in New York
to explore challenges and
key opportunities shaping
the future of the music
business. More: billboard
musicandmoriey.com.

LATIN MUSIC

The Billboard Latin Music
Conference & Awards will
take place April 26-29 in
Puerto Rico at the Conrad
San Juan, Condado Plaza.
Don't miss tl>e most
important Latin music
industry event. More: bill
boardlatinconference.com.

DECEMBER 5, 2009 I www.biliboard.biz t 3

.OPINIOR

EDITORIALS COMMENTARY LETTERS

Pain In My Heart

Piracy Is Exacting A Heavy Toll On Independent Artists Around The World

BY GERALD SELIGMAN

"The music industry." These days the
term Is almost spat out, muttered with
dismissal, disdain. "Good riddance,"
they say. " Piracy is just desserts to a cor-
porate industry ripping off artists and
fans. The industry's demise is a good
thing. Death to the gatekeepers! Long
live democracy!"

Watching the major labels flounder
and htigale. it is indeed hard to be sym-
pathetic. Slapping I4-year-oids with six-
digit fines wasn't designed to win the
public relations battle; it was designed to
intimidate. Yet all it did was lend one more
rationalization to those who justif)* theft
with the whifT of good deeds. We're Robin
Hoods all. stealing from the rich and giv-
ing to the. . . well, tooursclves. And why
not? The artists don't ever see any of the
money, anyway.

At a recent arts conference in Maputo.
Mozambique, a young European pup
from the Observatoirc Culturel ACP
(Africa Caribbean Pacific) in Brussels,
did the ycah-sayers one better. "Piracy
is a form of cultural diversity," he de-
clared, erring on the side of cool. Then
spoke Abdoul Aziz Dieng. chairman of
the Senegalese musician's union, his
voice cracking as he told of the loss of
income to already impoverished artists.
"W<? m*fd hflp," he pleaded. Not clever
turns of phrase.

But wait. Artists pained by piracy, hurt
by the accelerating collapse of the music
industry? Yes. indeed, along with all the
honest players who have dedicated their
lives and livelihoods to music and the
artists who make it.

For the music industry isn't just the
ever-shrinking group of major multina-
tionals with stone-age business plans and
lawyers' writs where their strategies
should be. It's any artist who wants to
earn a living from his or her work — just
as all of us do in our own professions. It's
any small-label owner who takes huge
risks to bring the music to the world.

Look at the past 75 years. So often it
was the independent labels and operators
who supported, then sustained the best
of what has come down to us. It was the
indie sector where Ihe commil meiU was.
the willingness to fund unlikely choices,
that first risky step in a possible career
for tens of thousands of artists. Sure, tltere
were major-label saints like john Ham-
mond who signed everyone from Count

1( is lime to
express soIiclaritN
\A ith all those
who have
brought us new
artists and now
music and who
have h(»l])od
sustain the
careers of the
ones who ha\ c
broken throujjfh.

Basic and Billic Holiday to Bob Dylan and
Bruce Springsteen. But Ihey were the ex-
ceptions, not the rule. For every Ahmet
Ertegun, there were a dozen Moses As-
ches. Chris Strachwitzes. Chris Black-
wells. Russell Simmonses. For it was the
independent label network that broke
strangleholds and nurtured new artists
long before the bean counters could count
them out.

After more than 25 years in the music
business, I'm still striving to support
music 1 want to go home and listen to —

wherever it may be. wherever it comes
from. In the process. I've met thou-sands
of people dedicated to working honestly
and well, some of the best people I know
who have dedicated their lives to — here
it comes — culture.

Sure, some indies have earned re-
proach, haven't paid royalties, have robbed
artists in the age-old st>'le. But many oth-
ers have bestowed us Wi\h music we never
would have known and can no longer
quite live without.

Tliese label.s — and the artists ihey sup-
port— are the ones being hurt by piracy.
Royalties are disappearing faster than
sympathy for the RIAA. There's just no
way to rationalize that for every song
downloaded illegally, swapped or sim-
ply given away without authorization,
artists and honest operators lose out. Yes.
some in afTluent societies write it ofTto
marketing and publicity. But others —
many, most— cannot. And as that win-
dow shuts on labels hoping to recoup
risky investments to break new artists,
they can hardly afford to open it up for
a new musical treasure to climb through.
Where does that leave us? Like any host
that's had its blood sucked dry by a par-
asite. No more Grateful Dead, just stone
cold dead.

It is time to distinguish between those
wlio exploit artists and those who support
them. And it is time to express solidarity
with all those who have brought us new
artists and new music and who have
helped sustain the careers of the ones who
have broken through. Yes. time to stop
turning away from those like Abdoul Aziz
Dieng as he tells of artists who can no
longer afford to make music.

The accelerating demise of the music
industry is no cause for celebration. That
would be to dance on the graves of all
those who have dedicated their lives to
making the kind of records tliey — and we
— wanted to go home to listen to. •■ ■•

Gerald Sdiffnan has worked in the music
induf-try for more than 25 years. UntH
recently he was general director of
WOMEX. the World Music Expo, based
in Berlin.

WRITE US • Share your feedback with Billboard readers
around the world, Send corresponderKe to lett*r» ci blllboanl.com

Include name, title, address and phone number for verification,

SUBSCRIBE • Go to billtM»rd.blz/Kubierlb« or call
800-658-8372 (U.S. toll free) or 847-559-7531 (International).

uii» o-opMiT Of B^nmard, whicn^aii own trm cootnqM in tt*M» a 0*n tct ouUKjMion

Billk>flrd

EDITORIAL

DEPUTY ECHrOR: Loull Hau f,46-6SJ-l7C>^
SEI«Oft EDITOft Aim DohMm ^ ■ I.^r ..-?;

SPtCIAL FEATURES EDITOR Th«m Duffy 1 ,: :7|6
INTERNATIONAL BUREAU CHIEF: Hatk Sutherland > <r 44-207-420-6155
MUSIC EDITOR Cortnvy Hwdlns ' > •
BILLBOARD.BiZ EDITOR Clwl* M. Wjitth - 4. . At^CA
EXECUTIVE OtftECrOR Of CONTENT AND

PROGRAMMING FOR LATIN MUSIC AND eNTERTAINHENT: LM> CobO ' M.^t)
EXECUTIVE DIRECTOR Of CONTENT AND

PROGRAMMING FOR TOURING AND LIVE ENTERTAINHENr: Ray VtmMM (fUfh.
EXECUTIVE OlBCClOR OF CONTENT AND

MOGIUMMING FOB DIGITAU/MoeiLE: Antony BrtM ; V-^'-.o- > tOi-Tn IM7
SEMOR CORRESPONDENTS Ed ChrlUnwi . • -if • '.4 1
0«ll HHdivll .1 . . . ' To(ti Fn^uson . - ' '
SENIOR EDITORIAL ANALYST: CMnri PvopMt . , ,

CORRESPONDENTS Ar<la Bm-rrhudA MitclMll Pvfen .

MTERNATIOtJAL: Un Brand)* *' i" : WDlfgaAB Sp«»ir ■ 'i>. IM
GLOBAL NEWS EDITOR: An*« Palo* j >Ci'-4Al OOt.e
COPY CHIEf ClirH Woods
COPY EDITOR ChrIkU TIlut

ASSOCIATE EDITOR. SPECIAL FEATURES: Ewt« tUmr '^ ll I'^J 'i^C-^
CONTRIBUTORS. Jim BMimMi, Larry Bhunanlald. MUn» KoranUog. Kant HMsn,

eiLLBOARDCOM EDITOR JflSStCA LffTKIMANN

eiLLBOARD.COM NEWS EDITOR: David J. PrIrKa
BUBOARDjCOM associate EDTTORS: KhM

design a wotograpmv
CREATtve DIRECTOR: CHRISTINE BOWER-WRIOHT
PHOTO EDITOR: Amalia Halvarson SENIOR DESIGNER: G

CHARTS 4 RtSEARCM
DIRECTOR or CHARTS. SILVIO PIETROCUONGO
ASSOCIATE DIRECTOR OF CHARTS: Raptisel Cwg*
SENIOR CHART MANAGERS: Kaltti Cauirtald

Wada Jv&Mn '

CHART MANAGERS Bob AUmi :
I 1 i Gordon Murray

SUvM PMColuon^o
Gary TruM

Ai*i viiouui ,1.3 Video)

INTERIM CHART MANAGER: Rauty Ramlrai
CHART PRODUCTION MANAGER: Mkhaal Ctiiwn
ASSOCIATE CHART PRODUCTION MANAGER: Alax VHool*
BILLBOARD RESEARCH MANAGER: Gordon Hurray ' 46 6&4-4633

DIGITAL

VICE PRESIDENT, DIGITAL: iOSHUA ENGROrP
DIRECTOR. MARKET DEVELOPMENT: Eric Ward
MANAGER. MARKET DEVELOPMENT JuiIlO HarrIt

ADVERTISING SALES
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER JCRiMV LIVINI 646-654-4627
NATK>NAL SALES OtREC TOR/DIGITAL S CONSUMER Otcrt Santnar l.i(.-6S4.46!6
DXECTOR. BUSINESS DEVELOPMENT A EAST COAST SALES. PRINT ChrMofM IMMm
EAST COAST SALES DIRECTORS. DIGITAi.: AMonn Amuo ■ :■ ■
D«ECTO«. SPECIAL FEATURES* WEST COAST SALES: AfclRanelio . '^

MIDWEST SALES WOECTOR. DIGITAL Alana ScMW* .
WEST COAST SALES DIRECTOR. DIGITAL Caiay Dmtwhy

NASHVILLE La« Arn Phologlo •- r , Cyrtlltja MaTlow ' "2 Q265(Tix

ADVERTISING DIRECTOR DETROIT: Kattiy Vargo . I - • f.t."

ADVERTISING DIRECTOR eL>ROPEAJ.K_ FrvdBfk Fatwcd 0ll-.t.I-iO;-4.'O-6O75

INSIDE ACCOUNT REP Jalf SarrMta ' :

MANAGING DIRECTORAATIN C«na Smilh ' .'h^O

LATIN AMERICA/MIAMI Marcla DUval '- '>i> JOS BM-Sa??

ASIA-PACIFICMUSTPALIA: LIrttfB Malieh 2-'i-:-iC-T777, Fan 612-9440-7788

JAPAN Akl Kanako .

MANAGER OF SALES ANALYTICS: Hlrna G<NM> &4&6S4-469S
ADVERTISING COORDINATOR Alaufldra HarU 646-654-5581
MARKfTtNO

SENIOR MARKETING DIRECTOR: ULA GERSOH rj'lijdS4-4b29
EVENT MARKETING MANAGER Hkola CartWA* •^-^6 654-46M
SENIOR MARKETING MANAGER J«fn» Cr*«t ' h ■
MARKETING MANAGER K«tI Bargnun ' .< . -i --.i-'r
SALES/MARKETING ART DIRLCTOM Mvlltta SulMtcM
SALES/MARKETING DESIGN MANAGER: Kim Cnulno

AUDILNCL MARKETINO
AUDIENCE MARKETING DIRECTOR: NEIL EISENBCRG
ASSOCIATE AUDIENCE MARKETING DIRECTOR: LJnda LaiN

SUBSCRIPTIONS:

I'tiecrutiorel) or nbb^

LICENSING. EVENTS > REPRINTS

VtCE PneSIDENT. ■USINCSS DKVn.OPr>«CNT • LICEMSW40 ANONRW

EXECUTIVE DIRECTOR. CONFERENCES & SPECIAL EVENTS: HKHELE X
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGER Cabala Marquai '
SPONSORSHIP SALES MANAGERS: Matthm* Carona ' KInt G

SPECIAL EVENTS DIRECTOR Narvam O'Slvaa

SPECIAL EVENTS MANAGER: Uia tWAntonlo

EVENT CLIENT SERVICES MANAGER: Courlnay Marfci

DIRECTOR, UCENStNG A CUSTOM MEDIA Diana DrHcoll <-:<■ •■•-.A 4(,T7

MANAGER. INTERNATIONAL UCENSMG « SALES. AmBallna BlaOHMwal Jtf^n»t»wrmj»«>

MAGAZINE REPRINTS Angla VanGordar • i f m 176 <y B8ttlh«VGS^

ORODUCTION
PRODUCTION DIRECTOR TERREWCE C. SANDERS
ASSOCIATE PRODUCTION DIRECTOR: AMiMny T SUIMnfi
ASSOCIATE PRODUCTtON MANAGER: Rodgar Laonaitf

OPIRATIONS

GROUP FINANCIAL DIRECTOR: BAnSARA GRIININOH L.dC 1,^4-467!.
HUMAN RESOURCES DIRECTOR: BILL FINTON
LEGAL COUNSEL HARK MILLER
OlSTRieimON DIRCCTOR: Lou Bradllald

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: 0*M P«ITa > 16-654-4696
VICE PRESIDENT MANUFACTURING AND D4STRISUTION^ iartntfw Grago
VICE PRESIDENT AUDIENCE MARKETING: JoanrM WhMllay

F(CES

Suite 4^ Koy BiiiLafno, FL

J3I49 Pfam i05-J6t-S279
Fdi 30S-36V5299

LONDON: rndaOvM

.M.J07-42

SEW OR VICE PRESIDENT. THE CKTERTAINMENT GROUP

Tna Bookuiiia

rne HCflywood Reocler • B^bCMrd • BaC* Slag* • F-m Jov^i international

nicLscn

PRESOENT: Oaag Farrar $ENK» VICE PRE90ENT. HUMAN RES-
Htcfiaal A>cm: SENIOR VICE PRESIDENT, BRAND MEDIA And
BMbao: SENIOR VICE PRESIDENT MEDIA S FMTEHTAINMENT
N>rlM>n BminK^ Med'J Byma: SENIOR VICE PRESIDENT finance Sloan* Qoogtit SC
VICE PRESIDENT. RETAIL David Loathnw, SENIOR VICt PRC!
CONTENT, ScatI McKann*. SENIOR ViCC PtrESiDCNT BUILDING ■ DESKN Joa RwidaK. 1
VICE PRESIDENT CENTRAL SERVICES Mary Kay S»*Kk. CHIEF OPERATING OFFICER
ENTERTAINMENT; Howard App««>auni; VKE PRESIDENT MANUFACTURING A DrSTRISL
>amlfar 0r«9Ol VICE PRESIDENT IKENSING Antfraw Htn; VICE PRESIDENT CUENT MA
r. VICE PRESIDENT AUDtENCE MARKETING: An

BILLBOARD I DECEMBER 5, 2009

>>WMG
OSTS

lUARTERLY
OSS

'arner Music Group
ported a quarterly
ss due to higher
terest expense and
larges for job cuts,
le company noted
at the shrinking
}mand for CDs and
e weak economy
irt its revenue and
likely to affect
ture results. The
jw York-based
MG posted a net
ss of $18 million, or
cents per share, in
e fiscal fourth
larter that ended
tpt. 30. compared
th a year-earlier
ofit of S6 million,
4 cents per share,
■venue rose 1% to
;61 million, ahead
analyst forecasts.

»LIVE
ATION,
UNES TEAM
DR VIDEOS

/e Nation and
jnes are teaming
sell downloadable
ncert footage,
ider the deal, Live
itlon will provide
jnes with
elusive
wnloadable
leos of select
ncerts performed
more than 80
nues. In support
the launch, Apple
lated a special
ines page
dicated solely to
} live recordings.

»CBS
3STS

VMBERTON
ARLY SHOW

am Lambert
peared on CBS'
ye Early Show"
V. 25 after ABC
iceled the singer's
leduled

3«arance on that
/'s "Good Morning
lerica" In the
ke of his
itroverslal
'formance at the
v. 22 American
sic Awards.
Tib«rt performed
hataya Want
tm Me" and
jsic Again" from
new album, "For
ir Entertainment."

BREAKING AWAY

grass-roots
cMmb to Itie top

OFF THE FENCE

Piracy worries color
Net neutrality debate

HEAD EAST

Converse's China Indie
tour lessons

RECORD MAN

Rob Cavallo on his
return to Warner

DiarmH ANTONV BRUNO

BRICK BY BRICK

MySpace Music Maneuvers To Reinforce
Position In On-Demand Streaming

As 20<)9 winds to a close. My-
Space Music is celebrating its
firsl yearofexistence by atteinpl-
ing to strengthen its position in
the U.S. digital muyic market.

The company is in tiie process
of acquiring rival on-demand
music streaming service imecm,
iiccurdltig lo sources familiar
with the deal (Billboard. biz,
Nov. 17). Ifcoinplcled. il would
mark the second major acqui-
sition for MySpace Music, fol-
lowing its purchase in August
of music social network iLike.

What's more, MySpace Mu-
sic, a joint venture between
News Corp. and the major la-
bels, has settled its long- running
standoff with independent

music group Merlin in a deal
that restructures its partner-
ships with independent labels
(Billboardbiz. Nov. 20).

Both developments come at
a crucial time for MySpace
Music, which is facing ques-
tions over whether it can con-
tinue oflcring free on-demand
streaming music supple-
mented by advertising or
whether a paid monthly sub-
scription tier is inevitable. Ad-
ditionally, it will face a new
competitor sometime next year
when European sensation Spo-
tify is expected lo go live in the
United States.

On the acquisition front, My-
Space is Ix-nefiting from the in-

evitable contraction of the digi-
tal music market. By acquiring
imeem. MySpace would emerge
as the only significant on-
demand, ad-supported music
streaming service in the States.
As such. MySpace could poten-
tially serve as the sole outlet for
advertisers interested in run-
ning online music campaigns,
which could allow the company
to charge higher rates than if it
had to compete with other serv-
ices for the same dollar.

Beyond that. MySpace will
gain much-needed innovation
by acquiring imecm's technol-
ogy and services, as well as the
minds behind their creation.
MySpace's acquisition of

imeem will bring another so-
cial recommendation service
under its roof with built-in
links to concert ticket sales as
well as a team of iPhone app
developers, among other
things. Like iLike. imeem is
one of the digital music serv-
ices that recently partnered
with Google as part of its en-
hanced music search service.

Imeem boasts a battle-
scarred advertising sales team
that increased the number of
custom ad campaigns it ran
from 30 in 2007 to more than
175 so far this year. It also ac-
quires imeem's Snocap tech-
nology, which in addition to its
content ID and filtering capa-
bility adds a download music
service that MySpace could use
to sell music directly rather
than linking to iTunes or Ama-
zon as it docs now.

While all this looks great on
paper, neither iLike nor
imeem has been able to con-
vert its user base into a solid
revenue stream. And a part-
nership that MySpace entered
with Snocap in 2006 to enable
artists to sell music from their
MySpace pages never gained
traction. MySpace is gambling
that the integration of these
companies into its music serv-
ice— backed by the deep pock-
ets of News Corp. — will allow
them to thrive.

"The consolidation of all
the players inside a single
house that has the backing of
a large organization that can
make big bets will make

things easier," a former exec-
utive of a rival ad-supporled
music service says.

As for its deal with Merlin.
MySpace didn't disclose the
specific terms of the deal. But
the two sides said in a state-
ment that indie labels will have
"an opportunity to participate
in and benefit from the
financial growth of MySpace
Music." even though they
aren't part of the joint venture
between MySpace proper and
the four major labels. Under
their restructured partnership
with MySpace. Merlin and
indie label representatives will
also be allowed to attend some
MySpace Music board meet-
ings. Mcrlin-affiliatcd labels
include Domino. Epitaph and
Beggars Group, which release
music by such acts as Animal
Collective, Tom Waits and
Vampire Weekend.

" I wanted to make sure My-
Space didn't lose track of what
its core was." MySpace Music
president Courtney Holt says.
"This is an opening up of an
opportunity to everybody that
I wish had been there at the
beginning, and I'm glad it's
there now."

The deals wrap up a busy
year for MySpace. during which
the company added Holt as
president, expanded into Aus-
tralia and New Zealand and
launched a music \ideo hub. a
data analytics tool for partici-
pating artists, a streaming
music search deal with Google
and other initiatives.

Still unclear is whether these
efforts will lift MySpace Music
to the levels of profitability the
labels are seeking from the
joint venture or merely serve
to add ballast to an already
struggling model.

^ MOBILE: For 24/7 news and analysis on your cell phone
• or mobile device, go to: moWI«.billboard.biz.

DECEMBER 5, 2009 I www.billboard.biz

THE
LATEST
NEWS
FROM

iiPFRnm

IT. ■

>> - FEIST, RUSH
WIN ATSOCAN
AWARDS

The Society of
Composers, Authors and
Music Publishers of
Canada (SOCAN) held
its annual awards gala
Nov. 23, handing out
prizes to Rush, Feist,
Stompin' Tom Connors,
Gordon Lightfoot,
Finger Eleven and Rita
MacNeil. Feist received
an award for airplay of
her song "1234." Rush
took home the
international
achievement award, and
singer MacNeil was
given the national
achievement award. For
a complete roundup of
winners, go to
billboard. biz.

>>>NEW.
BEYONCE ALBUM
IN 2010?

During the last U.K. stop
of her I Am . . . tour at
the Trent FM Arena in
Nottingham, England,
Beyonce announced
that she plans to release
a new album next year.
"This Is my last show tor
this tour in the U.K., so
hopefully, I'll see you all
in a year with a new
album," a raspy-voiced
Beyonce told the crowd
at the end of the set.
Producer Rodney
"Darkchild" Jerkins also
confirmed the news on
Twitter, recently posting
that he's working on
some tracks for the
upcoming album.

>>>SONYTO
LAUNCH NEW
ONLINE SERVICE

Sony Corp. says that its
planned entertainment
content distribution
service for network-
compatible TVs and
other devices will launch
next year. Sony plans to
launch a new online
service to distribute
movies, music, books
and other content to
network-capable TVs,
Blu-ray players, e-books
and other devices in a
bid to add value to its
hardware.

Compiled by Chris M.
Walsh. Reporting by
Antony Bruno, Marie!
Concepclon, Andre Paine,
Robert Thompson and
Reuters.

Building A Mystery

Caiman Holdings, *07 Acquirer Of Tower.com,
Says It No Longer Owns The Site. So Who Does?

Caiman Holdings' Oct. 29 filing of
Chapter 727 liquidation papers in the
nth judicial Circuit Court for Miami-
Dade County in Florida leaves behind
the question of whoownsTower.com.

Tower.com is still up and running and
sources say being supplied with prod-
uct and fulfilled to consumers by Al-
liance Entertainment.

Caiman Holdings CEO
Didier Pilon. who in
2007 represented himself
as the owner of Tower
.com, now says that own-
ership changed hands a
while ago. but he won't
disclose who the new
owners are. Pilon did say.
however, that he has left
Tower.com and claims that the new
owners were conducting a search for a
new CEO. Sources sayTower.com is cur-
rently being run by Sanny Wong, who
previously has been identified to Bill-
board by sources as a Caiman employee.
Wong didn't return a call for comment.

In April 2007, Caiman acquired
Tower.com in an auction, paying $4.2
million for the Web site, the Tower logo
and other intellectual property at the
company. It was one of the last assets to
be sold as part of the liquidation ofTower
Records, the long-beloved music chain.

Retail
TVack

ED CHRISTMAN

At the time. Caiman was an online
retailer that sold music from its own
Web site and through the Amazon Mar-
ketplace. But with its acquisition of
Tower.com. Caiman stopped operating
under its own name and concentrated
on the Tower brand, switching to act-
ing as a wholesaler and fulfillment op-
eration for the Tower site.

Prior to being an online
retailer. Caiman operated
as a music distributor but
filed for Chapter 11 pro-
tection in 2002. After that
filing, it stopped being a
distributor and started op-
erating as an online mer-
chant, mainly operating
through the Amazon Mar-
ketplace. In the early days of Caiman's
ownership ofTower.com. Pilon was
sometimes accompanied by a man
named Roald Smeets. who was de-
scribed by the New York Times in a Sept.
15. 1997, article "as a Dutch business-
man who started his record company
Caiman." It isn't dear whether the label
was connected to Caiman Holdings.

Pilon says Smeets is no longer affil-
iated with Tower.com. Smeets could-
n't be located for comment.

In the latest Chapter 727 filing — the
Florida state equivalent of a federal

Chapter 7 liquidation filing —
Caiman seeks to assign
$578,000 in assets to Phillip J.
Von Kahio, a managing direc-
tor of Michael Moecker& Asso-
ciates, a firm that specializes in
liquidating companies among
other services.

While the filing lists assets
of $578,000, Billboard estimates that
creditors' claims total somewhere be-
tween $6 million and $10 million, de-
pending on whether the amount it
owes each creditor is counted in full
or as settlements. At least three credi-
tors say that Caiman never made good
on the terms of their settlement.

For example, should Baker & Tay-
lor's claim be counted as the $8 mil-
lion it said it was owed on $64 million
in purchases made by Caiman since
2005, in a court filing it made to the
U.S. District Court in Southern
Florida.^ Or should it be counted as
the $4.1 million it agreed to in a court
settlement overseen by the same Dis-
trict Court? The final settlement was
ultimately sealed but sources say it
was similar to the settlement spelled
out in the filing, which was struc-
tured with a $1 million initial pay-
ment due within 90 days of the
signed agreement and 26 subsequent

Who's the boss? Tower.com

monthly payments of $120,0(
Sources say Caiman never made "
initial payment.

The creditors privately tell Billbo;
that they suspect they will never :
one cent of the $578,000 because
Chapter 727 filings say that there
"scheduled liens well in access of
liquidation value." But some of I
creditors nevertheless are consider:
trying to convert the Chapter 727 fil
into a Chapter 1 1 bankruptcy filing.

While a Chapter 1 1 proceeding
more expensive, which means credit
would probably get less than they wo
in a 727 proceeding, they say a U
Chapter 1 1 trustee can perform fon
sic accounting. They say that proc-
might also reveal what one creditor c;
the "$64,000 question": Who owns a
is runningTower.com?

For 24/7 retail news and analys
see bjllboard.biz/raUII.

.biz

For 24/7 news and
Analysis on your
mobile device, 90 to:
mobllaJiillboaKtbtz.

'Britain's Got Talent'
^Star Could Enjoy Best

The holiday selling season is kicking off with a bang,
thanks to Susan Boyle's"! Dreamed a Dream." which
label sales and distribution executives say is in con-
tention to displace Eminem's " Relapse" as the album
with the best sales week of the year.

First-week U.S. sales projections for the former
"Britain's Got Talent" contestant's debut albimi, which
was released Nov. 23 on Syco Music/Columbia, mostly
range from 550,000 to 600.000-plus units. That places
it within shouting distance of "Relapse," which sold

608,000 copies in its debut week that ended May 24,
according to Nielsen SoundScan.

Whether it takes top honors for best sales week of
the year could depend on how quickly Sony Music En-
tertainment can replenish supplies during the Thanks-
giving holiday week.

If Sony can keep product rolling and "if big boxes
have stock on Black Friday, who knows how well the
album can do," says one particularly bullish executive,
who believes sales of "I Dreamed a Dream" have the

potential to reach as high as 700,000 units.

Cable shopping channel QVC reports that it \
pre-orders of more than 81,000 units for the Bo
album, its best sales performance in 10 years, wf
Amazon says the album has generated its largest glo
pre-order in its history. Amazon doesn't disclose nu
bers, but sources say its U.S. pre-orders alone read
80,000 units.

According to Hastings Entertainment senior
of merchandising Alan Van Ongevalle, the albuir
outperforming the chain's expociations. Mainsrro
pop is a genre that the chain has never perforn
well in, "so it's doing fxtrfinely well for us." he s
" Last week, john Mayer was our No. 1 record andt
is in a genre we do reasonably well in. and so f.)i
one day she has done more than he suld all wet-k.
are not out of stock yet on her, but we are head
that way quickly."

Van Ongevalle says Hastings placed a reorder
fore street date and he expects to be in stock for
holiday weekend.

Some sales and distribution executives see Boy
surprisingly robust debut-week sales as a hopeful e
indicator of a (relatively) happy holiday season
music retailers. Boyle's album is part of a strong
lease schedule that retailers hope will drive sales c
ing the final month of the year (see story, page 20

Also adding to the festive holiday cheer w
Adam Lambert's "For Your Entertainment" and L
Gaga's deluxe and EP versions of "The Fame M
ster." which sales and distribution executives
were selling exceptionally well during iheir first
days of availability.

6 I BILLBOARD I DECEMBER 5, 2009

C0[.;

Pretty Persuasion

AAIM Members
Enlist Support Of
Indie Acts For Anti-
Piracy PSA Drive

Since the explosion of music
piracy in Ihc late '90s, no one in
ihc recording industry has been
able to figure out how to persuade
young consumers that stealing
music is wrong. Through the
years, acts ranging from Metal-
Ifca to Lily Allen have gone pub-
lic with thecompletely defensible
argument that they should be paid
for their creative work, only to be
subject to derision and backlash.
Even staunchly pro-copyright in-
dustry friends of mine roll their
eyes at some of the RIAA's PSAs,
which can come across as clunky
and preachy.

Now members of the Ameri-
can Assn. of Independent Music
are .seeking to change that with a
grass-roots effort to convey a sim-
ple message: "Stealing music
sucks." As part of the effort.
AAIM members have created a
Facebook group asking music
acts to record DIY PSAs urging
fans to pay for their music and ex-
plaining how illegal download-
ing hurts artists.

While the initiative is still in
its early stages, Long Live Crime Records head
Susan Ferris has already recruited a director and
producer to help her create the first two PSAs,
which are posted on Facebook, YouTube and My-
Space. One ad features the band his Orchestra,
with members of an audience interrupting the
group's set and taking away its instruments one
by one. until the music is silenced. The other ad
features a young man washing a car while talk-
ing about how much hard work went into scrap-
ing together the money to buy
it — only to have someone drive off
with it at the end.

Both clips conclude with the fol-
lowing onscreen message: "Support
musicians and their music by pay-
ing for the times you want."

Brett Roelen. singer/lead gui-
tarist of the Uprising, allowed Fer-
ris to use one of his songs in the car
ad. "As an artist, I wanted to bring
attention to the piracy issue," he says.

Roclen adds that his songs have been used with-
out his permission on a number of occasions. "1
was in a video store and all of a sudden I heard my
song in a snowboarding movie," he says. "We never
gave anyone permission to do that. And I've gotten
calls from friends, saying they heard our tracks on
TV shows that never reached out to us for a license."

And while almost all the outlets that have taken
his work without permission have stopped using
the songs when he calls them. Roelen says he's never
been retroactively compensated for use.

"It's one thing to give away a song voluntar-
ily," he says. "But it's another thing to have a song
used in an ad or on a TV show that someone else

The
Indies

CORTNEY
HARDING

is making money on."

Ferris adds that while individual decisions to give
away music should be respected, a clear distinction
should be drawn between that and music being
downloaded illegally.

"While the message is the same whether an artist
is a superstar or a baby band, it just seems more
poignantwith indie bands," she says. "Indie bands
often don't have tons of other revenue streams and
for some, this is how they pay the rent."

While the artists in the ads might be
indie. Ferris says she wants as much
mainstream exposure for the campaign

as possible. " I want these on Fuse. MTV,

VHl — everywhere." she says. "AAIM
has really backed the initiative, and I'd
love to get some huge PR company to
help us out. We sent the PSAs over to
the U.K. and we're working on devel-
oping partnerships with schools. I want
these to be massive."
Another future initiative associated with the cam-
paign might highlight who else suffers when music
is stolen. After all. it's not just artists who lose out.
Those who work behind the scenes have also suf-
fered a decline in work and income, according to
Douglas Smith, lead vocaUst for his Orchestra and
one of the stars of the H BO drama " Big Love. "

" I f music should be free, then studio time and en-
gineers should be free and we should all live in a
Marxist paradise with rotating jobs and zero posses-
sions." Smith says. "Ifyou like the tune, for the love
of potatoes, drop the 99 cents." ••••

L|_ For 24/7 Indies news and analysis, see
-MZ billboard.blz/lndi*s.

BILLBOARD I DECEMBER 5. 2009

QUESTIONS

with STEVE BURSKY

by CORTNEY HARDING

When Dispatch, a band with only one album with sales in the six-figure range, so
out three nights at New York's Madison Square Garden, most people in the mus
industry were shocked.

But the band's manager, Steve Bursky, wasn't surprised in the least. "For a bai
that had a radio hit to reunite after three years and headline MSG would be almc
impossible," he says. "But for a band that grew through word*of-mouth and who
fans had a sense of ownership, it wasn't surprising."

Bursky Is working the same type of slow-burn, grass-roots magic with Owl Cil
the gentle electro-pop act that seems to have come out of nowhere to perch ate
the Billboard Hot 100 for two weeks with the track "Fireflies." (It's No. 3 this weel
But looks can be deceiving. Here, Bursky explains just how much work goes into cr
ating an overnight sensation.

0 How does the success you had with
Dispatch Inform what you're doing with
Owl City?

1 started working with Dispatch my fresh-
man year of college, doing it from my
dorm room. Pretty early on, it was clear
that these guys were going to redefine the
norms of the music business. They had
no desire to be on a major label or to adapt
their sound to radio or be part of a scene
that was cool. They had a vision for build-
ing a community and a fan base. I'd also
be remiss if I didn't mention Nap-
ster. Back in 2000 and 2001
when it was a free service
bands like Dispatch really
began to thrive, based on
word-of-mouth.

Q How did you first
connect with Owl City?

To me. Owl City is a story
of hope in the music busi-
ness. Adam [Young, the band's
frontman] was an only child from the mid-
dle of nowhere in Minnesota; he was load-
ing trucks for Coca-Cola and decided he
hated his life and started recording tracks
in his basement and putting them up on
MySpace and then did a deal with CD Baby
to get them on iTunes. The week we
started working with him in November of
last year, he sold 2,919 tracks off his in-
dependent EP and LP combined and 220
albums. The same week 1 2 months later,
he sold 262.000 tracks and 34.000 albums.

^ Why did you take a slow-burn ap-
proach with Owl City?

He had the viral word-of-mouth coming in,
so that helped. My idea was to make sure
every gatekeeper in the music business —
every journalist, every music supervisor,
every radio programmer — discovered Owl
City the same way his fan base discovered
him, as opposed to him being just another
major-label priority shoved down people's
throats. I started feeding people facts, show-
ing them how much it was growing and
making it so undeniable they couldn't help
but get onboard.

0 What role did MySpace and ot^
sites play in the launch?

The "MySpace phenomenon" bands i
really a dime a dozen, and who cares
you have 10,000 friends or 100.000 pi;
if that doesn't translate to you selli:
records? But in the case of Owl City, it (
translate. Weeks where the number
plays on his MySpace page went up,
sales would go up and vice versa. Two, 1
MySpace fans weren't passive, they wt
active. He was getting comments fr(
kids every minute.

Q What was the t
ping point when Owl C
went from undergrou
artist to bona fide p
star? Was there
moment when you kn4
he was going to crc

I t s been a long series of n
ments. The best part about i
that Adam is so grateful to be able to
this and is so unfazed by it. Every ti

1 tell him about some new milesto
he says, "Is that good?" The tourinj
unbelievable. We're in China right n
and playing to sold-out crowds ev
night. The film and TV promotio
great, and the press is starting to co
around on him. It's so funny, too,
cause "Fireflies" was never suppose(
be the first single — it became the s
gle because we got a call at the top
|une from iTunes saying they wante<
make it the single of the week, and
went from there.

@ How are you positioning him a
career artist?

I don't think he's going to be a one
wonder, because his album is re;
deep. We also have a lot going on
sides radio. We are working the road ;
other avenues to make sure he's
posed. And I'm going to put him in
studio in May and make a record for r
summer so we can go seamlessly i
the new album.

Copyrighu

Our World Live & Billboard Present

Bj|lb«ardlive^

.COM

Interactive FREE ONLINE

Live from NY, December 3rd

Visit BlllboardUve.com To Watch Through The World's Only Five-Screen HQ Player

Ws an HD world. . .what's your angle?

Executive Producer Ron Weisner
Executive Producer and Founder Michael Williams
To Advertise, Contact: branding@owl.tv

Cni

BY ANTONY BRUNO

Shifting Out Of Neutral

Opposition To Net Neutrality Is Bound To Build In The Recording Industry

While the recording industry
has rarely been shy about
voicing opinions about digi-
tal-related matters, its stance
on the now-escalating debate
over Internet neutrality has b\
and large remained strangely,
well, neutral.

However, it's only a matter
of time before the industry
hops ofr the fence and lands
firmly on the side opposing
Net neutrality. With content
creators worried about piracy
and Internet se^^•ice providers
keeping an eye out for new
business models, their com-
mon interests are likely to
lead to some collaboration on
the issue.

On its simplest level. Inter-
net neutrality rules would pro-
hibit ISPs from placing any
kind of restrictions on the con-
tent and services transmitted
over their networks. ISPs op-
pose any such legislation or
regulation because they want
the freedom to manage their
networks as they see fit. With
all the multimedia content
thafs transmitted over the In-
ternet. ISPs are feeling the
strain and want to start direct-
ing the flow of content much
like a traffic cop manages a
busy intersection.

Meanwhile, those support-
ing Internet neutrality fear
ISPs would do so by charging
for access to the speedier lanes ,

meaning smaller companies
could have a harder lime com-
peting on the Internet against
larger, richer firms. What's
more, neutrality advocates say
protections are needed to en-
sure that IS Ps ofiering content
services — either of tlieir own
creation or through partner-

Hands off the Web: WILCO is among the bands to come out in favor of Net neutrality through
the Future of Music Coalition's 'Rock the Net' campaign.

ships — don't purposely de-
grade the distribution capabil-
ities of rival offerings.

The ongoing debate gained
newfound life after the FCC
voted in October to begin a
formal rule-making process
on rules proposed by FCC
chairman Julius Genachowski
that would prohibit ISPs from
preventing users from access-
ing lawful content and appli-
cations and would define
what "reasonable network
management" practices ISPs
would be allowed to pursue
to minimize the impact of
network congestion.

Members of the public can
submit comments on the issue

until Jan. 14. and all music in-
dustry lobbying groups will
likely weigh in. But don't ex-
pect to see more than a few
such parties take a strong po-
sition one way or another.

On the one hand, labels,
publishers and artists suppori
an open Internet

VISION QUEST

Music acts interested in sharing their
lives with their fans often use a quality
webcam for online chats and to capture
candid footage of recording sessions,
live shows and other behind-the
scenes activities.

Consumer electronics n>aker Agama
has unveiled a new line of high-definition we-
bcams that artists may find useful. The flagship model
features two-megapixel auto focus, HD video, high-def
audio and a USB 2.0 connection to either Mac or PC de-
vices. Other models include such features as one-click
access to Skype and infrared night-vision capabilities
for capturing video in thte dark.

Prices for Agama models range from $35 to $70.— Afi

(hat will let independent and

major-label artists have equal
access to distribution and au-
dience. The Future of Music
Coalition in particular has
been a vocal advocate for neu-
trality with the support of such
acts as Wilco, Pearl Jam and
R.E.M. through its "Rock the
Net" campaign.

On the other hand, there is
a widespread concern in the
music industry that Internet
neutrality would prohibit iSPs
from implementing software
that could block or filter the
transmission of unlicensed
content. The RIAA summed
up this viewpoint in an Octo-
ber blog post: "Nogovcmmen-
tal policy should interfere with
the ability of an I S P to address
the illegal transmission of
copyrighted works or other il-
licit content."

The Motion Picture Assn.
of America made much the
same statement in 2007. but
less than a year later sided
with (he ISPs to fight Internet
neutrality. The economic re-
alities of digital piracy will
inevitably steer most of
the music industry to that
same position.

And here's why: The
ISPs represent the
music industry's most
valuable potential ally in
its fight against piracy. But so
far, ISPs have done virtually
nothing. They've had little in-
centive to implement content-
filtering technologies or adopt
a "three slrikfs" graduatcd-rt'-
sponse program to limit or
temporarily cut off the Inter-
net access of its infringing cus-

tomers. Promising to side with
the ISPs against neutrality in
return for that help is a trade-
off most in the music indus-
try are eager to make.

That hasn't happened yet
because the threat of meaning-
ful Internet neutrality regula-
tion remains loo far away to
force the ISPs into making
such a deal. The FCC's rule-
making process could take
years. There's also a legal chal-
lenge from Comcast over
whether the FCC is even au-
thorized to set and enforce
neutrality regulations, stem-
ming from the FCC's censure
this summer over Comcast's
controversial decision to delay
BitTorrent traffic on its net-
work during peak usage hours,

Additionally, there are com-
peting bills in Congress both
for and against legislating In-
ternet neutrality that could
take even longer to resolve, as-
suming either ever makes it
out of committee.

But should the Net neutral-
ity movement gain real trac-
tion, the ISPs will start
looking to make deals, and the
music industry will be in the
catbird seat ready to play its
hand. Certainly there will be
voices of dissent, primarily
from the independent music
community. But overall,
major labels and music pub-
lishers are more concerned
about stopping the piracy of
today than fretting over the
composition of tomorrow's
dislribulioti ru'lworks.

.biz

For 24/7 digital news
and analysis, see
blllbo«rd.bli/dtglui.

BITS & BRIEFS

UMG LICENSES
MUSIC TO FREE
DOWNLOAD SERVICE
Universal Music Group is
licensing its catalog to a
new ad-supported music
download service from the
Australian firm Guvera. The
service, which is not yet
live, will let users download
music for free, which par-
ticipating brands will pay
for through branded chan-
nels and other methods.
Users searching for a spe-
cific song will t>e sent to any
one of several branded
channels based on the song
selection and the user's
personal preferences, in
theory allowing brands to
target specific demograph-
ics with their message. The
service is expected to go
live in February.

NAPSTER PREPS
ARTIST TWITTER
LISTS

Napster is jumping on the
Twitter bandwagon with the
creation of music-oriented
lists for subscribers. The

company Is aggregatin
the Twitter accounts of i
artists using the microblo<
ging tool into genres, i
fans who want to browse f>
Twittering hip-hop acts, f>
instance, can more easi
find them rather than ha
ing to search for each artl
individually. The compai
says the effort is In its ear
stages and is taking sugge
tions from fans and artis
through Napster's
Twitter account.

SMART PHONES
EXPAND MARKET
SHARE

Smart phones continue
make strong inroads in
the mobile handset marki
according to research fro
Nielsen. In third-quart
2009, 40% of all mobi
phones sold in the Unit*
States were smart phont
the company said, cor
pared with 25% in the se
ond quarter. Looking ahec
Nielsen expects half of U
mobile phones will be smj
phones by 2011.

HOT POLYPHONIC RINGTONES-^ ^T' Mb^at

200S

TITLE

171

CHANGES

NO SE VIVIR SIN Tl

•

NO ONE

ADIOS AMOR IE VAS

•

266

SUPER MARIO BROTHERS THEME

Y LLEGASTC TU

PINK PANTHER

•

EVE OF THE TIGER

•

CASH fLOW

Alt..'. . ir.f»ni

DOV/rj WITH THE SICKNESS

Alicia Keys' "No One" improve;
S-3 thi» w«ek, rtrochlng a nev
peak In Its SOth chaM tveek
Only five ringtonas have taiiei
lon9«r to rMch th« top thtw ii
ttw chart'k nv»'yur hislofv

CYCLONE

SWEET HOME ALABAMA

KISS KISS

ofii Bttam ftftt jnme i-buh

I'M ME

TAKE YOU DOWN

1 KISSED A GIRL

BEAT IT

101

GASOLINA

THE WAY THAT 1 LOVE YOU

HLAVCN t:-EM

BILLBOARD I DECEMBER 5, 2009

Cni

BOXSCORE Concert Grosses

Lilith Returns

"he Celebrated Festival Prepares A 2010 Comeback

mong the wealth of '90s multi-act festival
lurs, Lilith Fair was perhaps the most unique,
•lebratiiig a diverse range of female artists and
rawing attention to women's issues and char-
able causes. Rebranded as the
lith tour, the fest returns next
me. steered by its four found-

g partners: artist Sarah Mc-

ichlan, Ncttwerk Music Group

unders Terry McBride and
n Fraser, and Paradigm agent

arty Diamond.
Marty and I do talent together,

arty and Dan do venues to-

thcr, i do all the marketing, and

rah is our moral compass on literally every-

ing," McBride says.

Much will remain the same. "We'll still have
artists a day, five on the main stage, three on
e B [stage] and three in the Village." McBride
ys. "There will still be $1 per ticket going to
zs] charity. We'll run a local talent
ntcst in every single marketplace; a
:al artist will open up every Lilith
low. And it will have a very diverse
leup. with rock, pop. urban, Latin.
iz, indie rock and a good age range.
)m 15-year-olds to 50-year-olds."
What's different this time around
Lilith's partnership with the i4c
mpaign, the debut initiative of the
ar-old holding company Touch point
List Group, which invests in socially
nscious companies. McBride says
e i4c partnership will completely
ange the makeup of the VillaL^t.'.

Last time around, the Village \\.is
Dre of a hippie-dip affair of lictnp
cklaces and local causes." he says,
his time, we'll still have the I(h;iI
,ises. but we'll have a very soph isti-
ed Village in that the four to six

ially conscious for-profit com
nies that we invest in will be
? anchor tenants of our Vil-
;e. connecting people with

fact that $1 per ticket has
ne into investing in these for-
)fit, green, conscious compa

s. Our goal is to invest, mak
ne returns and use that as a way of support-

our nonprofits."

riie idea is that profits from the socially con-
ous businesses on the concourse will sus-
n Lilith's charitable efforts. In 1997-99, Lilith
nated more than $10 million to women's
ises. " But when Lilith Fair ended, so did its
iritable efforts." McBride says. "So this time
re investing in conscious, for-profit compa-
s to build up a portfolio that we can have to
5port our nonprofit efforts when Lilith ends."
VI ( Bride says the initial goal is to raise about
million "that will create a sort of Lilith i4c
nlure capitalist] fimd, and we'll invest in four
six businesses, and those businesses will
■n vend on the actual tour so fans can see
at they are part of."

Casey Verbeck. a former music exec who
ncliedTouchPoint Trust Group and the i4c
npaign with partner Rich Frankenheimer,

On The
Road

says i4c seeks to address the difficulty for these
socially conscious enterprises in finding growtli
capital, a scenario exacerbated in the current
economy. "We're tackling that issue and trying
to mobilize a movement in get-
ting commitments from the arts
and entertainment community,
and Lilith is the first one to step
up and be part of a campaign to
help support and drive awareness
and dollars to support those types
of enterprises."

Some 1 00- 1 20 artists will par-
ticipate in Lilith. with the first
batch of 30-40 performers to be
announced Dec. 1. Clearly, sights arc set high
for talent. Among those who played Lilith Fair
were then-developing acts like Christina Agull-
era, Tegan & Sara and Nelly Furtado, along
with first-time festival performances from
Queen Latlfah. Erykah Badu, Missy Elliott

and Dixie Chicks. "Lilith Fair shat-
tered boundariesof'thiscan't play with
his": not only females playing with fe-
males, but music that is not gen re* based,"
Mc Bride says.

The plan is for 35 shows in North America,
another six to eight in Europe, then Asia and
Australia in spring 201 1. "Then we'll come back
to North America and do it one more time."
McBride says. "Then after that, we're thinking
about taking the North American section and
making it a destination: Coachella. Stagecoach
[both in Indio.Calif ], then maybe Lilith would
be the weekend afterward."

As for i4c. which was conceived last April.
Verbeck says momentum has grown. "Obvi-
ously, Terry and Sarah got the importance of it
right away, and we're just starting to reach out
to other people to join us." he says. "In a lot of
ways this movement is a call to action to get
other artists to participate."

.biz

For 24/7 touring news
and analysis, see
blllboard.biz/tourlng.

DECEMBER 5. 2009 I www.billboard.blz I 11

ARTIST(S) Attendance

v^nu«, Dattt

Promoter

H so.oes,823

BRITNEY SPEARS, DJ HAVANA BROWN

mm i!5v'a'X9ijsv*w

Acer Arena. Sydney. Nov. 16<77, 66,247
19-20 ...:-<,;..;0 ti-.j' 1..

,^ Dainty Consolidated Entertainment

^fl $4 838.634

PEARL JAM, SOCIAL DISTORTION,

BAD RELIGION |

g f .838.83

W*chovl« Spectrum. 64,609
PhitafMphla. Oct 27-26. 30-31 ' , i,. ,f .

Uve Nation. In-house

VI $1,489,441

BRUCE SPRINGSTEEN S THE E STREET BAND

mm i9'..-i(i^..->K-

HSBC Arena, Burble. N.Y, Nov. 22 ^®'|^®^

Uva Nation

mm SH'?

BRUCE SPRINGSTEEN & THE E STREET BAND

Outcken Loans Arena. Cleveland, 16,232

Nov. 10 \T

Live Nation

Cl 3 OS 7gA

BRUCE SPRINGSTEEN & THE E STREET BAND

mm )9B.'$&^'S29

lit Mariner Arena. Baltimore. 14.679
Nov. 20 ,1

Live Nation

mm im/i^^^%29

BRUCE SPRINGSTEEN S THE E STREET BAND

Palace of Auburn Hills. 15.170
Auburn Hflls. Mich.. Nov. IS

Live Nation

23RD ANNUAL BRIDGE SCHOOL BENEFIT: NEIL YOUNG & OTHERS

H '

Shoreline Amphitheatre. 25.694
Mountain View. Calif.. Oct. 24-25 i t

Live Nation

PI $1,111,465

POWERHOUSE: JAY-Z, TREY SONGZ, KERI HILSON « OTHERS

ISO 99/ 19 99

Wachovia Center, Philadelphia. 15,759
Oct. 23

Live Nation, in-house

C090 IfiC

mm $9e.'se5/i35

BRUCE SPRINGSTEEN S THE E STREET BAND

Sommet Center. Nashville, Nov. 18

Live Nation

cono i^o

PINK, THE TING TINGS 1 1

Madison Square Garden. 15.056
New York. Oct. 5

Concerts West/AEG Live

■1 $878,461

PINK, THE TING TINGS

Air Canada Centre. Toconta 15,193
Sept. 50 .11

Concerts West/AEG Live

m $866,154

RASCAL FLATTS, DARIUS RUCKER {

General ftotort Place, 11,127

Vancouver, Oct 23 u ■i'^

Live Nation

B 4 900'I,0D^

MILEY CYRUS, METRO STATION

FedExForum. Memphis. Oct. 21

AEG Uve

CQCC XK7

Hi $)00/'$5o

BRUCE SPRINGSTEEN S THE E STREET BAND

Time Warner Cable Arena. 12,385
Charlotte. N.C.. Nov. 3

AEG Uve

PH tfoct oc

MILEY CYRUS, METRO STATION

Freedom Hall Coliseum. 13.526
Louttvllle. Ky-. Oct. 31

AEG Uve

AC/DC, THE ANSWER

Uy (93 50/163 so

Philips Arena. Atlanta. Oct. 23 ??'f1f

Live Nation, in-house

n $827,956

THE BLACK EYED PEAS, LMFAO 1

ieO 'Ai/it'.- C*j

Vector Arena. Auckland. 11,600
New Zealand, Oct. 13 .-i i>

Frontier Touring

■■ $808,085

LAURA PAUSINI

Credlcard Hall, S«o Paulo. Brazil, 7,512

Oct. 6-7 p -r-i.-, (,.,, .:.

T4F-Time For Fun

CTQ9 tn?
Wmm $90 50/546

AC/DC, THE ANSWER

Veterans Memorial Arena, 9,778

Jacksonville. Fla., Oct. 30 i< •

Uve Nation

■■t«785,669

MARC ANTHONY, RUBEN BLADES

Estadto Pachencho Romero, 12,112

Maracaibo, Venezuela. Oct. 31 > , i > n

Evenpro/Water Brother

■■ $772,064

JAY-Z, N-E-R-D, WALE, J. COLE

1st Mariner Arena. Baltimore. 11.469

Oct. 27 .1

Live Nation. Up Front Promotions

!■ $752,120

THE BLACK EYED PEAS. LMFAO

AdelaWo Entertainment Centre, 8.477
Adelaide. Australia. Oct. 5

Frontier Touring

m $750,218

CLIFF RICHARD « THE SHADOWS

t£j C£*7MBCt)

Trent FM Arena, Nottingham. 7,853
England. Sept. 30 ..ei ;.m'

Live t4atlon-U.K.

KYLIE MINOGUE

Hollywood Bowt. Los Angeles. 8,106
Oct. 4 - .

Bill Stiva Presents. Andrew Hewitt Co.

t/VI

VIA »743,207

RASCAL FLATTS, DARIUS RUCKER

HP Pavlton, San Jote, Cast, Oct. W

Live Nation

AC/DC, THE ANSWER

American Airlines Center, Dallas, 9.241
Nov. 2 ■ ,^ 1

Live Nation

m $736,947

$321 4 V$18 12

JONAS BROTHERS

FIgall Convention Center. 5,799
Panama City, Pananna. Oct. 28

Evenpro/Watef Brother

Wk $733,815

RICARDO ARJONA

EsUdIo Misael Delgatfo. 8,858
Valencia, Venezuela, Oct. 2 ' i'

Evenpro/Water Brother

Wfk $721,005

RASCAL FLATTS, DARIUS RUCKER

rij ($761J99Card(ian)

Pengrowth Saddledome, 10,785
Calgary, Alberta, Oct 27

Live Nation

CTliS T^T

BUZZFEST: ALICE IN CHAINS, PUDDLE OF MUDD S OTHERS

Cvnthla Woods Mitchell Pavilion. 16.371
The Woodlands. Texas. Oct. 24

Live Nation

iP $692,883

TOM JONES

Ell (€4)9.995)

Wembley Arena. London, Oct 24

Uve Nallon-U.K.

kvl $d86,37o

AC/DC, THE ANSWER

Ford Center. Oklahoma City. 8.027
Nov. 4

Uve Nation. In-house

^^^9 Aeon Al\o

DANE COOK, BILL BURR, MIKE EPPS, ROBERT KELLY

Em VOOtUifilh

Madison Square Garden. 11.710
New York. Nov. 5 i:- bt.

Caroline's

M $678,762

Em I59.9VU2.<K

JASON MRAZ, G. LOVE & SPECIAL SAUCE, BRETT DENNEN

Hollywrood Bowl. Los Angeles. 16,567
Oct. 10 *i J'

Bill Silva Presents. Andrew Hewitt Co.

R||'»674,862

PINK, THE TING TINGS

Wachovia Center, Philadelphia, 15,370

Oct 3 s€i .xi:

Coflcertf West/AEG Uve

GLOBAL
NEWS
LINE

www.billboard.biz/global

»^GEMA WINS
LIVE FEE RISE

German authors' group
GEMA has won an
increase in licensing fees
for live concerts. The
German Patent and Brand
Office arbitration tribunal
in Munich approved the
fee hikes Nov. 20. Concert
promoters' associations
IDKV and VDKD had taken
the case to the tribunal
after a breakdown in
negotiations with GEMA
(Billboard, March 14).
which had sought higher
rates based on
sponsorship and
advertising revenue as
well as ticket sales. The
tribunal has approved
staggered rate increases
through 2014. For
concerts with attendance
of up to 15,000, the rate
(after applicable GEMA
discounts) will rise to 5.8%
of total revenue, up from
1.9%. For concerts with
attendance of greater
than 15,000, the rate will
rise to 6.1%, from 3.6%.

DRONES TOP
DOWN UNDER

Melbourne alternative
rock act the Drones
topped two key
categories at the 2009
Jdgermeister AIR Awards
hold Nov. 22 in their
hometown. The band won
best independent artist
and best independent
album for "Havilah" (ATP
Recordings). The annual
ceremony organized by
the Australian
Independent Record
Labels Assn. was held at
the l,S00-capacity Forum
Theatre. The 500-
m ember media/industry
judging panel named
singer/songwriter Bertie
Blackman breakthrough
artist of the year and
Philadelphia Grand Jury's
"Going to the Casino"
(Boomtown Records/
Shock) best independent
single.

U2 TO MAKE
GLASTO DEBUT

U2 has been confirmed as
a headline act for the
United Kingdom's
Glastonbury Festival. The
band will make its first
appearance at the festival
in Somerset, England,
next year. U2 will break
from its North American
tour to play the first day of
the event (June 25).

ffeporting by Christie
Eliezer, Andre Paine and
Wolfgang Spahr.

BY PATRICIA MESCHINO

REPLICATING
RIHANNA

Barbados Proves To Be
A Hot Spot For Talent

There's more to Barbados than rum
.itid Rihanna.

Jusi oul.side the Caribbean i.sland's
capital of Bridgetown, a heavily traf-
ficked street called the St. Lawrence Gap
teems with the sounds most people as-
sociate with the region. Reggae, soca
and calypso bands draw tourists and lo-
cals alike into bustling clubs, as they
have for decades.

But it's the 21st-century urban
sound of Barbados-born Rihanna that
has inspired a new wave of young Bar-
badian artists, with five recently se-
curing major-label deals: Shontelle
(SRC/Universal). Livvi Franc (live/
Sony). )aicko (Capitol/EMI). Hal Lin-
ton and Vita Chambers (both SRP/
Universal Motown).

Tliat's an impressive strike rate for an
island with a population ofjiist 2JiO.O()0 —
and locals are swift tocredit their nation's
most famous R&B liilmaker.

"Rihanna has inspired a lot of Barba-
dian artists," says Jaicko, whose Capitol
debut. "Can I . . .." drops in first-quar-
ter 2010. "Before Rihanna, it almost
seemed impossible for a Barlwdian artist
to get a record deal, but her success
made me believe I could do it."

"Ri henna's su perstar status has
drawn greater attention to Barbados,'
says Barbadian producer Chris Allnian.
owner of Slam City Productions and the
man behind local hits for stKa stars like
Rupee and Edwin Yearwood. "If she can
tome from here and be so successful, it
stands to reason there are others who
Lari bt^ nearly as succL'ssfuL"

The duo that discovered Rihanna is
New York-based production/songwrit-

ingteam Evan Rogersand Carl Slurken.
Both are frequent visitors to the island.
They've successfully placed four Bar-
badian acts with U.S. majors through
their production company Syndicated
Rhythm Productions (SRP).

While visiting Barbados in 2004
they auditioned singers. Including the
then-15-year-oId Rihanna, who had
never sung professionally. "Rihanna
had incredible presence and a very dis-
tinctive voice," Rogers recalls, "but it
needed development."

The pair signed Rihanna to SRP and
relocated her to New York — a crucial
move, Sturkcn says, if an artist wants a
shot at U.S. success. Tliere, they devel-
oped her skills before placing her with
Def )am in 200S. Following Rihanna's
breakthrough, the duo hit pay dirt again,
signing Shontelle in 2006; by the end of
the year, she'd signed to SRC/Universal
Motown. Shontelle's single "T-Shirt,"
from her debut, 'Shontelligence,'
peaked at No. 21 on the Billboard Hot
100 in 2008 and reached No. 6 on the
United Kingdom's Official Charts Co.
listing early the following year.

SRP also signed soulful crooner Hal
Linton and pop- rocker Vita Chambers
in 2008 and 2009. respectively. When
SRP struck a label deal with Universal
Motown in early 2009. they became
SRP Records' first artists. Shontelle.
Linton and Chambers will perform at
a Sturken and Rogers-produced "Mo-
town 50th Tribute" special televised
during Fox's coverage of the Detroit
Lions and Green Bay Packers football
game on Thanksgiving Day.

Universal Motown president Sylvia
Rhone says the artists have "worldwide
appeal and cannot be pigeonholed by
Barbados, ethnicity or genre."

RitBand soul have always been sta-
ples in the musical mix that makes
up Barbados' domestic sound, being
performed on the club scene along-
side local genres plus pop, rock and
even country.

But the island's live highlight is the
annual soca and calypso-dominated
six-week Crop Over festival in July and
August. Marking the traditional end
of the sugar cane harvest, it attracts
thousands of overseas visitors (Bill-
board, Sept. 12). During Crop Over.
Barbados' soca and calypso artists pick
up increased local airplay and flood the
island with CDs. usually self-released
or on indie labels. The biggest local la-
bels include CRS Music, which is par-
ticularly strong in regional reggae and
soca acts, and pop/reggae veteran F.ddy
Grant's Icc Records, noted for its ca-
lypso catalog.

Slam City's Allman credits a local
Crop Over hit song with helping awaken
U.S. labels to Barbados' potential. Soca
singer Rupee's 2002 Crop Over hit
"Tempted to Touch" became a smash
throughout the Caribbean and went on
to be a radio hit in Canada in 2003.
Rupee signed with Atlantic Records later
that year and "Tempted to Touch"
reached No. 3 on the Hot 100.

" Rupee's deal confirmed we have the
talent [hcre| to be signed to major la-
bels," Allman says.

The talent that's been scooped up
recently hasn't emerged from local
genres, however. Rather, these are
young, often teenage acts whose styles
aren't yet fully defined — ofTering the

tantalizing possibility of being able
groom a "new Rihanna."

For example. Chambers" demo, whi(
pushed her toward a U.S. deal, was al:
produced by Allman. who notes that si
was groomed through Slam City's arti
development program, which helj
artists refine their creative direction ai
prepares them for the rigors of an intt
national career.

But, as yet, the streets of Bridgetov
aren't crawling with U.S. A&R me
local links remain key.

Barbados-born/ Florida-based arti
manager AUison Hunte, for exampi
says Franc was signed to jive by sen!
VP of A&R JefTFenster in October 20C
after she and co-manager Kerr
Thomas-Armstrong shopped Franc
laliels in the States.

Hunte previously managed St. Vi
cent-born soca artist Kevin Lyttle. wl
had a global hit in 2003-04 with "Tu
Me On" and reached No. S on the Bi
board 200 in 2004 with his self-titled /
lantic debut album.

Meanwhile, Sturken and Rogers j
knowledge tliat tlieir relationship wi
Barbados puts them in a good positic
but they know it's no longer an exclusi
one. "We have a lot of respect because
our success with Rihanna," Rogers sa
" But it's more compctthve now — the n
jors are on to Barbados." •

YOUNG, GIFTED AND BARBADIAN

Three Artists Relocate To The U.S.
In Search Of Stateside Success

VITA CHAMBERS

Based: White Plains, N.Y.

Forthcoming release: As-yet-untitied album on
SRP/Universal Motown, due out in early 2010
Booking agent: Paradigm (worldwide)

Syndication Rhythm Productions'
Evan Rogers first contacted 16-
year-old pop/rock singer Cham-
bers in March— just weeks after
she had posted a few songs on
her MySpace page— and swiftly
signed her to the company, Rogers
and SRP co-founder Carl Sturken
subsequently "brought in four
songs that were one-listen pop radio smashes,"
Universal Motown president Sylvia Rhone says,
"That's what made Vita a must-have artist for the
label. She is unequivocally a superstar and you
know it the moment she walks in the room."

JAICKO

Based: Queens, NY.

Forthcoming release: "Can I . . ."(Capitol), due out
in early 2010

Booking agent: William Morris Endeavor Enter-
tainment (United States)
Jaicko, 18, has been performing
in Barbados with 4D People— his
father Philip Forrester's band,
and one of the island's most pop-
ular acts— sifKe he was 9. He says
the experience honed his singing,
songwriting and performing skills.
Jaicko's U.S. debut single. "Oh
Yeah" (featuring Snoop Dogg), hit No. 36 on Bill-
board's Rhythmic Top 40 chart in November Capi-
tol senior director of AAR Chris Anokute says, "He's
right where Chris Brown was in terms of appeal-
ing to that young, urban crossover consumer."

Booking agent:

HAL LINTON

Based: Queens, NY.

Forthcoming release: "Return From the Future"
(SRP/Universal Motown), due out in early 2010
BooUng agent Creative Artists Agervry (worldwide)
Linton's self-produced debut
album, "Spirit; Life: Love" (CRS
Music), earned four wins at the
2007 Barbados Music Awards. It
also helped him win financial
backing from economic devel-
opment agency Invest Bart»dos.
which assisted in staging several
U.S. showcases before he signed
with SRP. "Hal has a unique vocal tone and soul
that sets him apart from any of the male artists in
the market today," Universal Motown's Rhone says.
"It's like Marvin Gaye meets Maxwell meets D'An-
gelo meets 2010. " —PM

I BILLBOARD DECEMBER S, 2009

mVU TMI= RRANh

WHAT CONVERSE LEARNED FROM ITS LOVE NOISE TOUR IN CHINA

by GEOFF COTTRILL

k>nverse sees itself as an advocate and catalyst
)r creativity. It's something that drives now we
llocate all of our- marketing resources. As a
rand, our job is to support and celebrate the
reative community around the world.

In China, we saw an opening to do [ust that
y aligning ourselves with the country's incred-
>ly vibrant underground indie music scene.

There are great new bands, an energy and an
dge that other cities lost long ago. What they
ick is support. There isn't a touring infrastruc-
ire in China. There aren't any city-to-city cara-
ins of tour buses and big rigs. Venues are few
nd far between.

Converse saw an opportunity to work with a
■w of these young bands. Wc didn't ask them
I star in commercials wearing our shoes. We

~ '* isk them to write jingles for us. Instead.
iow them and asked what kind of help

J always dreamed of going
•IS thai they wanted
■H share their
e bought a
road with

jier to the music
. as "noise" that musicians
.og and proudly declare that they
dl^ise." We loved that idea so much that
- bus trip the Converse Love Noise
'Oc^ ^^^^^^^^^^^^^

tour. We connected with two bands and created
a five-city lour for them — and for us.

Our headliners. both from Beijing, were PK14.
a respected pioneer of the underground scene,
and Queen Sea Big Shark, a new-generation up-
start. The bands didn't play in big venues, but
along the way we stopped at small clubs and on
street comers in Nanjing. Hangzhou, Chang-
sha. Wuhan and Xian. As we rolled into each dty.
we added a local band to the bill, Each night these
acts played to audiences of 200-300 people.

So, what happened along the way.^ Beyond
buying the tour bus and coordinating the tour
dates, venues and logistics, we sent a small cam-

era crew on the road to capture the personal sto-
ries of each of the bands' members. The bus it-
self went from being a big white vehicle lo an
interactive canvas as the bands and the kids along
the journey took it upon themselves to paint
every inch of it. When it rolled back into Beijing
it was covered in graffiti and other artistic ex-
pressions. It was a mess, but one of the most
beautiful things we had ever seen. 1 1 told a story.

During the tour, the bands blogged about
their journey and gave personal, on-camera in-
terviews. We learned that these kids have some-
thing to say and just want to be heard. As China
increasingly opens up. allowing its young to

Chinese rocks: PK14 (far left)
and QUEEN SEA BIG SHARK
with their Converse-
sponsored tour bus t>etween
Wuhan and Xian.

UPFRONT,

have a little bit more of a voice, it will free them
to be more creative.

As a result of the tour, we had more than 3 mil-
lion visits to our Web site in China from last De-
cember through the end of March. We've gotten
more than 1.8 billion impressions through our
online partners and a print and outdoor campaign.
We edited the footage wc shot and produced an
hourlong documentary of the tour. Earlier this
year, we gave away more than 100.000 DVDs of
the documentary at retail stores throughout China
with purchases of Converse merchandise.

Music, art and fashion are all colliding in China
and what we found was inspiring and truly in*
vigorating. We saw our consumers everywhere —
onstage, in mosh pits and outside on the curb.
The indie music culture and scene in China is
incubating incredible talent, but ii needs sup-
port and leverage for access to larger audiences.

In a society that views rock music as noise,
we wanted to uncover the passion of these kids —
in their own words and with their own music.
This was the premise of the Love Noise tour. By
supporting creativity, specifically indie rock in
China, we had the opportunity to grow together
with the scene, to add value and to influence this
new generation.

Something very special is happening in China.
Brands interested in breaking into the market
should find a way of contributing to the artist
community and advancing iheir cause — to be
heard, to be young and to have some fun along
the way. Make it about them. Elevate and amplify
what they are doing. • • • •

Geoff Cottrill is chief marketing offiur of Converse
and a member of the Grammy Foundation hoard
of directors.

r J BY TOM FERGUSON |

hospitality IHostility

> . Collecting Society Faces Setback In Income
?r Copyright Tribunal Loss

i>ON— U.K. performers and la-
have to tighten their belts
^ fsing the first round of their
igoing beef with the country's
)spitality industry,
in October, the U.K. Copyright
Ibunal ruled that tariffs intro-
jced by collecting society Phono-
aphic Performance Ltd. on Jan.
2005, should be scrapped, de-
ribing the higher rates for the use
- recorded music as "unreason-
)le and unjustifiable."
That leaves PPL looking at
paying millions of pounds in
illected fees to the owners of
ibs, bars, tiotels and restaurants
If its appeal. lodged Nov. 12 at
e High Court in London, proves
(successful.

If PPL loses, trade groups the
-itish Hotels Assn. (BHA) and the
itish Bar & Pub Assn. (BBPA) claim
eir sector could benefit from re-
nds of up to £20 million ($33.5
llllon), plus annual savings of some
> million (S8.4 million).
"Those sort of figures aren't out

of the question." says PPL execu-
tive director Peter Leathern, who
expects the appeal hearing to be
held next summer.

The BHA and the BBPA both de-
clined to comment. However, in a
joint statement, BBPA chief execu-
tive Brigid Simmonds said the two
groups "will be doing everything we
can to ensure any appeal case is
heard quickly, so that the matter of
repayments can be settled as soon
as possible."

PPL collects royalties on behalf
of 3,400 record companies and
39.500 performers In the United
Kingdom, paying out £110.3 million
($184.5 million) in 2008.

According to Leathern, the soci-
ety will not ask members to return
payments If it needs to refund the
hospitality sector. While that's wel-
come news for artists and labels
whose PPL income is a much-
needed supplement to falling rev-
enue from record sales, many re-
main concerned.

"Any cut in the rev«nue PPL col-

lects on behalf of my clients will
have a detrimental effect," says Lon-
don-based artist manager John Tay-
lor, who represents veteran U.K.
artists Andy Fairweather-Low, Joe
Brown and former Dr. Hook vocalist
Dennis Locorriere.

PPL chairman/CEO Fran Nevrkia
says what's really at stake is the

"global Issue" of parity for perform-
ers' and composers' rights.

"Why are the [U.S.] labels and
performers fighting for the
broadcast right?" Nevrkia asks.
"Because the two sets of con-
stituents should not be discrimi-
nated against."

The 2005 rates were, in part, in-
tended to move PPL's fees closer
to the considerably higher au-
thors' rights fees collected by PRS
for Music. However, the Copyright
Tribunal rejected PPL's claims that
its pre-2005 rates undervalued its
music, noting that PPL had been
aware of PRS' substantially higher

It's not that we
want people to

go out oC
business, but
30 j)enee a day
for worldwide
repertoire? 1

find it
ou(rag(H)us/

—FRAN NEVRKLA. PPL

rates when setting earlier tariffs
and couldn't justifiably ask for
parity now.

Under the 2005 rates, premises
paid annually on a sliding scale, ac-
cording to "audible area" floor
space. Premises with a floor space
of less than 100 square meters paid
£100 ($167), those between 101
and 200 square meters paid £200
(£335) and so on. But under the
Tribunal's new rates, all premises
less than 400 square meters pay
just £109.75 ($184)-the equiva-
lent of 30 pence (50 cents) per day.
That, Nevrkia says, Is about half the
price of a packet of peanuts in a
London pub.

Taylor backs PPL's decision to
appeal.

"I applaud PPL for their stance,"
he says. "How would [the hospital-
ity industry] feel about the musi-
cians whose work they use to build
their businesses being able to help
themselves to any of their prod-
ucts or services whatsoever for the
same price?"

Meanwhile, Nevrkia Is convinced
the High Court will ultimately
acknowledge the real value of
recorded music.

"It's not that we want people to
go out of business," he says, "but
30 pence a day for worldwide reper-
toire? I find it outrageous."

DECEMBER 5, 2009 I www.billboard.biz | 13

ATIM

Extreme Makeover :Pop Edition

Can Superstars
Change Their
Fans' Perceptions
Of Thenn?

Making over established acts
isn't an easy task. Take Sha-
klra. She's gone from rebel-
lious, thoughtful rocker to
blonde, sexy vixen who favors
erotic dancing over forceful vo-
cals. Luis Enrique went from
salsa singer to brooding sing-
er/songwriter to salsa singer
again. Gloria Eitafan has tra-

versed English. Spanish, pop
and tropical roots. And then
there's Thalfa, the erstwhile
soap star who was more TV
personality than singer. For
her new album, she has opted
to go from histrionic to earthy
(sec story, pa^e 27j.

While Shakira and Thalia
have undergone sonic changes,
their real transformation lies
in their images and how they're
presented to fans.

"The visual issue is very im-
portant." says Paula Kamin-

ski. VP of marketing for Sony
Music Latin, which is releas-
ing "Thalia En Primera Fila"
Dec. 1. 'It's about engaging
people from the emotional
side of the story."

To this end. the "Primera
Fila" (First Row) concept is par-
ticularly useful. The album is
part of a Sony series of releases
that are recorded during inti-
mate, live performances and
released separately on CD and
DVD. The first "Primera Fila"
was released in 2008 and fea-
tured ranchera icon Vi-
\ cant* Fernandaz. The
second, featuring Thalia
—an artist who has
never been known for
intimate performances
or even for any kind of
significant touring in
the United States —
was a surprise.

But it offered
Sony a way to at-
tract a marquee
artist who had left
a longtime label
and was looking
for options-
"Many major
acts want to be
repositioned," Kamin-
ski says, "and arrive at
a moment where
they ask, 'Where do
I go from here?' °
For Thalia, that
moment had long

been coming and culminated
with her last album for EMI.
2008's "Lunada." a dance-
tinged, tropical-laced set that
sold only 14,000 copies in the
States and Puerto Rico, accord-
ing to Nielsen SoundScan.

Sony then approacht-d her
with the "Pri-
mera Fila" idea.
The notion.
Sony Music
UtinVPofA&R
Paul Forat says,
was to "distill
the true artist
behind the char-
acter, take away
all those acces-
sories she's used as crutches
and expose her."

"This project is very risky."
he adds. "I think that previ-
ously, people had never really
sat down to listen to her sing. "

It was also important to
show how different Thalia
was. and she goes through
great pains to appear casual
and relaxed on the "Primera
Fila" DVD. wearing jeans,
sneakers and a T-shirt and
spending most of her time
singing from a stool. Sony also
filmed a documentary of her
life story, and again, the im-
agery, editing and overall aes-
theric of the movie attempt to
convey a down-to-earth, even
self-deprecating character.

The documentary will not

be sold to fans. Instead. 45
minu'^-s of footage and a hand-
ful of perfor .nanres aired as a
TV special Nov. 21 on Mexico ^
Televisa network. In the States
it will air Dec. 13on Univision,
and negotiations are under
way for other territories. The
sale of those
rights around
the world — as a
soap star,
Thalia's popu-
larity extends to
places as far-
flung as the
Philippines — is
part of the
"Primera Fila"
business model.

Sony's deal with Thalia
only covers this project, and
sources say the making of
the special and the documen-
tary cost close to $1 mil-
lion—a rarity for a Latin
project nowadays.

However, recoupment will
come not only from CD and
DVD sales (some 100.000 units
will be shipped region-wide,
including Latin America), but
also sales of the TV special and
a possible tour for which Thalia
and Sony will go in as partners.

"The business is of a far
greater scale than just album
sales." Forat says.

For 24/7 Latin n«w«
and analysis, see
blllboard.blz/l«tlrv

Drama King

Telemundo Casts Jencarlos Canela In
Starring Role On Albums Chart

Life is complicated for the
main character in "M^ Sabe
©I Diablo," the top-rated Tele-
mundo soap about a grand
larcenlst with a heart of gold
wfto's in love with his one-
time defense lawyer— even
though she's married to his
father, who's secretly also a
master thief. And even as his
character tries to recapture
his lost love, actor/singer Jen-
carlos Canela made time to
score a No. 2 debut on Bill-
board's Top Latin Albums
chart with extraordinary pro-
motion on Telemundo.

Canela sang the original
title tl^me of the soap wtien It
premiered earlier this year, but
Telemundo swapped the song
for his singte "Amor Ou^date"

in the rurvup to the Nov. 10 re-
lease of his album. "Buscame"
Canela's music video for the
song was used for the show's
opening sequence in the
month leading up to release.
The track is No. 17 on the Latin
pop airplay chart this week.

Telemundo is also running
ads rn prime time for "Bus-
came" until early next year as
part of a deal in which the net-
work shares in his music sales.
"It's a unique situation be-
cause he is the main protago-
nist of the show. It couldn't
have been done with anyone
else," Telemundo VP of music
Margaret Guerra Rogers says.

The network's support was
the key factor that gave
Canela's Independent label.

Bullseye Music, "the ammu-
nition to go toe-to-toe with
the majors," CEO Rick Stev-
ens says. The label is a part-
nership between former Poly-
dor/MGM executive Stevens
and two Latin music industry
veterans, producer Rudy Pe-
rez and former EMI Latin
chairman Marco Bissi.

Canela's feat— entering the
Latin albums chart at No. 2
with a debut album distrib-
uted independently— appears
to be unprecedented. "The
one area where an independ-
ent can't compete is in mar-
keting." Stevens says. "This
approach of partnering with a
media company is very much
a part of our future."

Canela also sung the
theme for another Telemu-
ndo soap, "Pecados Ajenos."
Perez produced "Buscame"
and played It for the network
to pitch as a new theme for
"Mis Sabe el Diablo."

Bullseye assembled an

experienced team to work
Canela's album, including dis-
tribution by Select-O-Hits
and sales and marketing by
Venetian Marketing Group, the
company formed by former
Univision Music Group VP of
sales Jeff Young. Bullseye
hired promotion consultants
like Intocable manager Alan
Baxter and In-Style to do dig-
ital marketing.

Following a series of in-
stores in Puerto Rico, the mar-
keting push behind "Bus<
came" will continue into the
first quarter, Stevens says,
with a Wal-Mart "Sound-
check" performance and
cross-merchandising of the
album and a "Mis Sabe el Di-
ablo" DVD. The soap is airing
in Mexico as part of a deal Tete-
mur>do has to air its program-
ming on Televisa cable chan-
nels, so Bullseye is in talks with

Stealing hearts, setting fires,
singing songs: JENCARLOS
CANELA

distributkin partners for "Bus-
came" south of the border.

"We only had one artist
and one priority, which Is our
goal— one artist at a time."
Stevens says.

—Ayala Ben-Y«fiuds

EN ESPANOL: All iho gr«at Latin music coverage
you've come to expect from Billboard— In Spanish!
BlllboartfenespaneUenv

BREVE

IDEAS TELCEL CUTS
PRICES

Ideas Telcel, Mexico's dom
nant wireless operator, he
cut per-track prices in its die
ital music store to 10 pesc
(77 cents). The price cut df.
plies to all 1.4 million song
In Ideas Telcel's catalog bi
doesn't include a transmi:
sion charge of 5 pesos fc
over-the-air downloads.

The move was reported!
Intended to compete wit
iTunes' prices in Mexico, whic
range from 12 pesos to 1
pesos per track, with albun
goir>g for as little as 110 pes<
(S8.42). Aliado Digital repor
that Ideas Teicel had be-
ing tracks for 11-15 r
with its com""
Digital -

study o.
number of i..
loaded songs doublea
ing the same period.

—Ayala Ben-Yet.

PROMUSICAE
LAUNCHES NEW SITl
Spanish labels' group Pronx
cae has unveiled a new pen
EIPortalDeMusica.es, offerii
the latest charts, n>usic strear
from 60 labels, links to onlii
download stores and editor
content in a nrove to encoura<
legal online digital payment

"We want to dispel the i
ban legend that piracy exif
because there is no legal alt(
rtative," Promusicae preside
Antonio Gulsasola says.

The portal itself isn't an o
lirw store, but offers streamii
and links to such legal servic
as YouTube, Spotify. ITun*
Yes.fm, Vodafone Music ai
Nokia Music Store.

In a separate anrxxjrKeme
culture minister Angel
Gonzalez-Sinde revealed th
a new Web site contalnii
legal digital content, includii
millions of tracks and filn
with a special focus on U.S. c
ema, will be inaugurated in t
coming months.

The culture ministry will h<
finance the site, but the ent<
tainment Industry's Coaliti
of Creators and Content Indi
tries will supply the contc
and technology.

-Howe/I Uewe/l

14 I BILLBOARD I DECEMBER 5. 2009

WARNER
USIC GROUP
CHIEF
CREATIVE
OFFICER

Rob Ca

After returnirtg to Warner as its
new chief creative officer, the
veteran producer talks about his
new job and his future projects—
andjwtiy he likes Meat Loaf.

Producer Rob Cavallo has made so many albums for artists signed to Warner Music
Group that it has sometimes seemed Wke he worlced there. For much of his career, he
did—first in 1987 as an Intern at Warner Bros. Records and eventually as a senior A&R ex-
ecutive, when he signed such acts as Goo Goo Dolls and Green Day.

After a few years working at the entertainment technology company Level 7. he returned
to WMG in October as chief creative officer, a new position that will allow him to sign tal-
ent, produce albums and perhaps even bring some of his outside projects to the label.

In the last five years, albums Cavallo has worlted on have sold more than 13 million
copies in the United States, according to Nielsen SoundScan—and more than double
that worldwide, according to WMG. That makes him one of the most successful produc-
ers of recent years and almost certainly the top seller in rock. Although he's well-known
for his long relationship with Green Day, Cavallo's projects in recent years have also in-
cluded My Chemical Romance's "The Black Parade," Kid Rock's "Rock N Roll Jesus" and
new albums by Shinedown. Paramore and the Dave Matthews Band.

Just because Cavallo is best-known as a producer doesn't mean he'll play that role in
every project he's involved. "I always like to supply an environment where the band gets to
do what they want," he says, "so that they feel comfortable doing what they want to do."

Your title is chief creative
officer at Warner Music
Group. What did you do to
earn that title, and what
does your job entail?
I was producing so much with
many very different artists. Basi-
cally, [Warner Bros. Records chair-
man/CEO] Tom Whallcy was
asking, "Can you do this for me?
Can you do that for me.^" And
[WMG chairman/CEO of re-
corded music for the Americas
and the U.K. Lyor Cohen] took no-
tice and said, "This guy is help-
ing us on so many levels. If you
look at the records he's working
on and their affect on our bottom
line and the impact they're hav-
ing on the culture, we need to gel
him on as many things as we can
because he's obviously making a
big difference."

And rather than have it limited
to one label or the other, it made
sense for me to rove. He said.
"You should be able to work for
Atlantic here in the U.S. or with
Warner internationally — like
Mana in Mexico." And besides
the production and the relation-

ships, I have a little bit of a tech-
nology background and they were
interested in bringing me into
that conversation.

What were your responsibili-
ties at Warner Bros. Records
before you left to join Level 7?

I was senior VP of A&R. This is ac-
tually not that different — it's just
that this is a bigger title and in-
stead of having the resources of
one label. I now work for the
group. But I still sign bands. 1
signed the Dave Matthews Band
to a distribution deal with Warner
Music internationally [for its lat-
est album. "Big Whiskey and the
GrooGrux King"]. And I just signed
Switchfoot to Atlantic for a 360 deal
worldwide. And there may be more
to come.

What was it like to work with
the Dave Matthews Band, an
act better-known for per-
forming live than working in
the studio?

They were on a particular road.
You make your first couple of
records, and it's easy because

you're playing your heart out and
you take it into the studio, and they
just come out. And then, after a
period of time, you settle into what
life is like and other stuff starts to
creep in. And then a band has to
make a decision: Are we going to
break up, or are we going to de-
cide that this magic we make is
worth fighting for? And that's
what happened with the Dave
Matthews Band: They decided that
they really wanted to do it right
this time.

The other album you Just pro-
duced Is the new one from
Paramore, which couldn't be
more different.

I fell in love with them within the
first half-hour because they're a
real band that's bigger than the
sum of its parts. And they were ac-
tually sort of curious about me:
"What's this guy like? Is he going
to tell us what to do?" But produc-
tion is always about what you don't
do as well as what you do. So if the
band is really on fire — which
clearly they were — then you don't
have to say anything.

That's an Interesting point.

1 want the studio to support what
the band wants to hear back. What
I think the really hard part of pro-
ducing is — the noble part of pro-
ducing— is getting llic band to write
their best songs, recognize when
they've done so and guide them in
how to get there. Tliat's the trick.
Thai's why 1 think Rick Rubin is so
great: People say that he's not in the
studio that much, but he under-
stands how to talk to artists and how
to get them to be confident in the
directions they're choosing.

You're also working with Meat
Loaf. How did that happen?

He just called me and said, " I need
a new guy, someone who can han-
dle my kind of music." The reason
I got the call was because he had
heard "American Idiot" and "The
Black Parade." and both of those
records have a lot of drama. They're
very Meat Loaf-like. And then, once
we got into the studio, it was like a
love affair. To me, he has more
rock'n'roll spirit in him than any-
body I've ever met. He's on Uni-
versal outside of America, but right

now he doesn't have a North Amer-
ican deal. What we've decided to
do is finish it and then present it

Your dad is Bob Cavallo, a vet-
eran music executive who now
runs Disney's music business.
How much has he influenced
your career decisions?
A little bit. All I really knew about
it as a kid was that you could get
free tickets and that he was in the
home office yelling at people, so
it didn't sound like that much fun
to me sometimes. Then when I
got older and he was managing
Prince I realized, "Oh, my God.
this is big stuff."

I went to U SC but I didn't know
what 1 was going to do until my
dad said. "Why don't you try being
an A&R guy?" At the time I was
producing as a hobby — I was mak-
ing little tapes at my house. Then
I met with Warner and I became a
listener — I would listen to 100
demo tapes a week and write re-
views. And 1 ended up getting as-
signed to Black Sabbath as an A&R
guy basically by default. We had to
do a song for "Wayne's World," and
in the middle of the production,
the producer fell ill. And then
about a week later I came back to
L.A. and 1 had the finished song
with me and they were like, "You
can produce."

Do you still get advice from
your father?

Oh, yeah, we talk all the time —
most of the time about business
stuff, but we occasionally talk
about creative stuff because he's
very much a song guy. I'm still
shocked and amazed that he can
do what he does. He's 70 years old
and he's the guy who really picks
the hits.

Prod action is always about what you don't do as well as what you do
So if the band is really on fire— which clearly [Paramore was when
recording its new album]— then you don't have to say anything.

DECEMBER 5. 20O9 I www.blllboard.blz I 15

It's a cool, crisp November evening in Nashville, and yes, Bruce Spring-
Iteen knows exactly where the hell he is. ^ It's a few days after Springsteen committed
fhat he called "every frontman's nightmare" by confusing Michigan during an onstage
iallout with neighbor and rival Ohio. But if Springsteen gets mixed up occasionally as
b which city or state he might be about to rock, it's understandable. 5 Springsteen and
is E Street Band have been on a global tour since 2007, through two album cycles, per-
)rmances at both the Super Bowl and presidential inauguration and first-time appear-
nces at several major festivals. Even for an artist who has largely built his career on
pic shows, Springsteen and the E Streeters have found another gear. ^ Similarly, Spring-
;een has been unusually prolific in the studio, releasing albums of new material in
007 ("Magic") and this year ("Working on a Dream"), while at the same time acknowl-
iging his beloved albums of the past by playing full sets of classic recordings in con-
trt. On this night in Nashville his 1975 breakthrough album "Born to Run" will get
le live treatment, to stunning effect. ^ "This last year, in my point of view, was as great
year as we've ever had," longtime Springsteen manager Jon Landau says backstage at
ashville's Sommet Center. "It's fair to say I've never spent a year with him where he's
ist been so consistently enthusiastic, energetic. And Bruce is one of those guys who
ads by example. When you're working with him, if you're a collaborator, a manager
r in the band, you can't be doing less than 1,000%. You wouldn't like yourself if you
idn't dig as deep as he's digging." ^ Springsteen is indeed digging deep, but in his
ressing room prior to the show, he laughs it off. "We were talking about it the other
ly — we said, 'I don't know if we've been this busy since 1985, or ever,' " he says. "It's
ist the way things worked out. Some of those things we planned and some of them
ist happened." ^ Four nights before this marathon trek is set to end in Buffalo, N.Y.,
pringsteen isn't fatigued, but excited about his own future and that of his E Street
and. What the Boss is most concerned about is his pending show, blowing the roof
"f yet another house as he rolls on in front of this speeding train. And this Springsteen
ill do, repeatedly assuring the ecstatic crowd that he knows he's in Nashville, Tenn. —
id is thrilled to be there.

The last couple of years for you have been pretty excep-
tional in terms of productivity, both live and in the studio.
I 've been prolific with my songwriting, so I've been able to just
get more music out there, which is something I always wanted
to do. I found my 50s to be very, very fruitful. The songs came —
I don't want to say easy — but they came in a continuous flow.
I had a lot of things I wanted to write about, so it allowed us to
record quite a bit, and then back it up with the touring.

Really, with the end of these shows, we're coming to the end
of a decade-long project with the band that really was a tremen-
dous renewal of the power, the strength and the service that
our band hopefully provides. It's just been a great 10 years, not
just the past couple. A decade ago I wasn't quite sure if I wrote
in a style that was suited to the band anymore. I wasn't quite
sure how we functioned as a unit. And to sort of see the whole
thing just have so much vitality and power and strength, it's
just one of the sweetest chapters in our entire time together.

I remember as a kid waiting three years for the release
of "Darkness on the Edge of Town" in 1978. Why so
prolific now?

Looking back, when you look at "Tracks" |1999's boxed set of
unreleased songsj I guess I always wrote them. For every
record we released there was a record I didn't release. I think
at the time 1 was very interested in shaping what I was about,
what I wanted to be. I was very cautious in my releases and
I wanted my records to have very strong identities and be
about a very particular thing.

The nice thing about where we are now, the rules are much
fewer and far between. You can really record anything you
like. This past decade I had this huge folk band that I toured
and recorded with, and that was a wonderful experience. I
toured solo and I loved that, and then to have the (E Street
Band] at full power, I can do all these things now and I can re-
ally record whatever kind of music comes into my mind. Who
you are and what you do is already established, so you don't
have those identity concerns that you had back in the day.

DECEMBER S, 2009 I www.billboard.blz I 17

So you were less cautious about It and
just turned it loose?
You become better at discerning your good
songs from your not-as-good songs. The
writing process is shorter, because you re-
fine what you leave in and what you leave
out. You're able to do more work in a com-
pressed amount of time without the qual-
ity suffering in any way.

Why work the road so hard for so long?
isn't it a grind?

I can't say I experience it as a grind, Of
course, you're flying in, you're flying out,
you're driving, but I really like the people
that I do this with. I like being with them
onstage and off, 1 enjoy the time we spend
traveling together, and 1 enjoy the work
that we do.

If you're a sports figure, your prime
passes at such a young age. There's no ceil-
ing here. I believe if you come and see us
now. you're seeing the best E Street Band
that's ever played: it just continues to im-
prove. Not that you don't get tired or fa-
tigued, but no matter how tired you are,

18 ' BILLBOARD I DECEMBER S, 3009

when you're onstage during the night there's
always this point that you go. "Oh, my Cod,
this is just wonderful."

When did you start taking the requests
from the audience?

People would always bring signs, and we'd say,
'Let's do that one. let's do that one.' But then
somewhere along the way. I believe it was at the
very end of the Magic tour, we just started to do
more of it. and people started to bring more
signs . Then we started to take unusual requests,
and we started to do things sometimes that we'd
never played before, just depending on the com-

mon memory that the band would have from
everyone's individual playing experience as
teenagers. And then we ended up with a sys-
tem where we can jump on a lot pretty quick.

How many songs are in your arsenal?
Since the Magic tour. I think we've done up-
wards of 150-160 songs, maybe more, because
we do a lot of things just once.

I was told you played 43 different songs
at the Spectrum in Philadelphia over the
four nights.

Yeah, we did a different show every night, and

a third to half of it was different. If you see \
two or three nights in a row at some of the:
stands that we do, you may hear 35-50 diffc
ent songs. That's just something we're ab
to do. It's a combination of the old bar bar
experience and something I just ask the gu
to do. We have a little bit of a set list, and 1 f(
low the end of it and I follow the beginnii
of it. Then there's a little section in there whe
it just slips and slides.

it depends on what's going on with the a
dience on any given night and what I think t1
band can pull off. It allows the fans to ha'
input into the show in a way that just pum'
the blood into everything and enlivens tl
evening. We've done stuff by the Ramones, tl
Clash and Tommy James.

Was it always a focus from early in yo
career— even during your time in the bai
Steel Mill— to make the live shows specif
Yeah, because you have to understand th
you lived and died by your ability to perfon
You had no records. So either you were goii
to be locked into being a bar band or your pi
formance level was simply going to be exc

MUSIC THAT THREADED
THROUGH YOUR LIFE
AS WELL AS OURS.'

-BRUCE SPRINGSTEEN

Cni

ig enough to where you could slightly tran-
:end your bar band roots and end up doing
ical concerts,

But to do that, to draw 1.000-2.000 people
ith no album — which is what wc did in the
ite "GOs — you had to have a thrilling live
now. It was a four-piece band — me. Danny
•ederici]. Mad Dog [Lopez], Steve [Van
antj — but you had to be a powerhouse, you
ad to bv able to grab people instantaneously
ith music they hadn't heard. It had to be
lusic that was arranged (to be] very excit-
ig, and that's what led us into "Rosalita."
<itty"s Back," "Thundercrack."

Those kinds of songs were actually tlie final
roductsof long, almost prog-rock things thai
did coming out of Steel Mill, where there
ere time changes and arrangement changes.
0 they were sort of me bringing what 1 did
ith Steel Mill into my recording life, with
le soul and R&B influences that 1 used when
first started to record. If you heard "Ros-
ita" and had never heard the record, it still
orks. If you heard "Kitty's Back" and had
;vcr heard the record, it still works. They
ist swing and move and excite in a way.

When and why did you decide you were
going to perform full-album sets?
It was like, "OK, what can we do that we haven't
done.'" Tliere were some people who were start-
ing to do il and my audience fundamentally ex-
perienced all my music in album form. People
took " Born to Run" home and played it start to
finish lOOtimes; they didn't slip on a cut in the
middle. It was a different era in the way that
people heard and experienced music.

And when we made albums, we took a long
time, and we built them to last. The idea is.
"There's no stinkers on this thing." And we
spent months or years or whatever it took lo
try to make sure that was so. So the albums
play real well, and I think when you hear it
live] you go. "Wow. I can't believe all those
songs were on one record." whether it's "Dark-
ness" or |"The Wild, the Innocent & the E
Street Shuffle'}. Those arc records that are
packed with things that have lasted 30-35
years. It simply was an idea of a way to revi-
talize the show and make it something that
was appealing and fun for the fans, but it
ended up being a much bigger emotional ex-
perience than I thought it would be.

"The Wild, the Innocent & the E Street
Shuffle" would seem a challenging task
to just go up and whip out onstage.

We knew most of the stuff on "Wild & inno-
cent." I think we ran over "Wild Billy's Circus
Story" — I made sure the guys got much closer
to the parts that were on the record. We added
a horn section and a string section. We played
that in New York City, so it was this very eclec-
tic, colorful, big night of music, and there's
only seven songs on it.

1980*5 double-album, "The River"— that's
a lot to tackle.

That was a trip, We had to learn a few things
for that. That was basically a rock band record,
but it went on for 20 songs. Before you do it.
you don't know how it's going to come out.
But it worked on the record, and 1 sequenced
the record to feel like a live show. So you have
four fast songs and a couple of ballads.

It played real well when we went to play it.
It's fun being surprised, learning 'Cadillac
Ranch" and "I'm a Rocker." which I remember
always worked well on the record, and bang, it
just whiplashed you onstage. It was, "Oh, yeah,
that works great." So we were kind of having a
first-time experience the same way the audi-
ence was. Those were great, memorable shows.

Any thoughts on what you might do
with some of these shows, like a DVD
or album set?

We didn't have any plans, we just planned lo
do it in performance. They've been filmed. I
don't know if they've been filmed to put out-
No one In your camp has said anything
about It, but this tour has felt really cel-
ebratory, with so many milestones. Not
to put you on the spot, but does this feel
like It might be the last run for the E
Street Sand?

No. We don't even really think of it. The only
thing that came into my mind was a decade ago.
when I hit SO. I was onstage in Philadelphia,
and you realize, "OK. tliLs is exactly where I want
to be right now. I wouldn't want to be any place
else." You realize there is a finiteness to it.

We're playing to an audience now that will
outlive us. There will be a seed of an audi-
ence out there tonight that's just going lo out-
live the band. But at the same time, the band
is very, very powerful right now. And part of
the reason it's powerful is that it's carrying a
lot of very strong cumulative history. You
come and you see 35 years ofa speeding train
going down the track and you're going to get
to be on the front end of it. We look forward
to many, many more years of touring and play-
ing and enjoying it.

It has to be very instinctive now after all

these years.

They're paying for you lo be live, present in
full, right tonight at this moment. I think
there's always this sense of, if you're 15, 19.
24 or 60. you come and you say, "There's
Clarence demons and I get to stand next to
him like I did 35 years ago," That's the con-
tinuity of just still being there, and for us and
for the audience that's a powerful thing. It
threads your life together and that's what we
wanted to do — we wanted to make music that
threaded through your life as well as ours.

Some bands crumble under that sort of
weight of common experience.
It depends on who you are and how you see
it. Some of it is just DNA. your personality
and how you were built. This was just some-
thing that we were built to do in a particu-
lar way. The difficult parts of it took its toll
on different people. Every band has had per-
sonal difficulties, ups and downs, people
fell into bad things, got out of bad things,
maybe not as much as some other bands,
but we've had our share. We spent a decade
apart, and so all of those things are a part
of our experience, too.

But I think, particularly when we got back
together in the late '90s. everyone realized,
"This has been a special part of my life and
I want it to continue lo be so. " And all of the
incidental baggage completely sort of got
left behind.

I think the band has a sort of unspoken code
where people looked out for the other guy. We
lost one member through illness IFederici died
of melanoma in 2008], but, hey. that's some-
thing that happens to you around a certain age.
What I was most proud of was my guys were
alive 35 years down the road, in good shape.
Clarence struggled with some physical things
for carrying around all that "Big Man" for all
these years, but he's done great on this tour.
Thai was something ! was very, very proud of—
the band was intact.

What haven't you done that you'd still like
to do?

What I want to do is what I'm doing, except
I want to do it a little better tonight than I did
last night. I want to write some better songs,
some more good songs, some songs that feel
vital to mine and my audience's life today.
We've made records over the past 10 years
that have found as integral a place in my fans'
lives as any the records from my past days.
You come out and a lot of those young kids
don't start singing along until they hear "The
Rising." I'm just looking forward to doing
what I'm doing, looking forward to going out
there in an hour and looking into those faces
like I've done over the past 35 years. ••••

Jon Landau Reflects On
Springsteen's Banner 2009

In a 35-yGar career studded with highlights,
2009 has been one for the books for Bruce
Springsteen and, by association, his long-
time manager Jon Landau.

Beginning with the Magic tour in Octo-
ber 2007 through the Working on a Dream
tour, Springsteen and his E Street Band re-
ported 171 headlining shows that grossed
$388,411,273 and sold 4,127.466 tickets In
North America and Europe, according to
Billboard Boxscore. That doesn't Include
the one-off events like Bonnaroo in Ten-
nessee and Glastonbury and Hyde Park in
the United Kingdom.

"Then we came back here, and they've
been doing the Individual albums, which
has been Incredibly rewarding for us, very
emotional every night," Landau says.
"Then, culminating with Bruce's extraor-
dinary appearance at the Rock Hall of
Fame concerts [in New York] and the
Kennedy Center Honors coming up In De-
cember, for which Bruce Is one of the
youngest people to ever receive the life-
time achievement award. It's hard to top
a year like that."

Great year, yes, and a great decade, par-
ticularly in terms of touring. Springsteen
is fourth among all acts at the box office
this decade, topped only by the Rolling
Stones, U2 and Madonna, whose ticket
sales are generally well higher than the
price of a Springsteen ticket. Springsteen
has rung up $869 million and 8,236,586
tickets sold to 264 shows reported since
2000, according to Boxscore.

But rather than trailing off, Springsteen
is adding to his glory days as this tour winds
down. In one week, he performed at the
Hail of Fame show; did two tour stops in
Washington, D.C., and Charlotte, N.C.; and
played "The Wild, the Innocent & the E
Street Shuffle" and "The River" in their en-
tirety at New York's Madison Square Gar-
den on consecutive nights. "Here's a guy
coming to the end of a [two-plus-year]
tour, and in one week he did five absolutely
distinctive and unique performances," Lan-
dau says. "This is the time In tours where
some people start easing out of it, and he's

on fire."

The full album sets seem to have added
juice to the tour. Asked if there were any
thoughts of releasing some of these per-
formances, perhaps as a boxed DVD or CD
set. Landau laughs and says. "Management
has thought of that, but I have nothing fur-
ther to say about It."

As for that "Darkness on the Edge of
Town" deluxe reissue package Landau told
Billboard about in January, he says, "It's
coming. It's still a work in progress."—/?^

DECEMBER 5, 2009 I www billboafd biz \ 19

Affixed

"9"

RETAILERS LOOK
TO STRONG
MUSIC RELEASE
SCHEDULE FOR
HOLIDAY CHEER

BY ED CHRISTMAN

jMutqt

holiday selling season. * Yes, the economy still casts a long shadow over consumer spending.
And the decline in recorded-music sales so far this year is keeping pace with last year's slide,
leaving other distributors and retailers wary of what the final weeks of the year will bring.
• Still, the sentiment is quite a contrast from last year, when retailers were talking doom
and gloom (Billboard, Dec. 6, 2008). despite record label optimism that later proved to be
misplaced. * "Our sales turned positive in September and October, and if you look at Hastings
Entertainment historically, if we have a good September and a good October, it will be a
good holiday season," says Dan Crow, VP of finance for the Amarillo, Texas-based chain,
which runs 150 multimedia entertainment stores. • In its third fiscal quarter ended Oct.
3 1 . Hastings' merchandise sales were up 2% on a comparable-store basis from a year earlier,
while video rentals were up 4.1%. • Other merchants also say business started picking up
around the same lime. In October, Newbury Comics "sold more CDs and DVDs combined
than the year before," CEO Mike Dreese says. ■ Despite continuing economic uncertainty
and a stubbornly high unemployment rate in the United States, there are some signs of
optimism for the holiday season. The International Council of Shopping Centers is
forecasting a 1% comparable-store gain for chain stores. And an American Express survey
of card holders found that 10% intended to spend more than last Christmas while another
43% said they would spent at least the same amount.

STRONG SLATE OF NEW RELEASES
Sure to contribute to his holiday season's sales performance is
that everyone will be going up against abysmal numbers from
2008, when album sales during the last seven weeks of the year
plunged 19% in the United Slates from the same period a year
earlier, according to Nielsen SoundScan.

A strong release schedule is another key factor fueling hol-
iday hopes. A slew ofhigh-profile albums hit U.S. store shelves
this week, including Rihanna"s "Rated R." Lady Gaga's "Tlie
Fame Monster." Adam Lambert's "For Your Entertainment,"
Shakira's "She Wolf," Susan Boyle's"! Dreamed a Dream" and
Birdman's "Priceless.'

They join other recent releases that are sure to be on the
minds of gift buyers, such as 50 Cent's "Before I Self-Destruti,"
Bon lovfs "The Circle," )ohn Mayer's "Battle Studies." Norah
Jones' "The Fall." Carrie Underwood's "Play On," Weezer's
■Raditude," Jay Sean's 'All or Nothing." "Glee; The Music, Vol.
1 " and "This Is It,' the soundtrack to the movie that has be-
come Michael Jackson's swan song.

Retailers are also banking on other highly anticipated releases
that are due before Christmas, including Lil Wayne's " Rebirth,"
Mary). Bilge's "Hip Hop Soul." R. Kelly's "Untitled." "Glcx-iThe
Music, Vol. 2," juvenile's "Cocky and Confident," Alicia Keys'
"The Element of Freedom." Chris Brown's "Graffiti," Eminem's
"Relapse: Refill" and Timbaland's "Shock Value 2."

A bit of skejrticism about some of those latter titles may be
in order, given that expected album releases by U2. Eminem
and 50 Cent failed to materialize during last year's holiday sea-
son. "Rebirih," Lil Wayne's follow-up to his 2008 blockbuster
"Tha Carter III." promises to be one of the holiday season's
biggest sellers. But its release has already been delayed numer-
ous times this year.

"I see a Lil Wayne one-sheet and we will see if that comes
out." says Carl Mello. head of purchasing at Newbury Comics,
who adds that while the release schedule for the remainder of
the year looks strong, "it remains to be seen if it all comes out."

An executive at another retail chain is more skeptical. °1 will
believe Lil Wayne iscoming out when I see the product." he says.

In addition to hit product, merchants and label executives say
they expect continued robust sales for jackson and the Beatles,
who have sold a combined 9 million units in the United States
so far this year, sparked by jackson's death June 25 and EMI
Music's reissue of the Fab Four's catalog in September.

But not everyone is optimistic that holiday shoppers will
bring good tidings. Alliance Entertainment president Alan
Tuchman says he has low expectations for music because stores
arc carrying less inventory and devoting less floor space to it.
Hastings' Crow says the chain has reduced its music inventory
by 20% this year in about 40 of its stores.

Meanwhile, Borders recently completed efforts to reduce

music shelf space at its locations. Previously, all of the chain'
stores carried about 9.000 titles, But earlier this year, the chaii
split its stores into four tiers, with some stores carrying onl
50 titles, others stocking 1,300 titles, a third tier maintainin
about 6,000 titles and a much smaller group of stores keepin
fully stocked music departments with about 1 3,000 titles.

In addition to the loss of floor space at brick-and-mortar rt
tailers. music sales are also being pressured by the continue
slide in CD sales and the stowing of digital sales growth, accorc
ing to a major-label distribution executive. While some in th
industry maintain that music is recession- proof, this distribi
tion executive argues that it's not in the current environment

Pricing also will be a big factor during the holiday sellin
season. Much like last year, some merchants started Black Fr
day-themed advertising in early November. By the secon
week of the month, merchants like Sears, Kmart and J&
Music World were conveying the message that there was n
need to wait until Black Friday because their stores were a
ready offering low prices.

The Web site BlackFriday.GotlaDeal.com has posted info
mation about Black Friday sales showing that Best Buy wi
price the latest album releases by Norah Jones, Bon Jovi, Ca
rie Underwood and others for $6.99 and that Target will se
more than 60 CDs at 56.50 each. But the site also shows th;
not all retailers will be slashing prices on hit CDs, revealin
that Kmart will sell CD titles by top artists for $9.99.

As brick-and-mortar merchants gear up for Black Friday, ot
line merchants appear poised to enjoy strong sales on Thank:
giving Day. when most of the Black Friday advertising comt
out. according toTudiman at Alliance, which does product fu
fillmenl for online merchants.

"Our distribution center is open on Thanksgiving." Tuchma
says. "I expect sales to start earlier and last all weekend, so I e:
pect the sales activity to last longer and produce more sales.'

As physical music sales continue to shift to online me
chants. Amazon will again be the big winner this holiday se:
son. Tuchman says.

After Christmas, Universal Music Group Distribution pre
ident/CEO Jim Urie says he is expecting huge download sale
thanks to massive iTunes gift card redemptions. In past year
the download weekly average has been known to grow sharp
during January. Apple declined to commenL

COMPETITION FROM MOVIES, BOOKS, GAMES
While big boxes have commonly used music in years past as
key holiday traffic driver, its profile will continue to shrink th
year, ceding more ground to movies and videogames. Movii
and books, in particular, will boast attractive price points (h
could further distract consumer attention from music.

"Music will have a smaller [ footprint] in the hot spots of
store and. more importantly, in the circular." Urie predicts.

20 I BILLBOARD DECEI>1BER 5. 2009

Stocking staffers: Retailers are counting on robust holiday
sales of recent releases by (opposite page, from left)
ADY GAGA, 50 CENT. WEEZER, CARRIE UNDERWOOD
ind BIRDMAN

Indeed, according to BlackFriday.GottaDeaI.com, the Wal-
kliirt circular for Thanksgiving doesn't even include music, even
hoii^h it prominently features books, movies and videogames.

As the big boxes continue to rely less on music to bring hol-
day shoppers into stores, bargain-priced Blu-ray players and
at-screen TVs arc expected to be the big traffic generators this
ear. Home entertainment software retailers are hoping that
lieapcr pricing for Blu-ray players and movies will finally drive
ales growth for the format, with BlackFriday.GottaDeal.com
iiowing that Best Buy will oflTer Black Friday specials on Blu-
ay versions of movies like "I Am Legend" and "The Departed"
or $7.99. Meijer's will have 24 Blu-ray titles at $9, Target will
lave select Blu-ray items at $7.99. and Wal-Mart will have 30-
s Blu-ray titles priced at $10.

It's a good two-prong approach, with Blu-ray hardware and
oitwaic both priced very promotionally," the head of one re-
:nl chain's movie and videogame department says. "Because
tf this pricing. Blu-ray has to catch hold this fourth quarter."

But a major-label distribution executive says he believes low
loliday pricing for Blu-ray is a sign that studios are trying to
I off dead inventory.

'All the retailers have dedicated all this extra space to Blu-ray,
nkin^itaway from music, and it's done nothing for them." he
ays. adding that merchants should put music back in that space.

Beyond Blu-ray. merchants say there will be plenty of Black

Friday deals on DVD catalog as well, with some titles available
for as low as $ 1 .99. 1 ndeed. once again merchants say movies
will own the front of the store, thanks to the pricing promo-
tions that the studios put together for the fourth quarter.

At those prices, even heavily discounted CDs will have a tough
time vying for the attention of holiday shoppers.

The videogame department will see plenty of traffic too. Ac-
tivision's "Call of Duty: Modem Warfare 2" wilt go toe to toe
with Nintendo's "New Super Mario Bros. Wii" for sales su-
premacy. And "Guitar Hero; Van Halen" will be released Dec.
22 and is expected to enjoy brisk Christmas week sales.

On the other hand, merchants say they have been disappointed
with sales of "The Beatles: Rock Band." "They should offer a re-
bate and let us cut pricing so we can get rid of inventory," one
merchant says.

Big boxes are also engaged in a knock-down, drag-out price
war over books. Amazon, Target and Best Buy are offering hard-
cover best sellers for $8.99 and $9.99, well below cost.

If the big-box price wars over books and movies continues,
a distribution executive predicts further pain for multimedia
merchants, which could soon be stuck with two more unprof-
itable product categories besides music.

He's not alone in that concern. Russ Solomon, founder of
now-defunct Tower Records and owner of the Sacramento,
Calif, indie store R5, says the ultra-low pricing of best-seUing
books feels distressingly familiar. *" Here you have Target and
Wal-Mart moving to wreck the book industry." Solomon says,
"just like they wrecked the music industry."

STUNG BY EXCESSIVE
INVENTORIES IN '08,
RETAILERS TAKE A MORE
CONSERVATIVE APPROACH

lOOM

I50M

50M

164.1M

89.0M

DECK The m>

U.S. album sales during the Is
continue to slide, while grc
shows signs of slowing, sour

VLLS

St seven week!
wth in digital

;e. Nielsen Sounds*

of the year <
track sales

■MoniiMns

■ UIUNS

END
2000

2001

EM)
2002

EMI

2003

2004

END

200S

EID
2006

EIID

2001

2008

retail exoc-
runnlng short

of product may be better than having too much for the
holiday selling season.

Sources say retailers are becoming more conservative
with inventory, something that would normally be a cause
for concern. But this time around, distribution execs are
sighing with relief.

Last year, music merchandisers loaded up on Inventory
for the holiday selling season before the economy wen:
south. As the recession deepened, most merchants either
didn t realize the depth of the downturn or stubbornly
stuck to the belief that music sales were recession-proof.

The result was heavy discounts in December and a high
rate of returns the following January, hurting the income
statements of labels and merchants.

This year, retailers are already recycling inventory— that
is, returning slow-moving titles and/or moving inventory out
of overstocked stores into outlets where the merchandise
is needed, according to a major-label distribution execu-
tive. "When we get into January, we won't have to duck
from all the returns," he says. "It's a thoughtful holiday from
an inventory-management standpoint."

However, tight inventory could be problematic if there's
a last-minute rush from shoppers. If that happens, the ben-
eficiaries will be merchants like Ti
that specialize In niche prod-
uct and normally carry a wider
breadth of music inventory,

"This year will be a home
run for any retailer with invcn
lory on the shelf," Newbur
Comics CEO Mike Dr
"We are seeing what's
on with inventory at Borde
and Best Buy, so we are finall

getting the benefits of last "Jt ' ♦ifeW^gBSt B

man standing."

DECEMBER S, 2009 I www.blllboard.blz I 21

WITH 'UNTIL THE WHOLE WORLL
HEARS/ CASTING CROWNS EXTENDS ITS

REIGN ON THE CHARTS

BY DEBORAH EVANS PRICI

22 BILLBOARD , DECEMBER 5. 2009

PHOTOGRAPH BY DAVID DOBSOl

yngliled malorii

As the seven members of the Atlanta-based band
Casting Crowns settle into the front of one of
their tour buses, they are all warm and
friendly, eager to share the latest photos
of their kids and happenings at their
churches. If they seem more like
your child's favorite teacher, your
next-door neighbor or a local
youth group worker, it's
because they are. They'd be
the first to tell you they are
unlikely pop stars — and
therein lies their charm.
+ The act is getting ready
to sound-check for an
appearance where the

WO band will join Amy
Grant, Michael W.
Smith and MercyMe at
Nashville's Loveless
Barn to raise money
for the Gospel Music
Assn. (GMA). Just a couple
of days earlier the group played the
^1^^^ Sommet Center, Nashville's downtown
^^^^J^lf arena, drawing an enthusiastic crowd
g anxious to hear new music from its Nov.

^^^V 17 release, "Until the Whole World Hears."
^^^W + Casting Crowns is the top-selling act in
Christian music, earning the No. 1 slot on
Billboard's Top Christian Album Artists year-
end tally for the past two years. The release of
"Until the Whole World Hears"— which sold
167,000 copies in its first week, according to Nielsen
SoundScan, landing it at No. 4 on the Billboard 200
— cements the band's status as the genre's leader.
It's a fact that's even more remarkable because the
group hasn't yet achieved a crossover hit.

DECEMBER 5. 2009 1 www.billboard.biz I 23

aerial

Casting Crowns' 2003 self-titled debut has sold 1 .7 million
units, according to Nielsen SoundScan, spawning such hits
as "Voice of Truth" and "Who Am I." The band followed with
2005's "Lifesong," which has sold 1.2 million units. "The
Altar and the Door." released in 2007, has sold 949.000 copies.
Along the way, the act has also issued a 2008 Christmas col-
lection, "Peace on Earth." and three live projects.

It's the group's deep connection with the lives of its fan.s —
it literally practices what it preaches — that is behind its
consistent success. The members continue to work al their
local churches: they schedule recording and touring around
their church commitments, making sure they are home for
Sunday and Wednesday services. Though such dedication
might seem an obstacle to career advancement, it hasn't
been for the group. Casting Crowns has won 23 GMA Dove
Awards, a Grammy, an American Music Award and numer-
ous other accolades.

" From the outset of their recording career Casting Crowns
has remained faithful to their mission as part of the youth
ministry of the churches they serve," Provident Music Group
president/CEO Terry Hemmings says. "As a full-time youth
pastor, [lead vocalist/primary songwriter] Mark Hall lives life
with his 400 teenagers and their families each week, and the
songs are born of that everyday experience. Such authentic-
ity and purpose provides life-impacting lyrics that truly con-
nects on a deep level with audiences."

CALL TO ACTION

Hall and the rest of the band — Megan Gar-
rett, Brian Scoggin, Hector Cervantes, Chris
Huffman, Melodee DeVcvoand her husband,
Juan — arc firm believers in putting faith in
action, and thai philosophy fuels "Until the
Whole World Hears," the band's fourth studio
album. "We really want to see believers kind of
step out of their chairs, get out of the pews and
get involved in what God is doing," Hall says.

One of the new album's most poignant
songs, "Always Enough," was written when a
member of Hall's church was killed in
Afghanistan. "His son. Christopher, is in our
middle-school ministry and his wife. Crystal,
is a part of our church," Hall says. "We were
on the other side of the country and couldn't
be there for the funeral. We were on lour and
couldn't cancel . so we were stuck. I remember
sitting on the bus that night praying with our
family and thinking, '1 need to be there for
them. Why can't 1 be there for them.^' That's
really the message of the song. You can be there
for someone, but there comes a point where
)csus just has lo be enough."

"At Your Keel" is a worship song that features Cervantes and
|uan DeVevo joining Hall on vocals. "Blessed Redeemer" show-
cases Melodee DeVevo on lead vocals. "The words were writ-
ten in the 1920s to that hymn and Mark changed the melody to
it," DeVevo says of the band's re interpretation of the classic.

"Until the Whole World Hears" also includes such reinven-
tions as "joyful, loyful" and "Glorious Day (Living He Loved
Me)" from the hymn "One Day." "That song is basically about
the life of Jesus." Huffman says of "Glorious Day." "When you
have a song like that where you don't really sing about any of
your own troubles, you are just singing evei7 word about Jesus,
people's hands go up and it's amazing to .see everybody's reac-
tion when you play it live."

Hall enjoyed experimenting with the classics. "You can re-
ally do a lot of cool things when you are rearranging hymns,"
he says. "With the song 'One Day' and 'Blessed Redeemer,'
those are songs that people aren't going lo sing much anymore,
but those lyrics are strong. I grew up with the hymnbook. That's
all I knew, so it's cool to bring them back."

THE POWER OF THE CHRISTIAN CONSUMER

At first, when the group came together, it looked like Casting
Crowns had all the odds stacked against it. It has seven mem-
bers, more than ihc average band. Frontman Hall was an over-
30 youth pastor, and the act was being produced by Mark Miller,
lead vocalist for the veteran country group Sawyer Brown, who
didn't have a track record in Christian music. He had jusl

launched the Beach Street Records imprint and partnered with
Provident Music Group.

"He picked an unusual path — he waited until his career
should have been over," Miller says of Hall's late entry into
the music business. "Then you hook him up with a country
guy that produces the record and everything shouldn't work.
Everything that we do is so unorthodox; it just shouldn't
work, including the numbers. That's when 1 attribute 100%
to God's provision."

However, what might not have looked like it added up on
paper began adding up at the cash registers. "All our CDs
have three elements." Hall says. "You're always going to hear,
'God loves you. he's pursuing you' — and you're going lo hear
the gospel."

The success of Casting Crowns also demonstrates the power
of the Christian consumer. "Believers buy groceries and they
buy CDs," Hall says. "They buy all kinds of stuff."

And although the band hasn't had a crossover hit. Miller
thinks Casting Crowns has mass appeal. "People buy their
records that don't buy Christian records," he says. "People go
to their concerts that don't necessarily go to Christian concerts.
You don't sell that many records just to the Chrisrian commu-
nity. You aren't going to do those kind of numbers."

The band admits to feeling pressure to succeed with each
successive release. "You can play it off like you don't feel it,
but who doesn't want lo be liked?" Hall asks. "There is defi-
nitely a lot of pressure that people are expecting something

CONNECTING ONLINE

The band stays connected to middle America through an in-
teractive Web site that features videoclips, blogs from the
band members and their crew, and Twitter. "If s a great tool tc
have, " Juan DeVevo says.

Provident Label Group senior VP of marketing Ben Howard
agrees. "Our new CrownsFans.com Web site is focused on the
relationship with fans of Casting Crowns" music, ministry anc
message." he says. "It will be a media-rich site filled with far
features including extensive video, the band's entire discogra-
phy and exclusive content."

In addition. Casting Crowns was a featured act on Yahoc
Early Edition, which streamed the record for seven days befort
the release date.

According to Howard, fans can use Twitter, Facebook anc
e-mail to send links to their favorite songs, which are being
streamed on CrownsFans.com. The band's entire catalog oi
music, as well as all the video from live DVD releases, is
also available for streaming.

Hall is particularly active and revealing on Twitter: When
someone corrected his spelling on a recent tweet, he responded
"You've officially picked on a dyslexic. Now go kick a puppy! :)'

"I'm dyslexic and have ADD and I'm a poster kid for af
those things, so it makes our experiences on the stage ver>
adventurous," he says. "You never know what's going to hap-
pen." During the Nashville arena show, he warned the audi-
ence that with his ADD, he might forget the words to the

SOUL FOOD

CASTING CROWNS TEAMS WITH
CHRISTIAN RETAILER FOR CHARITY
PRESALE PROMOTION

For every copy of Casting Crowns' new album "Until the Whole
World Hears" presold through Family Christian Stores' Web site or
one of the chain's 294 brick-and-mortar locations, the retailer Is
donating 10% of the purchase price to feed children In Haiti through
the James Fund.

Launched by Family Christian Stores in 2003. the James Fu
is a nonprofit foundation that aids widows and orphans. "We're
selling the idea of a great album and the reputation of an incredi
ble band," says Steve Blondo, president of the James Fund, which
will be working with the charity World Vision on the Haiti project.

Biondo says Family Christian's largest presale was Casting Crowns'
previous album, 'The Altar and the Door," which sold 28,000 before
street date. "We've already exceeded that number," he says of the
current presale, which began in earty August. "We project to more
than double the previous record level of presales."

Helping hand: Family Christian
Stores teamed with Casting Crowns
on a presale for charity.

Casting Crowns lead vocalist Mark Hall says the band is ha

see CD sales benefiting such a worthy cause. "They are very m

minded and they always want to do something with presa

that we can help people," he says. "With the last record, we
CDs to the troops overseas." -DE

now. I tell myself constantly that if God wants us to keep writ-
ing songs, he'll keep giving us songs, and I have lo remind
myself that a lot."

Thus far, it doesn't look like Hall and the band need worry.
A presale campaign has been going well, and the title track has
been blazing up Billboard's Hot Christian Songs chart, sitting
al No. 2 for a fourth straight week and selling 53.000 down-
loads, according to Nielsen SoundScan.

Hall says the group was late in finishing up the album,
so there wasn't any advance music to listen to at first — ini-
tially retailers were just selling air. "A lot of Christian re-
tailers and mainstream retailers jusl believed in us. To us.
it's such an encouragement that they decided, *Hey, we be-
lieve in what you do, so we're going to just sell it,' " he says.
"People appreciate what we do and they know if we're going
to make a record, we're not going to just make noise. We're
going to talk about things that matter, and we've seen a lot
of trust with our industry."

Miller says that trust is based on Casting Crowns' track record.
"The message is real. Mark Hall makes no bones about who
they are and what they sing about and he never has," he says.
" Even if you are a believer or a nonbeliever, you respect that and
you are drawn to that honesty. When I go to their concerts, I
walk around and I want to see who is there and 1 see everything
from a family of six to kids with fishhooks in their eyebrows.
You see a little bit of everything and that's mainstream, that's
middle America buying albums."

songs he wrote. Pointing to the stage in front ol'him. he salt
there was a teleprompter with his lyrics, but bciiiy dyslexic
he couldn't read them anyway.

He's even enlisted his Twitter followers in a weight loss cha I
lenge he's calling "Casting Pounds." "All of us are signing o
to a weight loss challenge." Hall says. "We've done it on Twi
ter and if you want to follow, the challenge is out. We're haul
core into that now."

Howard expects the band's fall tour to helpdrive sales of tli
new CD. The 40-city the Whole World Hears tour wraps up Dr
4. and to date 125.000 fans have attended, according to the labc
That's also reflected in the band's live DVD sales: The R1A>
has certified "Live From Atlanta" and "Uvesong Live" platinun
and "The Altar and the Door Live" is certified gold.

Fans will see a different tour lineup for Casting Crowns thi
time out; for Scoggin. replacing longtime drummer And
Williams (who exited to join his wife's band Soul Sister SalK
has meant an opportunity to become part of an organizalKj
he'd long admired.

"I've known Mark and the band for several years now. In
the cool thing about being a part of Casting Crowns is it's n
just a band. It's a group of people who are the real deal, w
are really living it seven days a week — not just tour buses .m
catering, but churches, people and ministries." he says. "S
it's been a real honor to use some of the gifts that God lia
given me — communicating and making disciples of pcopk
It's been a real blast.'

24 I BILLBOARD I DECEMBER 5, 2009

Copyrighted n'

SNOW IS FALLING

The Clipse returns with
Its Columbia debut

NO MORE RUNNIN'

OK Go leaves the
treadmills behind

STRIPPED

Thalia bares all on an
intimate live set

TEAM PLAYERS

Ticketmaster helps drive
Bon Jovi album sales

THE BOVS ARE BACK

•X Factor" boy band
JLS makes waves

DR. FEELGOOD

Embraced By The Hip-Hop
Community, Robin Thicke
Continues To Croon About
Sex And Love

For perhaps the first time in history', a Caucasian
soul singer who once rocked hippie hair and
whose father portrayed a TV dad on an '80s sit-
com was ballsy enough to adopt a celebrated
rapper's lyrics and make a love song out ofit —
and his effort is winning praise.

On his upcoming fourth solo effort. "Sex
Therapy.- slated for a Dec. 1 5 release on Star
Trak/Interscope Records, Robin Thicke took
lines from Rakiin's 'Mahogany" and laid them
atop a sample of Al Green's Tm Glad You're
Mine" for a track titled "Mrs. Sexy."

"When 1 played it for )ay-Z. he was like, 'First
of all. who do you think you are with Rakim's
lyrics?" "Thicke iokcs. "But I'm doing it totally
out of respect for the great Rakim. I 'm bring-
ing his lyrics to a new generation because every-
body should know how amazing he is."

Thicke — who previously collaborated with
Lil Wayne, Busta Rhymes. 50 Cent, Pharrell and
Rick Ross, among others — has long embraced
the hip-hop community, and the affection has
been reciprocated. Guests include Snoop Dogg.
Kid Cudi. Lil Wa>'ne protege Nicki Minaj. )ay-
Z and the Game. R&B cohorts Estelle and
Jazmine Sullivan also appear on the album,
while Polow Da Don. Teddy Riley. Dre and Vidal.
and Icff Bhasker are among the producers,
marking the first time Thicke and longtime col-
laborator Pro lay have turned over thecontrols.

"You have to believe that it has something to
do with him t>eing a good artist and his music
being legit," manager/ A&.R man Neil Jacobson
says. "He doesn't make hip-hop music, but it's
a common gene there for him. When Lil Wayne
heard 'Shooters.' he reached out and jumped
on the track. Robin also has Andre Harrell.one
of the most special people in the music indus-
try, mentoring him. This results in [Thicke) hav-
ing his finger on the pulse of the hip-hop and
R&B community."

Other tracks on the album — which is avail-
able as a 12-song. more dance-driven set titled
"Sex Therapy: Tlie Session" or a pricier 17-track.
ballad-heavy version titled "Sex Therapy: The
Experience" — include "Diamonds" featuring

the Game, in which Thicke shouts out the likes
of Queen Latifah and Kcyshia Cole: "Shakin It
4 Daddy," featuring Minaj, whicli will be serv-
iced to radio and club DJs in the coming week;
and the title track, which is No. 54 on Billboard's
Hot R&B/Hip-Hop Songs chart.

Oddly enough, in comparison with his pre-
vious sets, Thicke describes this album as hav-
ing more of a "popular" sound. "In the past Tve
always held on a bit too tight — I wanted to write
and produce all the music and I always wanted
it to be so different. But, with that mentality I
think I might have loslalittlebitofthefun.'he
says. "With this album, I really just wanted to
go back to what makes me happy and what is
fun and just let it happen. As a result, the peo-
ple that like radio and popular music might
think this album is probably not bad."

In the same vein, the modest Thicke recently
collaborated with new artist Leighton Meester
from "Gossip Giri" fame, appearing on the first
single from her Time Act/ Universal Republic
electro-pop debut album. "Somebody to Love."

"They called me and asked if I'd be interested
in doing the song with her. I checked it out and
thought it was a really good song." Thicke says
of the collaboration. "It was a fiin. cute, young
pop song and I wanted to get in front of that au-
dience to help them recognize my music and
my new album when it comes out. So. it worked
out for everybody."

Thicke is also featured on the new R. Kelly
"Untitled' album, on a track titled "Pregnant"
alongside Tyrese.

Thicke is currently on a promotional tour
and will embark on an official tour early next
year close to Valentine's Day. |acobson says.
The singer is also delving into the fashion
world: He's part of a campaign with Hugo Boss
for the launch of its latest cologne, Hugo Ele-
ment, according to Interscope head of market-
ing Dennis Dennehy. Plus. Thicke has landed
a role in an animated film that will premiere
next year.

But in the meantime, he will keep reveling
in his acceptance by the hip-hop community,
calling the genre "no bullshit — it's all about
keeping it real. For a white kid whose dad was
on 'Crowing Pains' — ifhe can work with Wayne
and Busta and Ross and SO and seem real, then
he must be real."

DECEMBER 5. 2009 I Mrww.blltboard.biz I 25

»>BONNAROO
PRESALE BEGINS

The ninth Bonnaroo Music
and Arts Festival will be
held June 10-13 on its usual
site in Manchester, Tenn.
The first round of ticket
presales began Nov. 27; a
lineup announcennent is
expected early next year.
Ticket information can be
found on Bonnaroo.com.
As first introduced last
year, the initial batch of
tickets can be purchased
for five installments of $50
until midnight Dec. 31.
More than 10% of the
tickets for the 2009
festival were sold on
layaway.

>>>McCARTNEY.
STARR TO DUET

Ringo Starr is joined by
his former Beatles
bandmate Paul
McCartney for a duel on
"Y Not." the drummer's
forthcoming solo album
due Jan. 12 on Hip-0
Records/Universal Music
Entertainment. The album
also includes vocal turns
by Joss Stone, Ben Harper
and Richard Marx as well
as musical and song-
writing contributions
from the Eagles' Joe
Walsh, Benmont Tench of
Tom Petty & the
Heartbreakers, Dave
Stewart. Glen Ballard and
Van Dyke Parks, among
others. Other album
tracks include "The Other
Side of Liverpool," an
autobiographical song
exploring Starr's pre-
Beatle days where he
encountered poverty and
violence In his hometown.

KINGS OF
LEON, GREEN DAY
WIN WOODIES

Kings of Leon won the
Woodie of the year and
Green Day took home the
t>est performing Woodie
at the 2009 mtvU Woodie
Awards, which united a
cross-section of
established and breaking
acts Nov. 19 at New York's
Roseland Ballroom.
Although neither band
was in attendance. Green
Day's Billie Joe
Armstrong, Mike Dirnt and
Tr6 Cool accepted their
award by video. Presenter
highlights included Fall
Out Boy's Pete Wentz. pop
duo 30H!3. Asher Roth.
Will.i.am and surprise
guest Cyndi Lauper. The
Woodie Awards air Dec. 4
on MTV Networks.

Reporting by Jason
Upshutz and David J.
Prince.

m•J^m by gail mitchell

On The Rebound

The Clipse Eyes A Fresh Start With First Columbia Album

Between label setbacks and its ex-manager's
legal case, rap duo the Clipse has weathered
its share of drama. Instead of walluwinf> in
self-pity or anger, however, the brothers (Gene
■'Maiite'" and Tcrrente "PushaT-Tliornton)
are reveling in the frc'sh mart afiorded by their
third album. "Til the Casket Drops" (Re-
Up/Columbia: Dct, 8).

"We've corne through the fire," Malice says.
"Thanks to our fans, we're still here."

"Til the Casket Drops" revisits the drug and
crime themes the Chpse lyrically addressed
to critical acclaim on its first two albums. But
wherea.s 2002's "Lord Willin' ' was more easy-
going and 2006's "Hell Hath No Fury" was
much darker. "Casket" strikes a balance be-
tween those two moods.

Peaking al No. 27 on Billboard's Hot R&B/
I li|>-Hi>ii Sinij-s t Jmi t. It-, h-ad single. "I 'm
Good" — produced by iongliitie tullabordtor
I'barrell Williams (half of the production duo
the Ncptunes) — captures the pair's survivor
spirit. Chosen to build on ihe "Good' mo-
mentum is the head-bobbing hood anthem
"Popular Demand (Popeyes)." l-eaturing fel-
low rap stalwart Cam' Ron. the mixsbow Irack
was also produced by Williams. Additional
guests include Keri Hilson on "All Eyes on
Me' and Kanye West on the project's setup
single. "Kinda Like a Big Deal."

Meanwhile, the Clipse go dark and gritty
with "Door Man," where Pusha Traps. "If the
good die young, then the greats go lo jail . . .
1 miss my Tony." The verse references for-
mer manager Anthony Gonzalez, who re-
cently struck a plea deal on a federal drug
tonspirac7 charge and is due to be sentenced
in lanuary. The duo is now managed by
Steven Victor for William Victor Management
and Yaneley Arty.

"Tliis album is full of unhandcuffed drive
and energy." Pusha T says of "Casket ." which
also features production by D) Khali! and
Sean C & LV. "We popped out of our usual el-
ement with the Neptunes. bul it siill has all

the realness the Clipse are known for."

After an Elekira debut album was shelved
in the late '90s. the Virginia Beach. Va.. na-
tives hit No. \ R&B/hip-hoppaydirt with their
2002 Star Trak/ Arista bow. "Lord Willin'." But
ihe pair's nioinentutn was halted in 2004
when its second album. "Hell Hath No Fury,"
got taughl up in Arista's merger into sister
label jive Records. Owuig lo contractual stip-
ulations, the Clipse stayed with |ive while the
Neptunes' remaining Star Trak roster moved
lo Interscope.

An agreement was reached in 2006 for the
Clipse to release "Hell" on its own Re-Up
Records through ) ive: a year later the duo left
jive and signed with Columbia. To date. ~ Lord
Willin' " (featuring hit singles "Grindin' '
and "When the Ust Time") has sold SSO.OOO
copies, accordmg to Nielsen SoundScan.
"Hell" stands at 205.000 units.

The chief element of Columbia /Sony
Music's marketing push behind "Casket," Co-
lumbia VP product marketing Liz Hausle
says, is the company's first apparel alliance
with retailer Downtown Locker Room. The
partnership will roll out an exclusive line of
"I'm Good" Clipse T-shirls in its 70 stores
during release week. The storewide campaign
encompasses prime window space, banners
tying in the album with the T-sliirt line and
a promotional mixtapc CD. The T-sliirt is
separate from the Clipse's own Play Cloths
apparel line. Celebrating Its one-year anniver-
sary, that brand boasts such fansas|ay-Z and
Lupe Fiasco.

On the Clipse's immediate schedule are sev-
eral high-profile appearances: the Bayou Clas-
sic in New Orleans (Nov. 2H), mtvU's Woodie
Awards (airing Dec. 4) and the "106 & Park"
New Year's Eve bash on B FT ("106 & Party").
A major 2010 lour is also being planned.

"The machine is there now and it's rolling
in our favor," Malice says.

Pusha T adds, "it's fresh; no drama, no
chains. This is our victory lap."

■ BY JASON LtPSHUTZ

OK, THEN

OK Go Hops Off
The Treadmill
And Heads Into
The Wild

In the music video for "WTF,"
the first single from OK Go's
upcomingalbum "Of the Blue
Colour of ihe Sky." the pop-
rockers use a single take in
front of a green screen to cap-
*'\Tv ;i di/zying palette of slow-
dors. While the
I \ e clip recalls the
iuit;i i> successful treadmill
video for 2006's "Here it Goes
Again," the song's fuzzed-out
funk and odd time signature
hint at a more experimental
approach for the act's third
full-length.

"There's nothing more bor-
ing than making the same
record over and over," vocalist/
guitarist Damian Kulashsays.

"Sky." due fan. 12 on Capi-
tol Records, is a collection of
oflbeai pop tracks that departs
from the band's catchy rock
sound of past hits like "Get
Over It" and "A Million
Ways." "pThe album] is more
melancholic, and 1 love it. I'm

so much more proud of il
than anything before it," Ku-
lash says.

For ihe follow-up lo 2005*j
■Oh No," Kulash.bassi.st rinr
Nordwind. keyboardist/gui
tarist Andy Ross and drummei
Dan Konopka recruited pro
ducer Dave Fridmant
(MGMT. Thursday) fora mon
'spacious, surreal" sound. TTw
album was recorded in two
week intervals from Octobei
200K to May 2009. and OK C<
traded off studio time with iht
Flaming l ips al Fridmann';
secluded Tarbox Road Studios
a converted Amish barn in up
stale New York.

The band emerged witi
what Kulash describes as ;
"wintery. dark record." wilJ
tracks like "Skyscrapers" ant
"All Is Not Lost" showcasing:
slower, more falsetto-driver
sound. Although the band i:
not expecting a radio push fo
-WTF." a Nov. 10 iTunes
exclusive premiere of the sonj
and video helped "warn peo
pie that something weirder 1;
coming out, "as Kulash puts it

OK Go plans to release mu!

GLQBALPULSE

DECEMBER 5. 2009

>>>RAW POWDER

It's been said that old dogs
can't learn new tricks, but leg-
endary Australian hard rock
quintet Powderfinger is out to
prove that anyone can adapt.

The Brisbane band chan-
neled Twitter's promotional
power to build a head of
steam ahead of its seventh
studio album, "Golden Rule"
(Universal Music), released
Down Under Nov. 13,

On Oct. 2, the group
played free ' guerrilla" gigs in
Brisbane. Sydney and Mel-
bourne, leaking news of each
through Twitter just 25 min-
utes before showtime. Some
2,000 spectators rushed to
each performance, says the

EDITED BY TOM FERGUSOh

band's manager
Paul Piticco. "W*
were completel;

blown nvtiay by th«
numbers that wen
waiting there tc
greet us," he adds
In the seven day
following the show*
the band's Twitte
following shot up from 1,80(
to 6,000. "Twitter was per
feet for this campaign." say
Carney Nir. Sydney-baset
new-media manager for th<
band's management team
Secret Service. "It allowed u
to make spur-of-the-momen
decisions. And the medl<
came along for the ride."

Powderfinger has sold men
than 2 million albums in Aus
tralia, according to Universa
The band is booked in Aus
tralia by Village Sounds, ii
North America by Creativi
Artists Agency and in the res
of the world by Helter Skelte
Universal l^usic Publlshin<
represents the act in Australa
sia; publishing is copyrigh

iplc videos as a key part of the
olloul for "Sk>'." After the dip
or 'Here It Goes Again"
ushed the song to No. 38 on
ic Billboard Hot 1 00 and nct-
?d a Grammy Award for best
hort form music video, the
and reahzed that videos could
e an inventive — and inexpen-

sive— means of promotion.

"Videos were understood as
a medium of art and advertis-
ing, but the bottom fell out on
the advertising side." Kulash
says. "But most artists still
wa n t to c r ea t e som et h i ?i g cool .
If we have the opportunity to
do something fun and crazy.

we'll do it."

OK Go's visual artistry will
carrj' over to a performance at
the Design Miami interna-
tional fair in December, in
which the band will use cus-
tomized Gibson guitars that
project laser lights on a video
wall. The appearance of the
new track "Shooting the
Moon" in the "Twilight: New
Moon" film and on its sound-
track rounds out a carefully
planned marketing strategy.

"This is the band's third
record, so there's not a lot of
new-hot'thing stories. You
have to find your fans and rein-
troduce yourself," Capitol VP
of marketing Meg Harkins
says. "Coming out with a video
for 'WTF' eight weeks before
the release gives us the proper
platform to reintegrate the
band into the marketplace."

With a European tour lined
up for fanuary and an Asian
and U.S. trek soon to follow,
OK Go is ready to change peo-
ple's perception.s of it. "We're
not going to duplicate our-
selves in any way. There won't
be a video of us on elliptical
trainers." Kulash says. "We
just want to be the band who
does weird stuff." •■*■

ontrol for all other territories.
"Golden Rule" is available
lobally through iTunes; PItkxo
ays an International physical
sllout is being prepped. Pow-
erflnger will tour intemation-
lly in late spring and summer
f 2010. —Lars Brandle

•>>STELLA
iONGS

Being 'accessible' is not
omething I set out to do,"
omposer Karl Jenkins says,
owever. his new seasonal
'ork for choir and orchestra.
Stella Natalls," maintains his
•putation as one of Britain's
lost popular contemporary
omposers.

The EMI title was released
ov. 2 in the United Kingdom,
ey European markets and
3pan, with the United States
>llowing a day later. The new
ork, the 64-year-old Welsh-
lan says, "is a delivering of
le Christmas message— in a
lore humanist way." Jenkins

ill tour U.K. cathedrals Nov.
3-Dec. 22.

The album comprises "Stella
atalis"— Jenkins' 12-song suite
»r choir and orcfwstra— along-
de reworkings of Christmas
irols from around the globe.

Soloists include British trum-
peter Alison Balsom and so-
prano Kate Royal. "Techni-
cally and emotionally, Alison
is simply the best trumpeter
there is," Jenkins says, "and
Kate's word painting is so
evocative."

"Stella Natalls" features
lyrics from the Old and New
Testament and Zulu culture.
That sort of global mix, Jenk-
ins says, "is something I am
addicted to. My [2008 re-
lease] 'Stabat Mater' had a lot
of Middle Eastern text."

Jenkins' biggest-selling
album to date. 2000's "The
Armed Man— A Mass for Peace"
(Virgin), has sold more than
150,000 copies in the United
Kingdom, according to the
Official Charts Co.

—Hazel Davis

»>LUZ SALUTE

November has been a special
month for Spanish pop singer
Luz Casal: Not only did she
receive rave reviews for two
shows Nov. n-12 at Paris'
ChStelet Theater, on Nov. 13
she picked up Prance's high-
est cultural honor, the National
Order of Arts and Letters.
Casal has long been a fa-

vorite with French audiences,
and her ISlh and most recent
album. "La Pasi6n" (EMI/Blue
Note), is a top 20 album there.
She has said the project fulfills
her dream of releasing an
album of Latin American
boleros from the genre's ■40s-
'50s golden age. Casal first
received overseas attention
in 1991 when she recorded
the bolero "Piensa en Mi" for
the Pedro Almodovar movie
"Tacones Lejanos."

"La Pasion" is "a really sig-
nificant release," EMI Music
Spain director SImone Bos6
says. "Luz treats the boleros
with emotion and respect. She
doesn't update the themes of
love and loneliness, but re-
creates them with their origi-
nal atmosphere."

The 12-song set peaked at
No. 3 on Spain's Media Con-
trol chart one week after its
Sept. 29 release. It was issued
Oct. 12 in France and other
leading continental European
markets, as well as Mexico
and Israel. Casal's Paris shows
followed dates In Spain, Bel-
gium and Greece in August and
September, booked through
Limac Producciones.

—Howell Llewellyn

MJSIL

QUESTIONS

with THALf A

With careers in music and acting, a syndicated weekly radio program, a TV show (on the
V-Me network) and multiple lines of clothing and accessories to her name, Mexican star
ThaKa is much more than just a singer. But on her upcoming live album "Primera Fila,"
Thalia seeks to showcase her voice. The set, Thalia's first on Sony Music Latin after years
with EMI, is part of the label's "Primera Fila" (First Row) series of live recordings and fea-
tures Thalia performing with a 12-piece band. Set for release Dec. 1. "Primera Fila" will be
sold as both a CD and a DVD. Additionally, a 4S-minute documentary will air as a special
on Televisa and Untvision along with some of the live performances.

1 Where did the Idea for this album
come from?

1 always wanted to record a live album, using
great musicians and with challenging songs.
Nearly two years ago. we got a call from [ for-
mer Sony Music Latin president] Kevin
Lawrie. who was at the taping of Vicente Fer-
nandez's "Primera Fila." Kevin called Tommy
jMottola. Thalia's husband) and said, "This
is exactly what t think Thalia should do." And
Tommy said. "Don't tell me. She's been talk-
ing about it for years." I then met |Sony Music
Latin VP of A&R] Paul Forat and [producer]
Aurco Baqueiro. who I've known since I was
1 4 years old. This group of people was totally
in synch with this dream and took it to the
next level.

2 This Is so different from your previous
performances and recordings. Would you
really have done it before?

It wouldn't have been the same album five
years ago. This album found me at a moment
in my career where I've done ever>thing. I've
been a singer, a dancer, an interpreter. ever> -
thing. Being a mother [of 2-year-old Sabrin]
has changed my core. And also, two years ago,
1 contracted Lyme disease, and that broke my
life structure. 1 had to stop and ask myself.
'What do you want? What makes you happy?"
It liberated me of all my preconceptions, of
everything my name means. And the Thalia
who spends time at home with a ponytai! and

who goes out for pizza in her jeans is the same
person that's on that stage.

3 In the documentary, you mention that
your singing abilities have been questioned.

It was amusing to share that skepticism becaase
it's been voiced. I 've sung from the most "pop"
songs to deep ballads. I started my career at 7
years old. singing from towTi to town. I 've worn
every out6t imaginable, I 've danced e%ery cho-
reography, I've been set on fire. Hver>lhing. But
as a singer. I did need to interpret songs with
weight and depth and structure that opened up
another part of me. It doesn't mean that what
1 "ve done wasn't important, but at this very mo-
ment, I'm the person you see on "Primera Fila.'

4 You sold a lot of albums when the mar-
ket was at Its peak. Are you prepared for
the lower sales of today's market?

The album has become a promotional tool to
enable you to be in contact with your fans, to
continue to grow and develop your career. But
if you think you're going to make money sell-
ing albums, you're on another planet. First of
all. where would you buy it? Those spectacu-
lar music stores are gone. And culture has be-
come disposable. There's no longer that culture
of following an entire album. What ! want to
do is take this DVD — this small stage with
great musicians — and re-create it on lour.
Allow people to almost rest their elbows on
the stage.

5 Did you feel naked performing
without the usual bells and whistles?

You have no idea what I felt those two
first rehearsal days, t was trembling,
my hands were freezing. 1 was so nen--
ous about being so vulnerable for the
first time and having people sec me as
I am. But I think being so nervous al-
lowed me to go beyond my limits, I
never doubted myself, because the stage
lias been my school.

6 You Include a duet with Joan Se-
bastian—written just for you— and a
duet with newcomer Pedro Cap6.
Was anything left off the album?

We did everything we planned. But it's
important to underscore; I prepared very
hard. I took voice lessons for six months
with Celine Dion's teacher. I physically
prepared with a workout routine. 1 re-
hearsed the songs to death.

DECEMBER S, 2009 I www.billboarcl.b12

ALBUMS

TORI AMOS
Midwinter Graces
Producer: Ton Amos
Universal Republic
Release Date: Nov. JO
With past references to "the lit-
tle g." the incriminating ques-
tions of "God" and a penchant to
debate spiritual issues. Tori
Amos hardly seems the type to
make a holiday album. But the
Methodist minister's daughter
rarety ceases to surprise. Her lat-
est release. "Midwinter Graces,"
IS a typfcally provocative— in the
best possible way— entry in the
yuletide canon. Amos reaches
deep into the world of carols for
ancient and less obvious fare
that she subsequently recasts
on stnng-taden songs like "Can-
dle: Coventry Carol." "Jeanette.
Isabella." "Holly. Ivy and Rose"
(which features her daughter.
Natashya) and "EnrmarKiel." The
lush, big band-styled "Pink and
Glitter" is the most interesting
of Anx)s' five originals, though
on the album-closing "Our New
Year." she appears to express
hope, but not expectation, for a
messianic visitation.— GG

SWITCHFOOT

Hello Hurricane

Producers: Mike Elizondo.
Switchfoot

Lowercase People/Atlantic
Release Date: Nov, 10
After establishing a berth at
mainstream radio with "Dare
Vou to Move " (from its 2003 al-
bum. "The Beautiful Letdown"),
earnest San Diego rock band
Switchfoot hasn't quite man-
aged to complete its crossover
from the Christian-music scene
that first embraced the group.
The band's latest release, "Hello
Hurricane." may (and should)
change that: It's a sleekly pre-
sented modern-rock album
with no shortage of bruising
guitars or catchy choruses. Like
much of U2's work, these songs
wrap a faith-based message in
a secular package. Switchfoot
produced "Hello Hurricane"
with Mike Elizondo. and the
album's varied arrangements
reflect his diverse resume
On "Needle and Haystack
Life.'" singer Jon Foreman
works his breathy croon over
surging pop-punk guitars;
"This Is the Sound" has a
brutish, heavy-metal vibe:
"Enough" ndes a percolating
art-folk groove; and "Bullet
Soul" could be something by
Swedish garage rock band
theHlves.-MW

THEM CROOKED
VULTURES
Them Crooked Vultures
Producers: Them Crooked
Vultures

Interscope Records
Release Date: Nov 17
With Queens of the Stone Age's Josh Homme on guitar/
vocals. Foo Fighters' Dave Grohl on drums and Led
Zeppelin's John Paul Jones on bass/keyboards, Them
Crooked Vultures' self-titled debut comes with a high
pedigree and even higher expectations. Like Monsters
of Folk (Conor Oberst, Jim James, M. Ward and Mike
Mogis). this rock supergroup delivers by drawing upon
each member's talents and creating a sound that's
refreshingly singular and remarkably fun. "Them
Crooked Vultures" features technically polished, bluesy
guitar-driven bar rock, with the song "Mind Eraser, No
Chaser" and first single "New Fang" relying on start-
stop tempos and punishing solos. While Jones adds
depth on bass and Grohl's drumming Is predictably
top-notch, Homme commands the spotlight through-
out the album with sexually charged yet haunting
vocals. "I don't need a reason. baby/Put your arms
around me," he sings on "Caligulove" before an unex-
pected keyboard solo sweeps the track in a different
direction. The set may be a one-off experiment, but the
band's chemistry points to a potentially bright future
with this star-studded lineup.—

WALE

Attention Deficit
Producers: various
Allido/ln terscope
Release Date: Nov 10

Washington. D.C.. rapper
Wale owns the distinction of
being the most well-rounded
of hip-hop's latest class: He
packed quirky smarts into last
year's "Seinfeld"-themed "The
Mixtape About Nothing" be-
fore splashing onto radio with
the hook-laden Lady Gaga
collaboration "Chillin"." He
continues to show his range
on "Attention Deficit." his
long-delayed yet sonically
dazzling proper debut. Work-
ing with an all-star list of pro-
ducers. Wale sounds as com-
fortable on indie fare like the
Dave Sitek-produced "TV in
the Radio" as on sizzling
stereo-bangers like Cool &
Dre's "World Tour." His lyrical
themes also cover a lot of
ground, from the lothario
come-ons of "Pretty Girls" to
the cautious tale of superfi-
ciality told on "90210." Luck-
ily. Wale never spreads him-
self too thin on "Attention
Deficit" and maintains the ur-
gency of his mixtapes to en-
sure that the set contains lit-
tle filler. With an immediate
likability and a penchant for
innovative pop music. Wale
could soon reach Kanye

West-esque heights of artistic
and commercial viability.— J£.

ALEJANDRO SANZ

Paralso Express
Producer: Tommy Torres
Warner Music Latina
Release Date: Nov. JO
The sound of Spanish pop star
Alejandro Sanz's new studio
set. "Paraiso Express." is more
melodic and commercial than
his past two. more ruminative
efforts— and this is a good
thing. Sanz wrote most of the
new songs at the piano, and it
shows on tracks like "Sin Que
Se Note," which conjures vin-
tage Elton John in its big cho-
ruses and melodies, Sanz's
quirky, inventive side is heard
on the reggae-tinged "Mala."
with its punctuated guitars—
a mix of flamenco and rock—
and on the moody "Lola Sole-
dad." a kind of vampy tango
imbued with melancholia and
awash in a multiplicity of sur-
prising arrangements. The
songs on "Paraiso Express"
veer in many directions, from
solo piano to walls of electric
guitar to a predilection for the
Hammond B-3 organ. The least
surpnsing track is the bilingual
single "Looking for Paradise, '
which features Alicia Keys.
Take it as the light sorbet that
cleanses the palate before a
gourmet meal.— tC

R. KELLY

Untitled

Producers: various

Jive

Release Date: Dec. J
Outside of the hits "Same Girt" and
"I'm a Flirt." R. Kelly's last album in
2007, "Double Up." was a guest-heavy exercise in bore-
dom. But the singer/songwriter redeems himself on his
newest release, "Untitled." Predictably, sex and love are
both displayed in ample measure. But this time around,
Kelly eschews the interplanetary sexcapades of "Double
Up" for fewer cameos and more down-to-earth fare.
Beyond top 10 lead single "Number One" (featuring Keri
Hilson), the album Is signature Kelly: fantasy-filled
romps, club jams and heartfelt ballads brought to life by
the singer's ear for catchy beats and melodies and
mood-setting lyrics. Leading the charge are the playful
"Echo" (abetted by Kelly's sexy yodeling) and "Whole
Lotta Kisses," the lively "Be My tt2" (a nod to his step-
ping roots) and the emotionally sincere ballads "Re-
ligious" and "Elsewhere." The one constant throughout:
Kelly's soul-dripping tenor. With 18 years and counting
under his belt, the singer/songwriter reminds us why he
remains an R&B force.— GM

MELANIE FIONA

The Bridge
Producers: various
Universal Motown

Release Date: Nov lO

Although the release date of
her debut album, "The Bridge."

was pushed back numerou
times, singer Melanie Fion
didn't miss her opportunity fc
greatness. On the set. Fion
brings the same sultry vocal
and self-assured antics ato
soulful instrumentation th<
fans fell in love with on the fin

ANNIE

«. -^^^^^ Don't Stop
H^^^^^ Producers: various

Smalltown Supersound

Release Date: Nov. 17
Working with a host of producers
on her second release, "Don't Stop," Norwegian pop
singer/DJ Annie continues to balance her carefree ptay-
fulr>ess with darker themes of struggling fove to create a
bittersweet dance party. But regardless of the mood,
Annie steals listeners' hearts with her light-as-a-featf>er
vocal delivery and infectious beats. On the electro-
tinged "I Don't Like Your Band," she reveals her distaste
for her lover's band ("Your latest 7-Inch sounds ob-
scene/Unless you spin it at 45") and suggests seeking
inspiration from the "cosmic songs'" of Kraftwerk, Bobby
O ar>d Giorgio Moroder. The haunting Timo Kaukolampi-
produced "Marie Cherie" is a dark journey through the
life of an abused girl who commits suicide and goes
unnoticed. Annie lightens the mood on tracks like the
swirling Brian Higgins-produced "Loco" (featuring
cameos by Franz Ferdinand's Alex Kapranos and Nick
McCarthy) and "The Breakfast Song," on which she
repeatedly asks over sr\are taps and heavy synth, "What
do you want?/What do you want for breakfast?" The
album includes a five-track EP, which features several
songs ("I Know Ur Girlfriend Hates Me," "I Can't Let Go"
and "Sweet") that were originally intended for a 2006
version of the album that was halted following Annie's
split from Island Records.— MP

28 I BILLBOARD I DECEMBER 5, 2009

REVIEWS-

SINGLES

tngle, "Give It to Me Right."
fver tambourine clings and
oilow drums on "Bang Bang,"
ie taps into her crooked ways,
nging. "I don't give a damn
ause I'm a rebel kind." With
ie help of flamenco guitar on
reach Him." Fiona attempts to
inderly school her partner
bout how to build a healthy
Hationship. while the stand-
ut track "It Kills Me" reveals
ie singer's vulnerable side, as
ie cnes out over bluesy piano
Tokes, "I know you're mess-
ig around/But who the hell
se is gonna hold me down?"
hose who aren't believers
fter listening to this 13-song
lasterprece may want to re-
/aluate Itieir definition of what
ilent 1S.-MC

EW & NOTEWORTHY

iC/DC

acktracks

roducers: Sam Horsburgh.
I Quagiieh. John Jackson
ony Legacy
elease Date: Nov. JO
le most popular version of
te new AC/DC boxed set.
iacktracks." will be the one
lat includes a CD of B-sides
id other rarities, a CD of live
srformances and a DVD of
deos. But the real prize is
le deluxe configuration,
'ailable from the band's Web
te, which includes an extra
D of performances, a DVD
■ a 2003 concert, a vinyl
cord, a high-quality photo
:>ok and replicas of various
emorabilia— schoolboy out-
not included— in a case that
>ubles as a working ampli-
>r As for the music, AC/DC
iS spent three decades giv-
9 old-fashioned rock the
snzied energy of metal, and
e band hasn't heard a riff
at's too raucous (check out
e song "Stick Around") or a
jublo-entendre that's too

crude (one rarity is called
"Snake Eye")- The concert—
a 2003 performance from
Munich— shows the band in its
true element, as guitarist
Angus Young seems to sweat
out his own weight onstage.
It's good, dirty fun —

NIRVANA

Live at Reading
Producttr: Nirvana
Oeffen/UMe
Release Date: Nov. 3
A humbling moment of Nir-
vana's 1992 performance at
England's Reading Festival
comes during the intro to the
powerful rocker "Lithium."
Dressed in a white medical
gown and blue jeans, frontman
Kurt Cobain hits a wrong note
and is forced to restart the tune.
It v«>u!dn't be the first instance
during the band's 90-minute
set that Cobain flubs a song (he
struggles to tune his guitar
throughout "Love Buzz"), but
the thousands of concertgoers
who sung along in unison to
"Lithium" proved that a few
mistakes couldn't spoil this his-
toric event. Cobain isn't re-
membered for his technical
chops, but this Reading ap-
pearance-released for the first
time on the CD/DVD package
"Live at Reading"— captured
the trio's skill at turning simple
power chords into some of the
most memorable rock anthems
of the '90s. Filmed less than a
year after the release of
"Nevermind." the concert fea-
tures intense performances of
"Aneurysm," "Tourette's" and
"Territorial Pissings," mixed
with such alternative gems as
"All Apologies." "Polly" and
"Come As You Are " For those
who missed Nirvana in the
flesh. "Live at Reading" pre-
serves the band's command-
ing stage presence during its
short-lived career.— WP

I n fWl ¥Wm!H El M H I M

>ITED BY MITCHELL PETERS
LBUMS) AND MONICA
:RRERA (SINGLES)

>NTRIBUTORS: Leila Cobo,
inel Concepcion. Gary Graff,
•n Hart, Robert Levine, Jason
>shut2. Sarah MacRory, Micfiael
■nachem. Gail Mitchell. Kelsey
ine. Mitchell Peters, Mikael

tITICS- CHOICE *: A new

ease, regardless of chart
tential, highly recommehded
musical merit.

PICK >: A new release predicted
to hit the top half of ttie chart in
the corresponding format.

All albums commofcially svailable
in the United States are eligible.
Send album review copies to
Mitchell Peters at Billboard. 5055
Wilshire Blvd.. Seventh Floor, Los
Angeles. CA 90036 and singles
review copies to Monica Herrera
at Billboard. 770 Broadway.
Seventh Floor, New York. NY.
1OO03, or to the writers in the
appropriate bureaus.

iUSHER
Papers (4:22)
Producers: Sean "the Pen"
Garrett. Team S. Dot.
Ztiytoven
Writers: various
Publishers: various
LaFace/Jive

With its layered harmonies,
mellow production and lyrics
of heartache. Usher's "Papers"
closely resembles his 2004 No.
1 hit "Burn." and that's a very
good thing. It's the first time in
a while that the singer sounds
energized, as he unleashes
deeply personal lyrics about
the real-life sacrifices he made
for love. "For you I gave my
heart and turned my back
against the wortd/'Cause you
were my girl." he sings, a thinly
veiled reference to ex-wife
Tameka Foster-Raymond. "I
done turned into the man that
I never thought I'd be/I'm
ready to sign them papers,"
The overwhelming fan re-
sponse to "Papers" has pro-
vided an early boost in antici-
pation of Ush£^r's forthcoming
altxim, "RaynxHxJ vs. Raymond,"
meaning fans will hopefully
hear more breakup laments
from the R&B heavyweight
soon.— SM

SHAKIRA FEATURING
LIL WAYNE

Give It Up to Me (3:03)
Producer: Timbaland

Writers: various
Publishers: various

Spic

The second single from
Shakira's upcoming "She
Wolf" finds the Latin star fa-
voring hip-hop beats over her
signature brand of interna-
tional pop, On "Give It Up to
Me," the ever-present Lil
Wayne knocks out another
witty guest verse over Tim-
baland's Middle Eastern-
tinged production. Shakira.
meanwhile, relays an alluring,
yet oddly submissive mes-
sage: "You can have it
all/Anything you want you
can make it yours," she sings
over hand claps and pound-
ing bass "Put me in a cage
and lock me away/And I'll
play the games that you want
me to play." The singer's un-
dulating vocals, quirky yet
sensual, hint to her past hits
but feel somewhat out of step
with Wayne's wordplay and
Timbaland's production.
While "Give It Up to Me" is
sexy and danceable. Shakira's
flirtation with a different
genre ultimately obscures her
own unique style.—

LEIGHTON MEESTER
FEATURING ROBIN
THICKE

Somebody to Love (3:32)
Producer M. Caren

BOVSUKEOIRLS

BOYS LIKE GIRLS
FEATURING TAYLOR
SWIFT

Two Is Better Than One (4:03)
Producer 6r/dn Hoives —
Writer M. Johnson —
Publishers: EMI Apnf Music.
Martin Johnson Music (ASCAP): Sony/ATV (BMI)
Columbia

Boys Like Girls roared into the top 40 this summer with
the hyperactive single "Love Drunk," but for Its follow-up,
the band slows things down and displays a softer side.
Tfw group pairs up with Taylor Swift for "Two Is Better
Than Or>e," which fits its own repertoire as well as ttie
country star's. Lead singer/songwriter Martin Johnson's
falsetto complements Swift's sweet tone, and producer
Brian Howes builds an orchestral arrar>gement around
their vocals that would be well-suited to a climactic
movie moment. The delicate violin strings, conducted by
David Campbell, echo the song's declaration about the
importarKe of mending a relationship on the rocks. Al-
ready on track to be another hit for Boys Like Girts, this
moving duet stands as proof of its own title.— MN

Writers: various
Publishers: various
Universal Republic
Working '80s influences into
a current pop hit is nothing
new these days, but Leighton
Meester's "Somebody to
Love" is extra faithful to its
source material. The "Gossip
Girl" star's debut single is a
carefully constructed ode to
vintage Madonna— particu-
larly in its "Vogue"-like verses,
where Meester semi-raps

rather than sings. The lyrics
are lovelorn, as she celebrates
her jet-setter lifestyle but also
mourns her inability to settle
down. "It's hard to find a mate
when you're gone before he
waits." Meester says. "They say
it's hard to achieve, but can't a
girl believe?'* The song's high
point, however, comes during
Robin Thicke s cameo, as the
R&B singer delivers a catchy
chorus that cries out for a
sped-up dance remix.— SM

VAMPIRE
WEEKEND

Cousins (2:25)
Producer Rostan
Batm^nolii
Writer: E Koenig
Publishers: Vampire Weekend Music
(ASCAP), Imagcm Music
XL

Two years after taking the indie-rock
world by storm with its much
bloggcd-about self-titled debut.
Vampire Weekend returns with
"Cousins," the first single from its
forthcoming second album.
"Contra." Recorded in Mexico City.

the two-and-a-half-minute burner
focuses on the band's more ram-
bunctious tendencies, with guitarist
Chris Tomson delivering mean,
Ventures-esque surf guitar lines over
a frenetic post-punk rhythm that
recalls Wire. Bassist Chris Baio has
called it the band's "heaviest" song,
not to be undone by Ezra Koentg's
intriguingly nonlinear lyrics.

"Cousins" finds the boat-shoed
singer/songwriter offering zingers
like. "Dad was a risk taker/His was a
shoe maker/ You. greatest-hits 2006
little list-maker" None of it makes
much sense, but then again, neither
did Koenig's head-scratching odes
to Oxford commas and Lil Jon.
Besides, isn't that what quality new
wave is all about?-/?H

DECEMBER 5, 2009 I www.billboafdi>iz | 29

BY RAY WADDELL

Coming Full 'Circle'

TicketmaSter, Bon a partnership involvingrnkct-

Jovi Use Concert
Ticket Sales To
Drive Music Sales

master Entertainment, Island
Def |am (1D(). promoter AEG
Live and Bon ]ovi helped drive
the band's album "The Circle"
to No. I on the Billboard 200
last week on the strength of

first-week sales of 163,000
copies, according to Nielsen
SoundScan. More than 20,000
of tliosc sales were notched dur-
inga four-day Tickclmaslcr pro-
motion that allowed purchasers
of presale Bon )ovi tour tickets

to also buy a digital download
of "The Circle' for $9.99.

"The Circle" is the fourth con-
secutive Bon lovi album tied to
a Ticketmaster promotion, dat-
ing back to "Bounce" in 2002.
That relationship has evolved
from recorded- music sales driv-
ing ticket salt's to ticket sales driv-
ing music sales — which in many
ways is reflective of the music
industry at large.

"We've done things where if
you bouglit the alburn, there was
a code inside allowing fans to
purchase presale tickets." says
Greg Schmale, senior director
of music services at Ticketmas-
ter. " Here, we put the presale up
before the album came out. We
wanted to allow consumers to
see the ticket inventory before
they commilted to purchasing
the album. Then the sale of the
album was added to the order."

According to IDj. about
23.000 dowTiloads resulted from
the presale promotion, which
preceded other prcsales and the
public on-sale for the Circle
tour, which begins Feb, 19 in
Seattle. The promotion's sue-
cc"ss is also an example of how
music business sectors that
once pursued separate agendas
arc now working together.

"Wc have to get out of our
silos and understand wc have
to sell everything." ID| senior
VP of sales jim Roppo says.

"But it has to be a good value
proposition. [The album] was
priced aggressively so it was
competitive in the marketplace.
People respond to that."

Bon )ovfs Lost Highway trek
was last year's top-grossing
tour, at $210 million in gross
ticket sales, according to Bill-
board Boxscore. "It's really
about how do we convert those
people to buy albums, and this
promotion was ideally crafted
to accomplish that," Roppo
says. "Ticketmaster did a great
job of messaging all the previ-
ous Bon jovi buyers in their
database: we also had a lot of
support from Bon Jovi. com."

From the label side, the mes-
saging was also about timely re-
demption. "SoundScan only
counts redemptions, not up-
front sales." Roppo adds. "So wc
put a lot of energy into messag-
ing consumers who had partic-
ipated in the offer to hurry and
redeem the first week." A bonus
of three live songs and an inter-
view viith frontman |on Bon Jovi
were offered as added incentive.

While Ticketmaster promo-
tions with " Bounce" and " Have
a Nice Day" (2005) included
ticket presale coupons in the
physical CD, its 2007 promotion
for Bon |ovis No. 1 -debuting
"Lost Highway" bundled an
album download with presale
tickets purchased for the band's

'BATTLE' CRY

Not only does John Mayer collect his second No. 1 on the Billboard 200 with "Battle Studies" selling
286,000 copies in its first week, according to Nielsen SoundScan, the album also posts the third-
best sales week for a digital set this year and the best showing for Columbia Records. ^ The set
shifted 129,000 copies through digital retailers (45% of its overall first-week sales), making it only
the 12th album to sell at least 100,000 downloads in one week since SoundScan began tracking
digital album sales in 2005 (see chart). ^ Mayer's sizable digital sales shouldn't be a surprise. His
last release, the live set "Where the Light Is," has seen 30% of its 390,000 overall sales come from
download services. As for his last studio release. 2006's "Continuum," downloads make up 18% of
its nearly 2 million in sales. — Keith Caulfield

lO-night stand at Prudenti;
Center in Newark, N.J .

"With only those 10 shows t
work with, there were aboi
55,000 ticket presales and u
demptions were about 10%,
Roppo says. "This time we di
about 3H,000 ticket presales an
had 23.000 redemptions in th
first week alone."

One of the big takeaway
from the latest promotioi
Roppo notes, is the move It
ward more first-week digit;
sales for Bon Jovi. Digital salt
for "The Circle" accounted ft
58,000 albums, representin
36% of total sales.

Roppo credits Boti Jovi mai
agement for understanding t>
potential of tying in album an
ticket sales. "Most managei
and artists will say, if I can g<
$10 more for my ticket, I'
rather take that than sell n*
album," "he says.

Bon Jovi Management
Paul Korzitius, who c(
manages the band, emph.
sizes that the fans are th
bottom line. "Ticketma.ster ar
Bon Jovi have long worked ti
gcther to distribute tickets ar
recorded product to custome
in as many ways as possible*
ensure customers get wh;
they want, when they want
and how they want it." Korzi
ius says. "If the customer
happy, we are all happy."

DOWNLOAD CHAMPS

Here's how John Mayer's "Battle Studies"
stacks up in the download derby for highest
digital sales week for an album.

129.000

102,000 100.000

mum m iuiihboi uMiumnnBMD

Om IMi;Umapt/W MMUHK Bay >1«i,/HVBM DetJlfll/IOJK

i/vmi ymn mnm imm vivm

SwyHihx

WM9

SirtiK RM-it-Mi/DftJM^ MMLMf"
VJKIVm IDJIK UN/MMil/KA

30 I BILLBOARD DECEMBER 5. 2009

BY RICHARD 5MIRKE

Fantastic Journey

< Factor' Alum JLS Outsells Robbie Williams

year ago. Alexandra Burke beat fresh-fated British
jy band ) IS to the crown on "Tlie X Factor." Now,
jwever, the group has won a different crown: No.
on the U.K. albums chart following a close bat-
? with U.K. megastar Robbie Wiilianis.

Both II,S' self-litled Epic debut and Williams'
)meback Virgin album, "Reality Killed the Video
ar." arrived in U.K. stores Nov. 9. The group's
les of 239.000 copies edged out Williams by less
an 1 %. according to the Official Charts Co. (OCC).

"It's an amazing achievement." band member
nathan "IB' Gill says. "Usually you have a sense
om the midweek sales figures, but we had no

idea — it was so close. When 1 found out, I liter-
ally got ofTthe phone and screamed for joy."

Epic U.K. head of marketing Murray Rose de-
scribes overtaking Williams as 'the icing on the
cake." But he also notes that after I LS' lead single.
"Beat Again." hit No, 1 in July, the label always fell
"bullish" about dropping the album during the
busy fourth quarter. The album has now sold
373,000 copies, according to the OCC.

Crucial to the album's sales success was the
band's Nov. 1 return to "The X Factor." The ITVl
ratings champ has influenced the singles and al-
bums charts in recent weeks: The last five No. 1

singles {including ) LS' upbeat R&B anthem "Every-
body in Love") and four No. 1 albums have all re-
ceived exposure on the show.

[LS — which stands for ")ack the Lad Swing" —
has since appeared on various programs, ranging
from ITV'sdaytimer"GMTV"(Nov. 3)to Channel
4's youth -oriented "T4" (Nov. 21). To maximize
exposure among the band's female 35-and-under
target demo, a prime-time TV ad campaign rolled
out one week prior to the album's release.

Online marketing has also played a vital role.
According to Rose. JLS boasts the third-most
popular Web site of all Sony acts — behind
Michael (ackson and Adam Lambert — with 3.7
million page impressions for the month up to
Nov. 22. The burgeoning popularity of Gill and
fellow band members Oritse Williams, Marvin
Humes and Aston Merrygold was vividly illus-
trated when their appearance ata Nov. HChrist-
mas concert in Birmingham was abandoned due
to overcrowding.

While teenage fans hyperventilate over tlie band's
good looks, tlial doesn't mask the group's consid-
erable talent. The glossy mix of hook-laden pop
hits, electro- flavored R&B and sentimentally earnest
ballads on '] LS" offers a surprisingly robust expe-
rience, especially on the anthemic "One Shot" and
the soulful, acoustic-vibed "Close to You."

Next up for the band — managed by London-
based Modest Management, which also handles
Burke and Leona Lewis — is a national U.K. theater
tour booked by London-based Creative Artists
Agency. It kicks ofTFeb. I at Ipswich Regent The-
atre. International plans have yet to be fmalized.
but Rose says a European album launch is likely
next year.

Gill says, "We want to go international in due
time, [but] we want to cement ourselves in the U.K.
It really is going to be a fantastic journey for JLS
and Epic."

DUAL POWER

eel Magnolia, the country duo of
eghan Linsey and Joshua Scott
ines, is climbing Billboard's Hot
>untry Songs chart with its first sln-
e, "Keep On Lovin' You." Written by
iris Stapleton and Trent Willmon, the
»ng is No. 31 this week. But beyond
e single, the Big Machine act has a
aiity show to thank for its current
lance to shine.

Linsey and Jones are a real-life cou-
e who were separately pursuing solo
reers. After deciding to give It a go as
iuo, a friend encouraged the couple
try out for CMT's "Can You Duet."
The pair won the competition in Au-
ist and immediately hit the road to visit
dio. WWOM Madison. V»/ls.. PO John
'basttan was aware of the pair from the

ow, but he says it was Its station visit
at sealed the deal Describing the slrt-
e as "hooky and unique " he adds,
Vith a hipness about them and bar-
onies reminiscent of the Eagles, they
ve the look ar>d the sound to go far."
Ponchatoula. La., native Linsey.
lose musical influences include Dolly
jrton, Janis Joplin and Tanya Tucker—
nyt>ody with some soul, anyone who
n tell a story"— was opening for Brc»d
ilsley. Toby Keith and other acts as a

teenager. She nroved to Nashville after
high school. Jones, of Charleston, Ml.,
counts the Beatles and Willie Nelson
among his influences. He pursued his
music career while working In sales at
a country radio station in Illinois. Trav-
eling to Nashville to perform at the
famed Bluebird Cafe on weekends,
Jones eventually convinced the radio
company to transfer him to a Nashville
statk>a One night while visldng a down-
town karaoke bar, he met Linsey.

Now the pair is finishing its yet-
untrtled debut album, tentatively due in
Fet>ruary. Collaborating with producer
Dann Huff (Keith Urban), Linsey and
Jones either wrote or co-wrote seven of
the album's II tracks.

Noting the duo has "the chemistry
factor" in its favor, Linsey says, "We
write about real-ilfe stories— like break-
ing up and getting back together. Peo-
ple relate to that"

Jones cites "the intercity of our vocal
blend" as another point of distinction.
"I was a more stylistic singer and
Meghan was more polished," he says.
"We kind of met in the middle and
learned from each other. Now it's
evened out Into this 'one-voice sound'
that works." —Ken l\icker

Intriguing

FEEDING
FRENZY

With their rich pedigree and dy-
namic sound, Them Crooked Vul-
tures' self-titled debut album has
made a splash at radio and retail.
The alt-rock supergroup— featur-
ing Led Zeppelin's John Paul Jones,
Queens of the Stone Age's Josh
Homme and Foo Fighters' Dave
Grohl— debuts this week at No. 12
on the Billboard 200. The group's
bruising first single, "New Fang," is
No. 15 on the Alternative chart.

Interscope's Nov. 17 release of
"Them Crooked Vultures" Is the cul-
mination of a shrewd, tour-driven
promotional campaign. The long-
rumored collaboration was offi-
cially unveiled during a midnight
show at Chicago's Metro during the
close of the Lollapalooza festival
In August. With Jones on bass and
keyboards, Homme on guitar and
vocals, Grohl on drums and Alain
Johannes on rhythm guitar for its
live shows, the group has since
played select dates in Europe as
well as sold-out stops In New York
and Los Angeles.

Although the band sparked in-
trigue due to its members' previ-
ous work, high demand on modern
rock radio suggests the album is
being received as more than a ca-
sual side project. "This is one of
those times when the audience has
truly responded to the music, not
just the spectacle of three guys
from three great bands," says Matt
Pinfleld, host of "The Rock Show"
on WRXP New York. "Rock fans
want bands they can really be ex-
cited about. It was never a guaran-
tee that It would all come together
on this record, but the band really
made this work."

After "New Fang" was offered as
an ITunes free download Nov. 2,
Them Crooked Vultures made the 13-
track album available as a stream on
their YouTube page one week prior
to release. According to Plnfield, the
move spiked ttie number of radio re-
quests for non-single tracks and cre-
ated excitement before the physical
release. "It showed that people were
feeling the whole altaum, not just one
or two songs," he says.

Having just wrapped a trek In the
Pacific Northwest, the act will visit
Germany and the United Kingdom
before touring Australia and New
Zealand in January.

—Jason Upshutz

WW w.biltbcard , bl z

Billboard connect with the music industry's most important decision maker

For ad placement in print and online call Jeff Serrette 800-223-7524/jserrette.ajbillboard.com

MUSIC
MERCHANDISE

MASTERING

BUY DIRECT AND SAVE!

While oirief people are raising then prices, we
are slashing ours. CD's. LP's. Books.
Cassettes as lovr as 50 cents. Your choice
from the most extensive listings available.
For free caUlog C3ll (609) S90-«00a.
Fax (609) 890-0247 or write
Scorpio Minic, Inc.
P.O.Box A Trenton, N.J. 08691-0020
email: scorpiomus9aol.cofr>

tangerineMASTERING.com

Grammy winning CD mastering

REISSUES & RESTORATION

201-865-1000

DON'T
MISS AN

issue

T-SHIRTS

SOMETHING TERRIBLE HAPPENS WHEN YOU DON'T ADVERTISE . . .

NOTHING!

BE CREATIVE •KNOW YOUR OPTIONS
ADVERTISE WISELY

BilllKMPd JEFF SERRETTE

SENIOR accoun; manager

E:64l-6$«-4(97M0-22].7S24IFU(:l4t4i$4^n6« EMAH: JSailtEnE«8IUB8AIU).C0M

Billboard Classifieds

■ DUPLICATION
I REPLICATION
i VINYL PRESSING
CD ROM SERVICES
DVD SERVICES

FOR SALE
PROMOTION &
MARKETING SERVICES
MUSIC DISTRIBUTORS

AUCTIONS
RECORDING STUDIOS

REAL ESTATE
INVESTORS V/ANTED
STORES FOR SALE
EQUIPMENT FOR SALE
STORE SUPPLIES

L FIXTURES
CD STORAGE
CABINETS
DISPLAY UNITS

PUBLICITY PHOTOS
INTERNET/WEBSITE

SERVICES
BUSINESS SERVICES
MUSIC INSTRUCTION
BUSINESS
OPPORTUNITIES
COMPUTER/SOFTWARE
MUSIC MERCHANDISE
T-SHIRTS
EMPLOYMENT SERVICES
PROFESSIONAL
SERVICES
DJ SERVICES
FINANCIAL SERVICES
LEGAL SERVICES
ROYALTY AUDITING
TAX PREPARATION
BANKRUPTCY SALE
COLLECTABLE

TIONS ■
^^T "

PUBLICATIONS

TALENT
SONGW/RITERS
SONGS FOR SALE
DEALERS WANTED
RETAILERS W/ANTED
WANTED TO BUY
CONCERT INFO
VENUES
NOTICES/
ANNOUNCEMENTS
VIDEO
MUSIC VIDEO
POSITION WANTED
LISTENING STATIONS
FOR LEASE
DISTRIBUTION
NEEDED
EDUCATION
OPPORTUNITY

BacHsmE

Worldwide Distributors of Licensed:
ROCK & NOVELTY T-SHIRTS,
STICKERS, PATCHES, FLAGS & MORE!

Check out our website catalog:

m/Msisje'Mm.eon

or call for a free price list/flyer (dealers only):

800-644-ROCK

(oulsiijc the U.S. - 928-+13-OIOO)

NOTICES/ANNOUNCEMENTS

BILLBOARD'S HOTTEST ISSUE OF THE YEAR!

THE 2009 YEAR IN MUSIC ISSUE
December 19, 2009/DEADLINE CLASSIFIED
December 14TH

TOURING, PUBLISHING, LEGAL, TECHNOLOGY AND
MUCH MORE!!

FEATURING . . .

■Over 200 Highly Anticipated Billboard Year-End Charts
•The year's most unforgettable music moments
'Analysis of all segments of the music business

'Billboard also honors MADONNA in this special edition ■
Th
Bill

orjMrrotlofabillboard.com

32 1 BILLBOARD DECEMBER S, 2009

CALL US TODAY AND ASK ABOUT THE
BILLBOARD CLASSIFIEDS
INTRODUCTORY OFFER FOR NEW ADVERTISERS!

1-800-223-752-1 or jserretteabillboard.com

Cni

■ r^i mm KIT J

Seems Like Old Times: Catalog Returns To 200

John Mayer captures his second No.
1 on the Billboard 200 with "Battle
Studies" (see story, page 30|. bowing
atop the tally with 286,000 copies. The
Columbia artist leads a pre-Thanksgiving
parade of new albums onto the list, in-
cluding debuts from Norah Jones (No.

3 with 180,000), Casting Crowns (No.

4 with 167.000) and 50 Cent (No. 5
with 160.000).

DONT STOP BELIEVIN': Your eyes
aren't deceiving you: That is indeed
Journey's 21-year-old "Greatest Hits"
album back on the Billboard 200 at No.
1 59 for the first time since 1990.

The band's classic compilation is
one of the fresh (old) faces to dot our
revamped Billboard 200 this week, as
the tally has been tweaked to allow cat-
alog sets to once again enter the list.

Since May 25. 1991, catalog albums
have had their own Billboard home:
the Top Pop Catalog chart. Catalog
albums are defined as those that are
at least 18 months old, have fallen
below No. 100 on the Billboard 200
and do not have an active single on
our radio charts.

This week, which also not-so-coin-
cidentally marks the first chart week
of Billboard's 2010 chart
year, we made over the
Billboard 200 so that
older titles were brought
back into the mix.

It might be easier to
think of it this way: For
the past five years,
we've had three main
all-genre album charts
— the Billboard 200. Top
Pop Catalog Albums and Top Com-
prehensive Albums.

From May 1991 until last week, the
Billboard 200 only housed current or
new albums. The "older" titles, or,
reissues of old albums, charted on Top
Pop Catalog. Then, in 2003. we
launched the Comprehensive Albums
chart, which blended together old and
new releases.

Now, this week, we've essentially
changed the name of the Comprehen-
sive Albums chart to, you guessed it:
the Billboard 200. And, what was the

Over The
ICounter 4

'KEITH ,^>^l

CAULFIELD jU

t J

old Billboard 200 will now be called
Top Current Albums. We will still com-
pile the Top Pop Catalog chart and con-
tinue to employ our rules regarding
when an album reaches catalog status.

Do note that none of these changes
will alter Nielsen SoundScan's calcu-
lations of its marketing reports. Addi-
tionally, the Billboard 200 is our only
currents-based chart that will be
changed by the re-
introduction of catalog
albums. All of our other
currents-based albums
charts will still abide by
our catalog rules. Those
include Top R&B/Hip-
Hop Albums, Top Coun-
try Albums and so forth.

Now, for the fine de-
tail.*;: Any album that had
previously been on the Billboard 200
and then since fell to catalog status,
but returns to the big chart this week,
is designated as a "re-entry."

In the "weeks on chart" column, the
number reflects the total number of
weeks the album has spent specifically
on the Billboard 200.

In the "peak position" column, the
number indicates where the album
peaked on the Billboard 200 — not on
either Top Pop Catalog or Top Compre-
hensive Albums. (Thus. Michael
Jackson's " Number Ones" retains its

peak of No. 1 3, its Billboard 200 high
that it reached Dec. 6, 2003, though the
album did climb to No. 1 on both the
Catalog and Comprehensive charts ear-
lier this year.)

You'll notice that some albums are
artificially pushed down the tally, de-
spite their sales gains, partially because
of the influx of catalog titles. Thus, an
album like Cage the Elephant's self-
titled set receives a bullet rewarding
its 26% gain in sales, despite its chart
slippage (moving 109-123).

For any questions regarding these
changes, please contact either direc-
tor of charts Silvio Pietroluongo
(silvio@binboard.com) or myself.
Billboard 200 chart manager Keith
Caulfield (kcaulfield@billboard.com).

FOLK EXPLOSION: This week. Bill-
board adds Top Folk Albums (see page
36) to its ever-growing menu of music
charts (nearly 200 of them).

The 15-position inaugural list
includes recent albums by the Swell
Season and Bob Dylan and will
feature traditional folk artists in
addition to appropriate titles by
acoustic-based singer/songwriters.
The tally, which is managed by Gary
Trust, will run periodically in print and
appear weekly on Billboard. biz and
Billboard.com. Trust can be reached at
gtrust@billboard.com. ••••

Market Watch

Weekly Unit Sales

AUUHS

MGITM Dlinu
AUIIK- TMOO

ThisWHk

7,985.000

1.684.000 18.946.000

7.043,000

1.471.000 19.635.000

Change

13.4%

14.S% -3.5%

9.4S7.000

1,358.000 17394.000

Change

-1S.694

24.0% 8.9%

A Weekly National Music Sales Report

Year-To-Date

Weekly Album Sales (Miiiion umts)

2009

B.UM

mt ion uuKG!

OVERALL UNIT SALES
Attnms 357.759.000
Dlglbilncks
Slon Singles
Total

UmnfW

rgf wi* inamq Now 22.2009 Figunw 4n roundn]
Compnd from a rucionM um,M ol wtM aon and uc
v/n Imports coJhK'.Mj .nd pxrvidM W

309,490.0CX> -13.5%

942,888.000 1,036.834.000 10,0%

1,493,000 1.61S.000 8.2%

1,302,140.000 1,347,939,0(X> 3.5%

452.047.800 413.173.400 -8,6%

(TEA) witn to Ir*::^ AownlaMi equivalent

SALES BY ALBUM FORMAT

CO 298.850,000 240.202.000 -19.6%

Digital 57.210.00 0 67.131.0 00 17.3%

Vinyl 1.580,000 2.106.000 33.3%

OtlM 119,000 51.000 -571%

niclscn

SoundScan

200! m ama

YEAR-TO-DATE SALES BY ALBUM CATEGORY

(mat 206,359.000 170,203,000 -17.5%

Catalo? 151.400.000 139.287000 -8.0%

D«p Catalog 109.075.000 104.560,000 -4.1%

CURRENT ALBUM SALES
'09

170.2 million

CATALOG ALBUM SALES

■08 151.4 mlltionj

■091

139.3 million

NMUan S<MndSc*n counn M currtnt only mIm within the ftrtt W monOts of an
albums r«tMM (13 months tor ciwlc*! and lazz jiibumt) Ttttat mat tt»v to tn«
top rulf ol th* BillbOiard 20O. howwrvr. ramain at currvnl Tittn olda' than IS
months are cM«>oo D««d catalog i« a tutiMt ol calftiOQ for ((Um out mor* it^n

Go to www.billboard.biz for complete chart data

Sound Sc

THIS

§1

ARTIST

I'.M I'IM h MUUBtn ' niSTHmUIINC LABEL (PflKL)

Title

RljOHN MAYER

■jft^M^Mi-.i -ii^, M.iiv Miivi: 11] 98)

Battle Studies

IH.tlVtU ANDREA BOCELLI

My Chrlstmu

NORAH JONES

The Fall

CASTING CROWNS

I ! .Ml.', iir )5,s«rf MUSIC <il 981

Until The Whole World Hears

50 CENT

. ..- ri^MlTH iMlflSCaPE U1?3y]- KIA (U 98 CD.DVD) •

Before 1 Sell-Desiruct

JUSTIN BIEBER

. i tj ISLAND on; t9.|0JMG |99Sl

My World {EP]

MICHAEL JACKSON

■ . ■. . " w 9S.

Michafll Jackson's This Is It (Soundtrack)

SOUNDTRACK

jLIMU ' . i. . . " ... .'.u 118 Ml

The Twilight Saga: New Moon

■

CARRIE UNDERWOOD

i^i.-. ■.. MriilJiiSi

Play On

■

TAYLOR SWIFT

Fearless

■

'<D

KRIS ALLEN

■ 1 13 981

Kris Allen

]

THEM CROOKED VULTURES

Them Crooked Vultures

]

LEONA LEWIS

Echo

■

VARIOUS ARTISTS

" .1, HIINV MUSIC lie 98)

NOW 32

CASTING CROWNS

11, 1 SONY MUSIC 113 981

Peace On Earth

•

PAUL MCCARTNEY

■ 1 -1. il99BCD,'DV0)W.

Good Evening New York Ctty

MICHAEL BUBLE

. ■ , ' ,: r. tlHOS (1898) >•.

Crazy Love

SOUNDTRACK

.. '.. 1 iM|..< n .< ;v k ill L^UUMOtO'SONV MUSIC 111

Glee: Season One: The Music Volume l

BON JOVI

1^ 1 AND 0U68S.'IDiHG |19 98 CO/DVOl 4-

The Circle

TAYLOR SWIFT Sounds Of Tha Snaon: Tlw %ylor Swffi Holiday Collection (EP|

• . '.i ... 96)

CNEREPUBLIC

I.- i l.jAlUSfll

Waking Up

JANET

Number Ones

LADY ANTEBELLUM

■■■ ■ i!i:'i:.-. 11? 98)

Lady Antebellum

■

JOSH GROBAN

i I-:!-! r-.Jrf WAINIll aHOS fl8 98|*

Noel

STING

ri'lHHVIRII lHi013:i?9' IJNIVtnSAl CUSSICS GBduP

tI6 9Bl ♦

If On A Winter s Night.

TRANS-SIBERIAN ORCHESTRA

'^^\ '.11'.;: •.?.:iL'7! AG (20 981

Night Castle

■

TIM MCGRAW

Southern Voice

□

THE BLACK EYED PEAS

The E N D.

■

□

MILEY CYRUS

The Time 0( Our Lives (EP)

ZAC BROWN BAND

AG ll;J9Hl

The Foundation

■

-IS

.lii

VARIOUS ARTISTS

Cities 97 Sampler 21: Live From Studio C

■

[33

Pflj JAY Z

The Blueprint 3

■

LADY GAGA

vTRfAM \\ -III,]..! "-"HYIHEt'HUERSCOfEOtlBDS

• It* tVJ 93j

The Fame

■

OWL CITY

II'II'.IM.Al Kl't.'li. IL 1. -.''41 - L>MHCi \

Oconn Eyas

■

SUGARLANO

MERCURy NASHVIlLf 01.13?G.L'UCN |1J9Bl

Gold And Green

■

MICHAEL JACKSON

■,■ V ,11 ,119B|

Number Ones

DARIUS HUCKER

•\.:- , (16381

Learn To Live

■

ROD STEWART

Soulbook

■

FLYLEAF

JiM 1 Jt !S1."I0A I139BI

Memento Mori

JASON ALDEAN

Wide Open

•

■

CREED

Full Circle

■

FOO FIGHTERS

l-liKAtl , M i .I'.fi.'l- 'iVHi 11 1 Ml +

Greatest Hits

■

DAVID ARCHULETA

14 .<n -iilSJ .lit, il j 981

Christmas From The Heart

■

VARIOUS ARTISTS

[Ml in'M-L Uiiii-.' IS bf'jUi EX'SURBltCKS 113 Ml

Making Merry

■

|«i SOUNDTRACK

lljj Act- ni'.Tav Noiiii] lie ^Hi

Hannah Montana: The Movie

■

PI TAYLOR SWIFT

I'll. Va:.hi-i> i:. 'ii iia9H| 4

Taylor Swift

■

M MIRANDA LAMBERT

U "iNil.'i V.I $MN I1Z9B1

Revolution

01 KINGS OF LEON

Only By The Night

■

!•

□

BEYONCE

viiy.'<: wnniD COiuHtiA iS49a>-SOKV Music 111 M)

1 Am...Sasha Fierce

■

Her fourth studio »1
arrrvps Nith 180,000
copies and foltows
dvee straiglTl chart-
topfwn. Ijst twek.
JoMSttalMon

The "American Idol"
winnet becomes (he
2bl (onteftant tiom
thestwwlo notch a
lop 20 album on the
(harl. HeaiTwhile.
2009 runner-up
Adatnl^berl
debuts at Mo. 72
witli a set of pfe-
"IcM" recordings.
His proper detwl
arrives next Mceli.

TMs album (56,000)
isthehi^-ranfced
catalog set on the
newty revamped
chart and Ituis sports
a "re-ertry" lag.
Nolsurpiianglv.irs
aKasomicfloitaRl
kafeefBiMdilllo.2
onTopHoUiv
Albums (see
pageJe).

Thirty of the set's 11
songs reached No. I
on either the

BHfboard HotlOO.

.■ . ..|-
kljf >c'iigstfi AC
(harts. It includes
her lOKot 100 No. Is
and her 16 toppers
on Hot R&B/Hip-
Hop Songs.

The 19-Ua(ti album
K IlK band'i fwirth
Mls»llo(lBrl.lol'
liming'Deaileol
ttatmr (1991.
No.2),Ihes«i«'m-

lUIM-Ollhl

"GiMleslHlu"
(1998.110. 20) ami
ttie douUe-diu
"DeiWNItl
Cm- (2005,110.6).

sH ARTIST

IBs lUPRirii A MUMuen f tNSTniftuiiWG label (pwcei

Title

VARIOUS ARTISTS

1. (-^ I'HU'.IUENMNtttlHITV MBi; (Mi tUb (l." 98>

wow Hits 2010

WEEZER

■i.-.rnFf PU^IDMOA )I3 9Bl

Radilude

Qj MICHAEL BUBLE

Let It Snowt (EP)

BREAKING BENJAMIN

Dear Agony

•Eur

Wm PHIL WICKHAM

If ■■, 1 1 ; I .-. .'I'.: ■ .Mh'Y WUSiC |H 9ft)

Heaven & Earth

CHRIS TOMLIN q,q^ ,^ Highest: Christmas Songs Ol Worship

^ SOUNDTRACK

Twilight

V SWITCHFOOT

Hello Hurricane

Pfl TRANS-SIBERIAN ORCHESTRA

The Lost Christmas Eve

101

127

wm NEIL DIAMOND

U COLUMBIA See92.'S0KfY UUStC ^ 1 B6)

A Cherry Cherry Christmas

wm TOBY KEITH

H :^h[iA htiSH^ ii( V}! fiaH)

American Ride

WHITNEY HOUSTON

1 Look To You

n STRAIGHT NO CHASER

Christmas Cheers

?^ TREY SONGZ

Ready

133

Q ^'^^'^Tvi^ i<g98| NOW Thai s What t Call A Country Christmas

BARBRA STREISAND

Love Is The Answer

■

01 RAKIM

The Seventh Seal

DAUGHTRV

-■■ ■ i'W. iifl 981

Leave This Town

W NICKELBACK

Dark Horse

Panffl

MICHAEL JACKSON

The Essential Michael Jackson

105

if^-, SUGARLAND

Love On The Inside

|Fg ADAM LAMBERT

Take Orw

NEW

g THE CHIPMUNKS WITH DAVID SEVILLE

Christmas Wrth The Chipmunks

K-INTRT

FAITH HILL

Joy To The Worid

^ MELANIE FIONA

ii'mu llMHo 1,10 98)

The Bridge

^ A SELENA GOMEZ & THE SCENE

yi ■...iyAL:u:.i..(!J:.r.>a98|*

Kiss And Tell

«W

wm FALL OUT BOY

H ri^iAvniMi =MK-i>HVflAW(ii'1SlAND013/03^ttUIM|13M|

Believers Never Die: Greatest Hits

DRAKE

. ViiNf ■ ■: Ml.lHtY'UNlVtHSM MOtOWN 0IWS6.'UMR0 |9

So Far Gone (EP)

fm BRITNEY SPEARS

The Singles Collection

ALICE IN CHAINS

Black Gives Way To Blue

m PARAMORE

^ ■■'MU ■ ■-..■■m'AI, i!-S ^1(11

Brand New Eyes

CELTIC WOMAN

^ i,'.Mj)(.ii . in;! aiti iiB 9S>

A Christmas Celebration

fm PINK

11.^'.' f '>'.'',^JIG |119S|

Funhouse

'^--i BOB DYLAN

.1 uuSIC {M 98)

Christmas In The Heart

^ MICHAEL JACKSON

I tinner

TRANS-SIBERIAN ORCHESTRA

Christmas Eve And Other Stories

g HARRY CONNICK, JR.

Your Songs

BEBE S, CECE WIHANS

Still

1H n JAMEV JOHNSON

llj ■ ■: 1 . 11^17- UMGN llllftl

That Lonesome Song

"□"^^^„...

Keep On Loving You

wm PEARL JAM

if '...■■■ah;!.; ■) H. .4- (IB Mt

Backspacer

S?^ MUSE

^ ■■■,iri,' ■ ■,.'ii,i0WfiBNfRBflOS 0898)*

The Resistance

m LUKE BRYAN

!■ '> 'li: '.mShvhlE 65811(18 981

Doin' My Thing

-
1

PS MOTLEY CRUE

Icl '■■■[![■ ml- tirnn SEVtN I139B)

Greatest Hits

m MARIAH CAREY

if ■ 1 ' ■..'i'MjliMti {M 98)

Memoirs Of An Imperlect Angel

SLAYER

'- ■'• . '.'■ " ; . 1 1 ; ; 1.11^ .■. 4' Mi' SOKV MuSliJ 0 ' *■

World Painted Blood

ra PRETTY RICKY

Ifi 1 I ., r ' .:VWV U01 (16 96)

Pretty Ricky

- : GEORGE STRAIT

!^'; ■■■ ■■■■■■■■ i.f)H.

Twang

fl STEVEN CURTIS CHAPMAN

Beauty Will Rise

100

n WALE

Attention Deficit

THE BILLBOARD 200 ARTIST INDEX

jnSOtlAiDEAM
AUCE IN CHAiKS
KRIS ALIEN
TORI AMOS
DAVO ARCHULETA
AVfNruRA

ANOnEABOCaU
HON JOVI

HO ieO BREAKWO BEKJAHIN

t1 THE BEAUES BROOKS & DUfW

179 .. 118.tSI, 1S7.1B9 ZACfiROWNBANO
44 SEECEES --.m LUKEBRVAN

MICHAEL MJBLE

191

STTVEM CURTIS CWPMAN

BU.VCURRINGTON

FOREVER TW aCKEST

17 53 )2r, m

99 165

MIEV CYRUS

113

KIDS

107

KEJWVCHESNEV 117

114

tHtFRAV

196

OfCKENFOOT 1?0

THE CHIPMUNKS WITH

COUKCAKIAT ..

t09

OAWSfVILU 7!^

COttfESSIOKAl

101

UARUWCMCY

KEUVCLARKSON t7t

DAUGHTRV

MiLANIEflONA

SELENA G0ME2

CARPENTERS

193

HARRY C0NNH:K.JR

OnHKLOK

188

frrt fWGtHKAlH

& THE SCENE .

,76

ROSANNE CASH

129

87. 166

NELOWHOND

PUNCH

AMYQRAKT .

135

CASTNG CROWNS

CREEO 4?

ami .

JOSH GROBAN

4, tS. ISO

DAVID CnOWDERBAMD

BOBDHAN .

fOO FIGMItnS

CEUC WOMAN

1«

HOLLVWOOO UMOCAO

102 199
WMI«V HOUSTON

Il»fY If ITU
JACXSONS 132 KlUCUDI

UCHAa JACKSON KI07 SOP KIDS

7. 37. 70. B5. 181 KNGS OF LION

34 I Go to www billboard. biz for complete chart data

&e JANTT

JACK JOHNSON
JAMEYJCMWSON
HOUH JONES
JOUfWEV

Data for week of DECEMBER 5, 2009

AOAM LAMBERT
UfUNOAUUMBtRI
138 LEONA lEWFe
177.188 LHWAVNE
49 DEW lOVAIO
147 IWffiO SKWfflD
155

CHARTS LEGEND on Page

ARTIST Title

iMCfliHI i XUMBER ■ niETHiBUIiNG LABtl (PHICt)

□

DASHBOARD CONFESSIONAL tk« c«hi««
--.l-' .,i Alter The Ending

^1?^^°°°"''°^? Desperate Measures

M VARIOUS ARTISTS NOW That's What 1 Call Christmas! 3
lil EVi JMVC-1>AL ;GMflA.Soriy SIRATEGK UAnxtTINfi GROUP B«fl7.S0Nv MUSIC (19 flBf

H SKILLET .

lil ARDtNT INCi ATLANTrC SHM7'AQ (13 98» «waRW

JACK JOHNSON

BRUSH.™; oi!S7)-;uM»o (U !1) Concert

MAXWELL

coiuuei«Ki«(SO«y MUSIC in 911* BLACKsummers nighl

I FOREVER THE SICKEST KIDS

.1 .EHSftL MOTOWrw piwraownc 19 9S|

The Weekend: Friday (EP)

n ALAN JACKSON

mm craci^eh RAnnfL arista nashville.sdmy custom MAHiaTING GROUP

Songs Ot Love And Heartache

THIS* H SMI r 1 9BI

M COLBIE CAILLAT

Ifil UM'.IRSA'. RErUBLIC 013194'UMRG |I39B| 'i'

Breakthrough

M KEITH URBAN

itM ' Ji' ii i ■.i.-.Miv ME jsrM' I1S9S)

Oelying Gravity

•

Id BROOKS & DUNN

#1s ... And Then Some

n THREE DAYS GRACE

U Ji'.E 4b:sb J.^ lU 98i

Life Starts Now

H EMINEM

■■■ WfBSHADY'AETERMATH.INTERSCOPE OI2Se]*;i&l {^i^S)

Relapse

M ENYA

And Winter Came...

•

gjj VARIOUS ARTISTS

NOW 31

•

SHINEDOWN

■ ■ lie 9HI

The Sound 01 Madness

•

KENNV CHESNEY

Greatest Hits II

THE BEATLES

Abbey Road ^

IL OIVO

5VC0 CGLUMBi* 97715, SOhV MUSIC (lA 98)

The Christmas Collection

CHICKENFOOT

"iCMNE 113981 ,•*

SOUNDTRACK

The Twilight Saga: New Moon: The Score

ELVIS PRESLEY

109 93

94 99

■nr

89 70

losj

90 ?9

68 118

130 isa

93 68

Elvis Christmas

CAGE THE ELEPHANT

Cage The Elephant

RASCAL FLATTS

L*RIC S'qECT DCr6i;^ US 9fl

Unstoppable

ELVIS PRESLEY

RC* SPECIAL PRQDUCTS-SOWy STHAHCtf MABKHMtS GftOUP 44931;'S0WT MUSIC |8 SB;.

U s Christmas Time

TRAIN

coiuwai* 1

Save Me. San Francisco

MICHAEL BUBLE

VARIOUS ARTISTS The Essential NOW Thai's What I Call Christmas

i-94lfUMi <ie M)

ROSANNE CASH

BRAD PAISLEY

"■■ ■ •■ ■. ; 1:352 iuu 1 13 ciei

American Saturday Night

SLUG & MURS WITH AESOP ROCK

stiMES-irjcs line -.-i 95i

Felt 3: A Tribute To Rosie Perez

JACKSON 5

Ultimate Christmas Collection

CHRIS YOUNG

MICHAEL BUBLE

VARIOUS ARTISTS

THE SWELL SEASON

DAVID CROWDER BAND

LYNYRD SKYNYRD

The Man I Wani To Be

Call Me Irresponsible

The Christmas Collection

NOW That's What I Call Country Vol. 2

Strict Joy

GCOD L-VVERSAL WOTOWW 01 JIBS'.'UMHG (13 9B^ »

Man On The Moon: The End Of Day

TRANS-SIBERIAN ORCHESTRA

The Christmas Attic

Church Music

BARRY MANILOW

In The Swing Of Christmas

Celebration

Hannah Montana 3

VARIOUS ARTISTS

CDUCQHD jjlWSe EX |9 981

Letters To Santa: A Holiday Musical Collection

Holln Lovo

Wolfgang Amadeus Phoenix

VARIOUS ARTISTS

Disney: Holiday Magic 2009

VARIOUS ARTISTS

COMPASS 43735 EX i9 SBl

Tie The Season: Kids Christmas Sing-Along I

mt\ catalog
alkwMl back onto
the taRy, (ton 't Ik
surprised it the
(tot gets teir -
|lonr8Y(mr-
wbdined by sea-
soul sets. Some ol
the best -soling
bofiday albums are
oMer releases

Next week's Mo. 1
looks likelv to be
Susan Boyle's debut
album, "t Dresmwl
aOream." w':::
boasts a :ov
Hadomu s19dS
Ho. 6 Hot 100 single
"YoB'ISee."
Boyle's set could
sea 600,000 in its
Tint week.

The chart is tsuJed
bYoWalbuir:, i^c-
UMBeaUeinil

abgandontal

title la Ok fnl
lime since Wl

195

DMMismat

Mitebletianeii

ofita

Nmeapoti' dnrity

compialion scries.
"OtiesSiniilH'
(llo.32wilhro.000
copies). Uv .
ifiMtndeb

•im3s.ooo.

gi \

3 is §1

S mS lis IMPRIHT s tiuUBER OlSIRieiniNG LABEL (PfllCEl

Title

1 21

iai

3 48 n ■'"E BEATLES

The Beatles In Stereo

I^M!^. THE BEATLES

The Beatles

♦ 1

® 1

^ffltn MA Yo-Yo Ua & Friends: Songs 01 Joy 8. Peace

HdlUm M AI :'4J]ASORVMASlERW0RKS|ie98|.^'

1114 11R lio I'' ''. BILLY CURHINGTON

154 118 149 1.^ .. . ,:,,„„,„„(„ „3„.

Little Bit Of Everything

IBS 100 89 Q

11 Is Well

ORIGINAL BROADWAY CAST RECORDING

Jersey Boys

■ I

167 121 114 n RASCAL FLATTS

Greatest Hits Volume 1

Ilia 101 6? WOLFMOTHER

" ■ riGCiSTERSCOPE0i3M5MGA113»Bl

Cosmic - Egg

JOURNEY

Journey's Greatest Hits

♦ 1

Pli|p5 CASTING CROWNS

Casting Crowns

■ 1

iei I

20 104 m ""'^^ FINGER DEATH PUNCH

War Is The Answer

J^'^'., STRAIGHT NO CHASER

Holiday Spirits

1B3 39 -

1 . ■.Hi:-SB.'SO'r» MUSIC (39 *B CDi'OVD) *

Backtracks

MM^'^V KENNY G

Holiday Collection

^^^^ STEVEN CURTIS CHAPMAN

This Moment

HiT """"'^l^i-IHm What A Nighll A Chrislma. Album

« '« Q ?,*yi"*IL"!"?o Big Whiskey And The GrooGrux King

■ I

RIVII PERRY

UllBH '-'^^ ^e."j cAPitoi in9B co.ovni *

MTV Unplugged (EP)

lae '

18 98 0"*"'°^ ,3„

D,N.A,

-1

ORIGINAL BROADWAY CAST RECORDING

■rililiCi^^-t 'H^- CEf^^A 1 IS 9BI

Wicked

-I

All 1 Ever Wanted

■

® '63 - P '^'°*,„

Kidz Bop Christmas

■

1« in IM WSUGARLAND

178 11S18»U,.. r.i9m.oMG»IM9»CD-0»0i*

LIVE On The Inside

® T

;*! SOUNDTRACK

■ 1 ' .[R&AL REPUBLIC OtaSaOiUMflClieftfl)

Pirate Radio

178 127 12Sn''^"":°''"°,,„

Here We Qo Again

178 142 116 JjBEE GEES ,^ , „„„„^ „, ,„

The Ultimate Bee Gees

177 128 107 Q THEORY OF A DEADMAN

Scars & Souvenirs

PillFI MARTINA MCBRIDE
■■■I' ' . ' - -v>i 111911

White Christmas

-■

178

. n TOR' AMOS

Kfl.'. .L' .L J'3629'UMRG |1996CDi13VD|*

Midwinter Graces

■

francesca battistelli

imillaj v'.-RIJtR BROS (11981

My Paper Heart

■

MICHAEL JACKSON
■■■IliH EPi: OE 4i:edl .;n ^B

Bad

■■

frank SINATRA. OEAN MARTIN ( SAMMY DAVIS JR

Christmas With The Rat Pack

-■

® 1

HfUfi SOUNDTRACK

■

y"','^.^„°"*''*\°|A^,?'° A Charlie Brown ChrtMmas ISoundlrack,

-■

® 1

I^Hfn ^'-V'S PRESLEY

Christmas Duels

■

IBS 1

'9'" n!?-^"!^!™" ':"*!*""!.'^""!!""! M.lalocalypse: Dethalbum II (Soundlrackl

■

1B7

iS - f.*,^"^" ""*^.j„ „„,[,, , Jason Mraz's A Beautllul Mess-Llve On Eanh

■

^ ,55 ^ KIDZ BOP KIDS

KIdz Bop 16

■

■■ilW THF RFaTI FC:

^^■Uu 1 ~ 1 — :: itol lifl 9e) ^ Pepper B Lonely HeartB Club Band

ISO 1

04 58 ^^.^.'?",'!!';^,„„

K.O.D.

■

®I

■Mn MICHAEL BUBLE

^Umiy : 1 :F 4A^TE AARNER BROS |1BSB]

Michael Buble

1B2 1

36 129 n WAYNE

" Mm [AFM MUM. ilMvtRSAL MOTOWN 01197T*rtJMH6 113 98)

Tha Carter III

Christmas Portrait

1M 1

29 no fl '■'"^ AVETT BROTHERS

-"1^' "1 ' '■'1 ' isoli?'S':s> MUSIC 112 981

1 and Love and You

IBS 1

33 164 0 THE FRAY

The Fray

®E

■PM]^ BOS MARLEY AND THE WAILERS Legend: The Best Ot Bob Marley And The Wallers

Hmm^ ' < 'Ml' r." Mr, .-ir injMO (119U.'aSR) .4-'

1»7 1

-u 19A ft SOUNDTRACK

Disney: Phlneas Artd Ferb

IBS 1

SI 15? M AVENTURA

31 a< f(.!Mi.,VLiT!n:ojjii.<i:;N-uj;iciftTm(i498i

The Last

ioa 111 1» TH HOLLYWOOD UNDEAD
IBS 131 '42 y«

Swan Songs

200 1

19 ino n ''RED HAMMOND

J<: ll« U , ,..,vvpNDV[^r.-i,i.H: .iG ir.i0Si

Love Unstoppable

'E MATTHEWS BAND

167

UOTLfVCnJE S4

MUS£ jn

OWlCnV

PfifTTYfilCICy .97

rFwNK SMATFU. tiEM snMSHrNOouscn

MARTW S SAMMV DAVIS S3. IS2

JFI m BAflSRA STREISAND 66

QLEE StASO»lilNI !Ht
WL'SICVXUMtl 18

liAMSAH F/mTJi.'W U4

HANfiAH l«NTAf*A
THE MOVIE 46

PRATE RADIO IN

TWILIGHT . . 57

THEM CSOOKED

THWS-SIBERIAM
ORCHESTRA

W, 59,66, 139
TREY song: 6J

CITtSgTSAMPURZV
UVEFROUSIUWC 32

DISNEY NOLOUV MAGIC
20» 140

MAXMQ MEfWV «5
N0W3I ns
NOW 32 14
IHOWTHKTSWWTICAaA

COlNIFIYOnSTWS 65
HOW THATS WHATICAU

CWSTMAS' 3 103

PARAMOfit a?
PEARL JAW 51

WSCALFLATTS 124,157

RE8A 90

OARmS RIKXER . 36

SKILLET 104 SUGAALAND - 36.71. 173
SLAVES 96 THE SWIU SEASON 137

VULTURES . . 12
THEORV OF A DEADMW

177

TWEE DAYS GRACE 112

SLUG 4 utfls wrn ^AnoR mn . .lo, 20, tr

AE3QPR0CK 131 SVWTOtfOOT , . .M

nCESSEKTULNOW
THAT'S WHATICAU

*5 WOW HITS 2010

WELL
MAYER I

iTiNAMcanoE 178 m-r.-'-'^'n

LMCCAHTNEY . 16 jEftSCYBOW

MCGRAW 27 WCKED

KAI^ PERflf
PHOENOt .
PINK

63 SHNEDOWN

BRIINCY SPEARS

«0D STEWART

116 STING

GEORGE STRAH

2S tNENCV: PHINEA5 AND
9B FERB . 197

a* tn

THE TWIUOHT SAGA

NEW MOON 3

THE TWtUGHT SAGA NEW

tJOOK TV* SCORE 121

56 I4« KFITHUR8AN
126

V1M:e GLWWU31 THK) 184

LETTERS TO SAin*;
AHQUMYMUSCAL
COUiCTHJN 145

. -128 NOW THAT'S WHAT I CAU WOLFMOTHER

C0UKTRYV0L2

TIS THE SEASON KIOS ______

CHRISTUAS SING-AUONG CHRIS VCtAVG

ita for week of DECEMBER 5. 2009 i For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data

TOP HOLIDAY

)illb«ar«l

EXCLUSIVE CHART!
FROM BILLBOARD

[various artists now That's W^a1 1 Call ChnstmasI 3 ]

/-.'Ef'liA- WMBASCiNY SIRAtEQC MWHf IIMd liHOUl' UiiSH) (19 9S!

23 1

1 ENYA

1 H-i'T.] ^1?m'WARN(R BROS (1S.9BI

And Winter Came

•

24 1

i IL DIVO

1 sYi - ' 1 rvHii ->r\', SOHY MUSIC (IS 98)

The Chfistmas Colleclron

■

Elvis Chtislmas

MAHKtTiwG GHoup Bawa,'SOny music ;ta sat

It's Ctiristmas Time i

THJtltlX VAK*>MING QKtXif WW UU'M ii 361

I VARIOUS ARTISTS Tte Essential NOW Thai s Wtial I Cal Ctvstmas

Tri« Chnslmas Colleciion

TRANS-SIBERIAN ORCHESTRA

Disney: Holiday Magic 2009

j VARIOUS ARTISTS Letters To Sarta: A Holiday Musical CoHeclion

VARIOUS ARTISTS Tts The Season Kids Cnnstmas Sing-Alonq

Ultimate Chnstmas Collectton

The Christmas Attic i

In The Swing Of Chnstmas

Vo-Yo Ma & Ffiends. Songs 01 Joy & Peace
^(jrtr MASTERWORKS (18 9S|

STRAIGHT NO CHASER

Holiday Spims

I KENNY G Hotiday Collection

a'A SONY aWG CUSTOM WAHKETIHG ORQUP B6r34,'S0NY WUfitC IB <9|

I HARRY CONNICK, JR. What A Nigtit! A Christmas Afeum I
-iiuMliii rn;; iJjrjT MUSIC nB9B|

Kidz Sop Christmas

I MARTINA MCBRIDE

.■,::,ri. : ■ ■ : JN^SMtnlBM)

White Christmas i

Midwinter Graces

Li[ ]13639.UMRG(19 98CD^OVt)|i*'

FRANK SIMATTIA. HAN MUmNA SAMMY [MVISJR ChrsVns Mlh The PacX i

Ell

: ^ H VINCE GUARALOI TRIO A Charlie Brown Christmas (Soundtracii) m
' * HI iArri. isroRo lis M)

I ELVIS PRESLEY
[ CARPENTERS

7i UME 114 981

Christmas Duels

Christmas Portrait i

It's A Wonderful Chrtstmas

MICHAEL W. SMITH

BURL IVES Rudolph The Hed-Nose<] Retndeer |

4- PflODUCTS 322177. UME IS 98)

MANNHEIM STEAMROLLER

AML^lL AN 0«*«*PHOH[ 1?;;(H98|

Christmas Song i

CELINE DION

550 M»jS<C tPIC 69521SOKy MUSIC (1398)

These Are Special Times i

VARIOUS ARTISTS Te The Season: Sarta Baby A Romantic Chnstmas

..NIVERSAi. SPECIAL MARKETS 43/18 EK:'COMPASS l3 98}

The latest installment in Slarbutk^ Entertainment's annual holiday
(ompilation series arrives at No. 9 on TtpHtMiT AfeUBt The

liinite<l-mn set. "Hiking M«rrv," boasts tamiiiar seasonal singers like
Barbra Streisand, Frank Sinatra and Oean Hartin. Last year's Starbutks
holiday release. "Winter Wonderland." peaked at No. 5 on HoJiday
Albums and has sold 174.000 (opies. according to Nielsen Sour>dS(an.

36 I Go to www.biHboard.biz for complete chart data

TOP DIGIT

THIS
WEEK

ARTIST

MPHINT Sliia.EUIItIO L*fiiL

Title

NEW

RljOHN MAYER

r.m „MBIA SONY MUSIC

Batlte Studies

50 CENT

■■-In if '[RMAlH INTEaSCOPE I'lG*

Sefore 1 Self-Destiuct

NORAH JONES

The Fall

JUSTIN BIEBER

Mil HI. ■.■.,V.ri{j BftAJU'SLANO.TOJMG

My World (EP)

THEM CROOKED VULTURES

Them Crooked Vultures

E«

KRIS ALLEN

Kns Allen

LEONA LEWIS

vii; ■ ■■<m

Echo

■

ONEREPUBLIC

Waking Up

t,-^ i^; 1G*

SOUNDTRACK

The Twilight Saga: New Moon

■ II' ATLAriTJC AG

■

SOUNDTRACK Glee: Season One; The Music Volume i

Jil- -.'V tVCnLuMBIt r.[}TiY MUSIC

OWL CITY

Ocean Eyes

CASTING CROWNS

iiiti>i mmou sonymusic

Until The Whole World Hears

BON JOVI

i-.L"-.ri .lOjvG +

The Circle

JAY-Z

The Blueprint 3

1«

CARRIE UNDERWOOD

MMjr* fiAiHuiLLt SMrt

Play On

LADY GAGA The Fame
■iHi*W;.iri! '.CSUVE CMtftRYTfltE.INTEflSCOPE/IGA

34 W

THE BLACK EYED PEAS

The E N D

28 H

TAYLOR SWIFT

Foariess

10 H

»»

SOUNDTRACK The Twil»ght Saga. Mew Moon: The Scote

121 H

JANET

Number Ones

22 H

FOREVER THE SICKEST KIDS

The Weekend: fnday (EP)

PAUL MCCARTNEY

Good Evening New York City

MICHAEL BUBLE

Crazy Love

PHIL WICKHAM

Heaven & Earth

KTKI

SOUNDTRACK

. .ir.-',! ■ . . - ■ .-F^'.AIl.AN^IC .AG

Twiiighi

sr Bj

I THEM CROOKED VULTURES Them Crooked Vultures g

TAYLOR SWIFT Feailess

KRIS ALLEN Kris Allen

t 1'.! M*a: J, I,

JUSTIN BIEBER MyWocl<l(EP)

i.n: -h.- i iJii vi-:^ N ISUNO onn»''lDJM6

CARRIE UNDERWOOD Play On

. . h ; 1 ■. SWN

MICHAEL JACKSON Micfiael Jacksoi's TXs Is It iSouxnackl

■J

MANNHEIM STUMROOED CMs«nas 25iri Annmsaiy CoteOlon

AWER CAN GHAWAFnONt

STING n On A Winter's NIgtit...

:"tR«yfPtt Dlj 013329*'UNIVtftSAL CLASSICS GftOUP

TRANS-SIBERIAN ORCHESTRA Night Castle

iii

CASTING CROWNS UnW Tlie Wliole WmM Hears

eEACH sratEt REUNION 101 34' SONY MUSIC

BON JOVI rne Circle

ISLAND Ot3«SS;iOJUG ^

■1

THE BEATLES Tlie Beatles In Stereo

APPLE 9^*4!J CAPIIOL t

12 ■

SOUNDTRACK Glee: Season One: The Music Volume 1
?ar.^ :eniiir- iox r^ columbl* saom<sonv music

SOUNDTRACK Tlie Twilight Saga: New Moon

:.UWMl' CHO^ LHOP:ArLANriC 5I94!1:AG

ROD STEWART Soulbook

J JIJ^S'; RWO

•»

LEONA LEWIS EcHo

i ' : 3 J .>U6«0 RMG

•EW

DAVE MATTHEWS BAND UveTrax (StartMCks Exclusmi
SAMA RAG&IICA /STARSUCKS

-■

M-«in(i'

LADY ANTEBELLUM LaGy Antebellum

CAPITOL NASHVILLE 03306

•I

ROSANNE CASH The List

AIANHATTAN 36S7B.'BLG

BOB DYLAN Cllnstmas In The Heart

COLUMBIA 57323 SONY MUSIC

®IUKE PROFI
MOST ADDED

hill

Il TITLE

1 I 1 KIbAD ROMANCE

■Cm'"^ gaga sraUMLWCKONLIVE/CHERHYTHtE-'lHIERSCQPEj

. MEET ME HALFWAY

I THE BLACK E«0 PEAS ilMfflSCOPEi

FIREFLIES

OWl CUT M., .■
WHO SAYS
jUmn MArtH .1

TIK TOK

I GOTTA FEELING
THE BLACX ETEDPEASiiriTLR^

PAPARAZZI

lAOT UGA :STB[AMUHE.K0liLiVt.CHeRHriH£t1NTERSC0PEl

POKER FACE

LAOY OAGA

HEARTBREAK WARFARE

JOHN MAYER il .. .W'M.\

, L KQNLivL. CHEHRnntEiiHTERSCOPE I

EMPIRE STATE OF MIND
JAV7 * ALICIA KEYS (r;ii: \AnDNi

ALL WE EVER DO IS SAY GOODBYE

JOHN MATER 11

FRIENDS. LOVERS OR NOTHING

JOMM MAYER . ■. .. .VLi-i

EDGE OF DESIRE

JOHM MAVE-l .■

PERFECTLY LONELY

JOHN MAYER ii:'., .'.'al'i

RUSSIAN ROULETTE

RtHAKHA i:-.HI-' ...|- M) IDjMGI

1 1

HI,'

Th* i«««k't mo«t purchMvd aongs vU Lata ■

TITLE dtgiuurm - —

ARTIST (IMPRirjiaABEL)

FIREFLIES

CITY lUNIVIRSAL BEPUBt.lC;UWVtBSAL)

SEXY BITCH
□ AVIO GUEriA fEAruniNG AKON .:

EMPIRE STATE OF MIND

lAY : + ALICIA IIIYS (RlJC NAIIOM

WHATCHA SAY

JASON (IfRULO UEIUGA HEIGHISYVAflNEn BROS I

DOWN

AAY SEAN riAIURING IIL WAYNI 'CASH MONEY UHlVtRSAL HEPUBUC)

FOREVER

DMAl IfAl AAlYrl Wtl II

M IIUUWY lAASCNIM A^IltA»A.»t1inERSCl]Pt,llllMP

I GOTTA FEELING

THI BUCK EYED PEAS ilNIERSCOPEl

REPLAY

lYAi .I ME MDNEV BElUGA HEIGHTSREPRISE)

10 10 9

BAD ROMANCE

LADY GAG* i CTRL AMLINE KONLIVE, CHERflYtREt-lNIERSCOPL.UNrrtBSALI

PAPARAZZI

LADY GAGA S1REAMLINE.K0NLIVE.'CHERRVEftE£'INTERSCOPt)

BRITNEY SPEAAS i;[VEJLGl

I TIK TOK

1 KEItlA KASj MONEY'RCAHMO)

IIBaB YOU BELONG WITH ME

I »i Wr TAYLOH 5W1ET iBIG MACMINil

■sa

IN DA CLUB

MCENT iSHADV AF IfcHMAIHi'INTtRSCOPE)

TOP FOLK ALBUMS '

PB TITLE
% AATTtT (UIPRlin / DttYBiWTIMC iAML)

ICHRISTMAS IN THE HEART

e PTEAM iCOLUMBIAj'SONY MUSIC|

THE LIST

ROSANNE CASH iMArinAT IA

STRICT JOY

THE SWELL SEASON I ANII .EPIIAPHi

A FRIEND OF A FRIEND

DAVE RAWIINGS MACHINE lACORYi

"MONSTERS OF FOLK

1 MONSTERS QE FOLK i S'^AtlGHI L A|

I GIVE UP THE GHOST
BRANDICAflLILE : i r AIBIA. SONY MUSlCl

BALM IN GILEAD

HICHE UE JONES ilA'iIASYCONCORD)

I WHAT WILL WE BE

I DEVENORA BANHARI lAARNER BROS >

I KEEPING UP WITH THE JONESES

I COREY SMITH .lJ^J^R-^JNE

ROCKETSHIP RUN

THE LAURIE SERANER BAND ITWO IOMA1DES;RA20R & TIE)

THE ROSE HOTEL

I ROBERT EARL KEEN :.CS' HIGHWAY.'UMGNI

' NEVER BEEN GONE

CAPLT SIMDN I RIS

MIDDLE CYCLONE

NEKOCA«E lANIl- ERITAPHi

DECLARATION OF DEPENDENCE

MEM OECI»l«AIIJtCE (SOURCE ASTRALWERKSI

rWHY YOU RUNNIN' (EP)
U$»E lEAI POSSUMI

Data for week of DECEMBER S, 20(

s SoundScan

iillbMrd. I

i HEATSEEKERS ALBUMS

ARTIST

>.u. \ t.irWti! n niSTfllBUTIKG lABCl |PHIC(t

Tilia

■nil

ARTIST

; 0 n & NUMBER OlSTDieuriNG lABEl IPfllCEl

Tltt« 1

KIUI4IJI41I JOSHUA BELL

■C3 L^IUlIH 'JNV CLASSICAL 57ri&'^0S7 UASItHWCRAS (13 9BJ

Ml noiTiB wiin rnsnus

COREY SMITH

Keeping Up With The Joneses

HDT SHDI
DESur

THE DEVIN TOWNSEND PROJECT

e 10

TERCER CIELO

1. II ll'OVEfiSAL MUSIC LA1IN0 6S370Z.'UMLE (12 961

Gente Comun. Suenos Extraordinarios ^

NEW

DAVE RAWLINGS MACHINE

Ai.ir.' 1 jir^ H6;,

A Ff lond 01 A Friend

HkludJ^kson's
^ "Ttiis Is II" guitsrisl
delHits at Ko. !i on

2B 44 IE

THE LAURIE BERKNER BAND

Rocketship Run

COLT FORD

i'.tHAUt .Uti lODI n6 9B|

Ride Through The Country

3 2

v*'^!"^^ ^"""""^ Th» l^'""' Cloral Collection

ARTIE LANGE

SHOLM' (AC10RV llj'57 (11 M>

Jack And Coke

llH )WllStlNI11 lop

H 40 duft Willi tlw

1 3

NILE

( Aft BtftST ?2!4 116 98)

ITiose Whom Ttie Gods Detest

EMILY OSMENT

' ■ -^2 |4 98t

All The Right Wrongs (EP)

tpunlcY pop/rock
m^m am "Acconling lo
■ Km."

t 9

GIRLS A|K.,m

THE XX

■ , (,• ,.i - . ■ I1I98I

1; 7

THE RAVEONETTES

In And Out Of Control

RANDY HOUSER

■ i.yy M09aj

Anylhlrtg Goes

®|

MESSY MARV

• .11 ._;.ij". (in 9af

Draped Up And Chipped Out VOL 4

•

OBIANTHI

■! ■. 1! i^jOJ ;(jA 19 9Si

Believe

KEVIN HAMMOND

Kevin Hammond

EDWARD SHARPE & THE MAGNETIC ZEROES

,; - , ^,i,r:j,< si;';vAGRAN1 Ml 9B(

Up From Below

TRAILER CHOIR

Off The Hillbilly Hook (EP)

•n

KID SISTER

,'.'1 nVN UNIVtHSAl RfPUBLH:01352&'UMnG II

Ultraviolet

ifi - V

fl^'^^^f'^^'*!^^ Or«FaalAM,OrrmGone:f*«FramKHOU3rta9Sur(Sou^

SERENA RYDER

Is It O.K

LA ORIGINAL BANDA EL LIMON

Derecho De Antiguedad

FLORENCE ^ THE MACHINE

: r J170 UUnc (13 981

Lungs

■| Despite [>«^llgible
nhmiHl uIk liom

• 6

HECTOR ACOSTA

Simplemente... El TorHo

REAL ESTATE

Real Estate

ntsiMfdiams,

NELLIE MCKAY Normal As Blueberry Pie: A Tribute To Doris Day

SIDEWALK PROPHETS

1 i'iV9(M EXWARNER BROS <99«|

These Simple Truths

rs nonmg steaoy
■ a000-2,000per

CECILIA BARTOLI

Sacrificium

PAUL BALOCHE

- . : ' ' . rl-nviaEHMNIEGRIIV (14 981

Glorious

8B week) tlunks
sjL largely to strong
^1 digital sales.

5 5

JOHNNY DIAZ

More Beautiful You

LA ROUX

H :H 1 11 TDOR/CHEHRVIREt lNIERSCOrt 0I33B9MGA (10981

La Roux

«-fHTin

MAYER HAWTHORNE

.'. JO- ii; set

A Strange Arrangement

COLT FORD

■ ,[ ■ I 1 ■ / 'l3 9eCn^DVD1i+

Country Is As Country Does

f-orm

BARONESS

fij 1 ap:-.f ".t". r (t4 981

Blue Record

IMELDA MAY

■vii. 1 .1 , ■.iRECAS10nCI8!.VG(I098|

Love Tattoo

■11

HALFORD

MEiai go;' :i;7;t:i (ifi 9fl)

Halford III: Winter Sottgs |

DEVENDRA BANHART

What Will We Be

^ « Km. 18 Inlenkw
■ iiiiNPII's'Telllte

K 3

WE CAME AS ROMANS

To Plant A Seed ^

THE AIRBORNE TOXIC EVENT

I.' ■ ' I III- 1 .L-iMi I I 'aji-ilDJMC 113981

The Airborne Toxic Event

4«

a 7

BOB SCHNEIDER

i'AIA li' »;iKlLAUU 1,13 93*

Lovely Creatures

WOMEN OF FAITH WORSHIP TEAM

A Grand New Day

Mi NOf(''witllllKKt
2 (ata Andrew
1 Colwfl) twips tlw

1 5

ATLAS SOUND

Logos

ANNIE

' 11.11 1 1 "iF/Aurnvf» (iH ^Hi

Dom Stop

HEY MONDAY

■1. MHIA :-,i9i9-i'S0«Y MUSIC II29B)

Hold On TIgtit |

EVERY AVENUE

Picture Perfect

set re-enlet Willi a
KSIncreaK.

ASKING ALEXANDRIA

■ . -jst

Stand Up And Scream

IMAGINATION MOVERS imagination Movers: For Those About To Hop (Soundtrack)

■

9 3

□ AVE AUDE

Dave Aude Presents: Ultra.2010 jjH

4 HEATSEEKERS SONGS I REGIONAL HEATSEEKERS "1 ALBUMS

1 1

TITLE

ARTIST lIMPRINT .' PRaMOTIDN LADEl)

in RED LIGHT

BSq oavid ma. |MCA hashviciei

At Home With Friends
Joshua Bell

EIGHT SECOND RIDE

JAKIOWEK ■'^i a Ili'.HVlatl

Jacit And Coke
Artie Lange

EAST NORTH CENTRAL MID ATLANTIC

Friend Of A Friend
Dave Rawlings Machine

NORTH EAST

WEST NORTH CENTRAL

Hilary Weeks

Christmas Ooc» Agtin

5 STAR CHICK

TOGom.- I I r,RniiNDS.'i«M6)

IT KILLS ME

MELANIE FIOM iSRC'UNIVERSAl MOTOWNl

iLOi-ALtTLGLASSNOTEl

AIN T NO REST FOR THE WICKED

CAGE TH£ atPWUfT i Li jt'. JtVL'JlGl

SAVIOR

fUStAfiWNST ij_. ir|-i:Hi,L_l-ii

KINGS AND QUEENS
30SECDHQSTDIURS iivM' I". .

ACCORDING TO YOU

ORISNIHI I ■■■■ tl I'.ll 'JiPf

LOOKING FOR PARADISE

ILEJANDHO SANZ FEATURIMG UIUA Kft idVARrlFn 1 ATI\

CITY ON OUR KNEES

iobtma: ■ ■ t ■ '■>- ■ V Ml..

MEET ME ON THE EQUINOX
DEATH CAS FOR CUTIE i : HOP SHOP;Ml«MIICl

HURRY HOME

JASON MICHAf L CAflMU. ' '.tSWUll.U)

CLOSE TO YOU

Met 4 CfCt WIHAMS _■ _

I LOOK GOOD

CHAIK BOy I HtY 3TO JIVfSAI ttRV)

SHOTS

IMfAOFfdruRINC Ul MH jPAfllV ROCH^mL I AM/CHtHltYTREt/INIEaSCOM)

BOOTS ON

FWHOYMOOJIfl ■. ■.rH-,1.1 SOUTH]

YOU RE GOING DOWN

SICK PUPPIES ''MM VlAQIfj,'C*»nOL|

LA LA LA

LMFAQ [PARTY RDCICwm.l-AWCMERRYTfltE/linERSCOPE)
RUNAWAY

LUVt AND THEFT . ' J/IQOD)

BREAKEVEN

THl SCRIPT iFHlJ'i:>l,ENIC/E«Cl

DOLLHOUSE

UNTIL THE WHOLE WORLD HEARS

CUSrihG CROWNS ■• 1 ■■■ .-i ■ ■ r ■T, ■! Fl:;|

ESCLAVO DE SUS BESOS
DAVID IISBAL I ' N ^ A. MUSIC LATINO)

TE IRA MEJOR SIN Ml

JOAHSESAJTUN .'.^ M e.-..BU*i

At Home With Friends

Joshua Belt

PROGRESS REPORT

Joshua Bell

UHomamhFrianda

The Devln Townsend Projefrt

Addicted

Jon Schmidt
Bonus Tracks

Ussie

WriyYouRufmirr(EPf

Kevin Hammond

KmrtnHtmmond

Artie Lange

Jack And Coke

Joshua James

BuOdMeThis

Ride Through The Country

Co/f Ford

SOUTH CENTRAL

Ride Through The Country
Colt Ford

SOUTH ATLANTIC

Hockey, "Too Fake"

The Portland. Ore., quartet's dance/rock tune earns its fifth
straight weekly chart gain on the Alternative tally as it motors
29-26 this week. It's the first single from the Capitol act's debut
album, "Mind Chaos." which bowed at No. 29 on Heatseekers
Albums in October.

AtexBoye

B6Stll.UfSoutClaaakiHfimJlnlFakSangi

MOUNTAIN

Meesy Marv

Draped Up And Chipped Out Vol. 4

The Devln Townsend Project

Addicted

Edwerd Shaipe & The MagneOc Zeroes

Up From Below

Dave Rawlings Machine

AFrtendOfAFrterHl

Joshua Bell

Ar Home With FftenOs

The Veer Union
Aga^ The Grain

Muon Jennings

BlocKf Of Man

Randy Houser

Anything Qoes

Tommy Castro

Hard Believef

Kevin Hammond

Kevin Hammontf

ta for week of DECEMBER 5, 2009 I For chart reprints call 646.654.4633

Go to www.btllboard.biz for complete chart data i 37

oupynyiileu liidleiit

BillbMrd.

^THE BILLBOARD HOT 100^ ^

UST 1
WEEK 1

f=P
(M< So

TITLE Arllsl

' "ilJfJllCER 'SOEEGWHIIER) IMPfllNE , PRDUOEEON LAiEEL

KM EMPIRE STATE OF MIND Jay-Z + Alicia Keys

EtSa -1^ ' t AEIL-aEre^W)WTEfiCCAJHERASH)OaiWlHJg«RH«EI^)UmAAtTtB«>TSaWMCEIlq CM "OC MtCN

Q 11 18 4

^lJuS]HH BAD ROMANCE Lwly Qaga

IEf:1l.'l4;HiJI>1|fd| BHini* 1 Am iuaa im khami s a ntniAintui A liinf AAa mm Bff.««wmwT«TM»srjTK

FIREFLIES Owl City

i 1 ■'.'H'.i M ["If sStN (A yOUNGi O UKIVfRSAl HEPUBlIt

WHATCHA SAY Jason DeRulo

1 f'li-HJ ,1 r^^lUU K ANDERSON J DESnnULIAUX I HEAP) Ol BEEUGA EtEIGHI^ AAtmER EiRUS

QIDE^jlllll TIK TOK Ke$ha

|Ef:1l.'li:VLli:iJf!VI OR EUKE B RLAMCO |K SEBtm.l GDTTWALO.S EEVINj O KASZ UONEV/IKJ^RMG

REPLAY lyaz

ii I.I , .. 1 1 u h XMS K liCKRSM J OESROIALAUH T TXCItCM T TWJUASi 4^ TlUf fS MCf^FV BtLL'GA tflGH'^^ flC^ISf

SEXY CHICK David Quslta Fealuiing Akon

i "

PAPARAZZI Udy Gaga

H 1 ! 1'-. J kl [A t V iiAGA (S G GERMAPtOT TA R f USAHI i ®00 S^ftEAMt IKE.'HONL'VE CHE^RVTflEF'lhTER'^rOPf

3 Britney Spears

M MAKTtN SMELL QACVe (K S MARTIft SHCLLRACK TAMUERl O-^^^E'^^

DOWN Jay Sean Featuring Lil Wayne

"EW'^WPYWi':'* 1 CmifRHLAnOWJ SMlLtH.1 PtRIINSDC-ARKHi OO l^ASH Unl,*> iMvIHSAi H.iP|,8l>i:

PARTY IN THE U.S.A. MIley Cyrus

MEET ME HALFWAY Th« Black Eyed Peas

■ 1' . "' ! vti;AJ[»lt;SHR(iUSl»KHiUUUSJWiat[5G0fll)mKaH;Uil.NJMKBC>(UII ^WliNSCIMI

SWEET DREAMS Beyonce
M . ' . .< ^'!VE (BKMOWLES.JG&CHEFFIH.WWILIUNS.RIC0LDVEI 0 HUSK WOni.n ClUiiV'liA

If!

' 14

NEED YOU NOW Lady Aniebeiium

i .M.-L.! . ■■■■ ■■Ml i : . 1 if/ |0 HAmODO C KILIEV.H SCDIl J «AR> ^ . <,.

•

[l.

YOU BELONG WITH ME Taylor Swift

>i ..hakmas r :-rtin ii b«iM i. ROSFi % BIG machine imivffi'ini Kf f'.H. n

ALREADY GONE Kelly Clarkson

ii -tn:>[Fi .-. i iniixsoij » UDOEHi ® --^ rlia rmu

1®

FOREVER Drake Featuring Kanye West, Lil Wayne S Eminem

I,'.- i',' ;I,<i:IL;: AGfUiHAM.KmSl.tlCARltfl MMAIHlRSl O K*RVIV MAMHiUWi I lilHtAMHW ifaiHSi'lfl

1 GOTTA FEELING The Black Eyed Peas

■ .; 1 ■ [.■■ ■ Mi ' ;■ i;m- ..V yjW. a I'.HtDA.J UOMEZ.t. tERGUSON 0 GUt HA t HitblfcHhHl O IflHRSCji't

[ 19

RUSSIAN ROULETTE Rihanna

RUN THIS TOWN Jay-Z. Rihanna & Kanye West

•

i«1

USE SOMEBODY Kings Ot Leon

■

[®

1 CAN TRANSFORM YA Chris Brown Featuring Ul Wayne & Swizz Bealz

l»

E-

COWBOY CASANOVA Carrie Underwood

ONE TIME Justin Bieber

1
■i

, HALF OF MY HEAHT John Mayw FMuftng >ykir Sam

J MAVEH.S JORDAH |J UAYim • COUJMMA

*•

FIFTEEN Taylor Swin

■, i tu- 1 ,,',■( t i!sw'ifi» 9 imivEftSAi hepubhc b^t. utcfm

EVACUATE THE DANCEFLOOR Cascada

FALLIN' FOR YOU Colble Caitlal

Hi/

BABY BY ME 50 Cent Featuring Ne Yo

DO YOU REMEMBER Jay Sean Featuring Sean Paul & Ul Jun

HAPPY Leona Lewis

MONEY TO BLOW BIrdman Featuring Ul Wayne & Drake

[33
I

TOES Zac Brown Band

^ sUOaU.Z BflOWN iZ BROWN.W DURRniE.J MOPWNS.S MULtlNS) O MDUf GRCWIX AI; AhllC ilKi^f fi PKliM

DO 1 Luke Bryan

Las

nfi

BODY LANGUAGE Jasee McCartney Featuring T-Pain

PAPERS Usher

I'M ALIVE Kenny Cheeney With Dave Matthews

' 1 -.-,'.iiN ' "(SNEV IK CHESNEY.O OIILONU TAMBURINOl O BNA

' 3a

OBSESSED Marlah Carey

CONSIDER ME GONE Reba

TWO IS BETTER THAN ONE Boys Uke Girls Featuring Taylor Swift

RED

LIVE LIKE WE RE DYING Kris Allen

[42

WHITE LIAR Mirartda Lambert

|4.

SAY HEY 0 LOVE YOU) Michael Franti & Spearhead Feat. Cherine Anderson

!®

TIE ME DOWN New Boyz Feat. Ray J

HEY SOUL SISTER Train

f 4S

BREAK UP Mark) Featuring Gucci Mane A Sean Garrett

HOTEL ROOM SERVICE Pitbull

1®

IF YOU ONLY KNEW Shinedown

WASTED Gucci Mane Featuring Plies Or OJ Da Juiceman

LEAN ON ME Glee Cast Featuring Kevin McHale & Amber Riley

1®

GANG5TA LUV Snoop Oogg Featunng Tha-Dream

SOUTHERN VOICE Tim McGraw

ALL THE RIGHT MOVES OneRepublic

UPRISING Muse

K®

WHO SAYS John Mayer

Did tier midshow
performaiKe Nov.
22 on ABC's
"Ameriun Music
Awards" spur lasl-
minute downloads
prior to the liack-
inq week's mid-
night deadline?
Sales are up 49\ a
week before "The
Fame Monster" is
unleashed onto the
(turts.

Album track duel
with red hot Swift
rs naturally the
most- downloaded
track from his No. ]
set. II opens at No.
12 on Hoi Digital
Songs with 86,000
downloads.

Hcf second set
opens at No. II on
the Billboard 200
with 67.000 units,
well short of the
No. 1 start ol her
2008 debut thai
shifted 208.000 in
its initial frame.
Radio track doubles
Its download sum
(to 66,000] to jump
18-15 on Digital
Songs.

With three more
entries from his
debut album (new
at No. 6 on the
Billboard 200 with
157.000). all seven
songs Irwn ttui IP
have now hrt Ihe
Hot 100.

ls!i

S-

TITLE Artist

I'RUDuCtH iSONGWFUIER) IMPHIMI ' PROUOTIOK LABH

S e

FUNHOUSE Pink

Gi
w

■

TRY SLEEPING WITH A BROKEN HEART Alicia Keys

;
4

Mil

SMILE Uncle Kracker

1 WANNA MAKE YOU CLOSE YOUR EYES D4ef1t8 Bentley

\if

58
66

GIVE IT UP TO ME Shakira Featuring Ul Wayne

RED LIGHT David NgiI

' ;r. :■■ .1 y .-.RUL-.E U bINGLtlON M PIIRCE.D MAtKOSKVl 0 UlA Na-,|(o.i .

BONFIRE Craig Morgan

DON'T STAND SO CLOSE TO ME / YOUNG GIRL Glee Cast Feal. Matthew Morrison

SHE WOLF Shakira

THE TRUTH Jason Aldean

SPOTLIGHT Gucci Mane Featuring Usher

SAY AAH Trey Songr

;

HAVEN T MET YOU YET Michael Buble

GETTIN YOU HOME (THE BLACK DRESS SONG) Chris Young

HISTORY IN THE MAKING Darius Rucker

IMMA STAR (EVERYWHERE WE ARE) Jeremih

1 LL STAND BY YOU Glee Cast Feat Cory Monleith

DEFYING GRAVITY Glee Cast Featuring Chrls Colfer A Lsa Mfcttele

3
4

1 M GOING IN Drake Featuring Lit Wayne & Young Jeezy

'.-:i' . - . .HAHAW.OCAnTEfl.J W JEMKINS) O YGUNC MONEy CASH MONEY.'UNIVER^.il . 1'

BAD HABITS MaxwE>ll

DROP IT LOW Ester Dean Featuring Chris Bro'.vri

;

ENDLESS LOVE Glee Cast Featuring Matthew Morrison S Lea Michoio

w
w

DOWN TO EARTH Justin Bieber

HARD Rihanna Featuring Jee^y

1 WILL NOT BOW Breaking Benjamin

SOMEDAY Rob Thomas

I.' -Im i IIl, ,R TtfOMAS U SERIFIIC SCAHTEfli Q EMtil ^l.i ill -l'.:

EIGHT SECOND RIDE Jake Owen

5 STAR CHICK Yo Gotli

HOI nOO (MyiMMS.n IA1E JR 1 @ '

ONLY YOU CAN LOVE ME THIS WAY Keilh Urb.in

NEVER GONNA BE ALONE NickdbucK
. 1 ; ". '/ii; ' ■ ; .iiJi,- .: KROEGER) 13

WELCOME TO THE FUTURE Brad Pjisley

■ ■ ■ ■ . ■! . ; ,: . ., 0 cmMJ .

IT KILLS ME Melanie Fiona

WE WEREN'T BORN TO FOLLOW Bon Ju.i

. .HA-,. , . rtHS JOV R SAMBCHA g aON .'tlVI HSAMSORA, Ql^)

REGRET LeToya Featuring Ludacns

DOESN'T MEAN ANYTHING Alicia Keys

WHY DON T WE JUST DANCE Josh Turner

BIGGER Justin Biober

' 1 ' .\ H MYNWJ)ICIRIWnDljaCBERWIIUCENI.>:fllSTCtD[OniMnO.LBI«AUI| O^IOailOY'niliUnMJ<l-(J...|.i' - ,. 1.

WHEELS Foo Fighters

1 GET IT IN Omarion Featuring Gucci Mane

THE INVITATION 50 Cent

■ . ■ . If! TfVEfE.M PtHEi.i 0 '..HA[TV AUfHMAlH irrt"-iLl'i'f

(IF YOU RE WONDERING IF 1 WANT YOU TO) 1 WANT YOU TO Weezer

'■<. • ■ ■ ■: (1 -AALHtHj ii)

FIRST DANCE Justin Bieber Ffalunf-y U-.,hL'r
i>i I... Ill 1 . ■ . .'-I. 1. H*vtfrw)rvAP»MmjR niOWTTJ WlM«PHi*?W:r-5' © ■-•:'n:iinr-i i .. ■ ■. .

HEARTBREAK WARFARE John Mayor

J WAVtil .OHIIAS ;J MAVth, O 1 . .;.M.,

BETWEEN THE BULLETS

DJ HERO: GUETTA HITS TOP 10

French DJ/protinccr David Guctla earns Iiis first carcvr Billlward Hot HK) top
10 as "Sexy Chick," featuring Akon. flies 12-7. The track also makes rare con
current top 10 jumps on coinpotient charts Hoi 100 Airplay (11-7. 70 ititilion
listener impressions) and Hot Digital Songs (11-8. 96,000 downloads). "Chick,
which toppjed Hot Dance Club Songs in Octolxr, retEims to the No. 1 slot on
Hot Dance Airplay for a fourth week. Guetta first debuted on a Billboard chart
six years ago this week when "just a Utile More lx>ve," with Chris Willis on vo-
cals, debuted on tlie Club list on its way to a No. 15 peak. — Sih'h fictroluongo

38 Go to www.bHlboard.blz for complete chart data

Data for week of DECEMBER S. 2009 CHARTS LEGEND on Page

BillbMrW.

100 AIRPLAY

.s
iS

SB TITLE

atS ARTIST flWPRIMT .' PROMOTION LABEL)

TITLE

ARTIST (IMPRINT . PROMOTION LABEL)

TITLE

ARTIST IIMPRINT / PflOMOTIOM LABEL)

Ql EMPIRE STATE OF MIND

BSS m i • ALKU UYt IROC NATIOKI

DO 1

lUKE BRYAN iCAPITDt HASItVl.lI

WHITE LIAR

MIRANDA lAMBERI iCOLUMBIA (NASHVILLE))

SWEET DREAMS

lEYONCE IMUSIL '/lORLD OOLUWOM)

CONSIDER ME GONE

HEBA '.1, 1 , ..■l.it/.iu

SAY HEY (1 LOVE YOU)

WMa FHANR A SPCAIittID PJO BOO WWrnifABtSAL RETUiri

PAPARAZZI

1 CAN TRANSFORM YA

CHKI.^ HI'i'MH hFAT ill WATNE B 8WII2 BEAT! iJIVE'JLGl

THE TRUTH

JASON ALDEAN iHnDKEHBOW)

WHATCHA SAY

JASON OERtHO (BELUGA HElGHtSWAHNER BROS.)

BREAK UP

MARIO IFAr GUCCI MANE A SEAN GARREn IJ RMG)

IF YOU ONLY KNEW

SIHNEODWN lAlLANnC'

6 18

DOWN

J AT SCAN FLAT tA WAYNE i^A.'^t UTItfV fjff^ RSM, REPUSlCl

BABY BY ME

50 CENT FEAT HE TO (SHAOV AFTETiMAIH INTERSCOPEl

REGRET

LETDTAFUT LUOACRIS (CAPITOL |

YOU BELONG WITH ME

TAYLOR SWIFT ■ ^i^|"'^;fJ[ 'p'I'*[RSAL RtPUBLIC^

EVACUATE THE DANCEFLOOR

CASCXDA i-iir.!-.lN5i

SAY AAH

TREY SONGZ i 'Jr, BOOK. ATLANTICl

11 8

SEXY CHICK

DAVID GUETTA fEAT AXON lGUhL'ASTRALWERKS>'CAPITOl <

MONEY TO BLOW

ajflOMIN FlATll WATNE A EHME KAEM hOfYjLMVBI&K MOTDNN)

ALL 1 ASK FOR ANYMORE

TRACE AOKIHS .:..vt :TOl NASHVILLEl

ALREADY GONE

BONFIRE

CRAtG MORGAN \iW

SPOTLIGHT

GUCCI MANE FEAT USHER |UI2AY,'ASYLUM WARNER BROS )

HHITNEY SPtAAS |jn/l!<JlGt

I'M ALIVE

AENNT CHESNET WITH DAVE MATTHEWS 'BNAl

EIGHT SECOND RIDE

JAKE OWEN ■■ .'. fILSHVILLi)

8 11

FOREVER

DIUKE )'''i^HV^V UAS0P1''^0F1E 4'^TREAML1NE'INTET1SC0FE i

DO YOU REMEMBER

ATTSA'IFUI aA««ltA i» AW ■ H'' ■ ■

IT KILLS ME

MELANK FN>NA >SRC UNIVERSAL MOTO'WHOMRG)

REPLAY

lYAZ 1 1' '-^F IS M [)NFV 'BEl UGA Ht IGKlS'TlE^Ai^E^

1 WANNA MAKE YOU CLOSE YOUR EYES
OIERKS BENTLET it MlKl NAMCIl,!

SMILE

UNCLE KRACKER ITQP DO&ATLANTK)

15 7

FIREFLIES

DWL cirv 1 MVrii' .U REri/miCi

HARD

RIHANNA FEAT JEEZT (^RP OEF JAM lOJMGj

TWANG

GEORGE STRAH rMCA NASHVItLE)

USE SOMEBODY

KINGS Of HON \'-'. A

BAD HABITS

MAXWELL iLUL'JUBlAi

SOMEDAY

HOfl THOMAS (LimSM'AILANTICl

PARTY IN THE U.S.A.

Ml LEY CYFIIIS i I'l _■ ,S OUCI 1

WASTED

GUCCI MANE FEAt PlIfB iMIW/UO ICEV.'WARNER 6

OS)

ONLY YOU CAN LOVE ME THIS WAY
KEITH URBAN i:.M'llUL NAIiHYlLLE;!

MEET ME HALFWAY

TOES

;A£ BROWN BUS iWWE GROAM ATlAtniCSBGER PNTTIAE)

WHY

RASCAL FLAFTS hlYfilC SIRftli

!7 24

1 GOTTA FEELING

THI BIACK ETtOPEAS IMEt^l^CIJf [ 1

3«

ONE TIME

JUSTIN BIEHER itSLANO'lOJMG)

WHY DONT WE JUST DANCE

JOSH TURNER .M^A NASHVILLEl

RUN THIS TOWN

JAY'I. nitUNHA t KAHYI WEST iF.nC W\\OH)

RED LIGHT

OAVIOHAIL iM:a NASHVILLE)

WELCOME TO THE FUTURE

BHAD PAISLEY ■.'Rli.f* NASHVILLEl

FIFTEEN

TAYLOR SWin 1 .lilVin^^M f-f "il fi. IC BIG M*CHI^f .

OBSESSED

UARIAH CAREY 1S-.*N[l IDJMG

1 GET IT IN

OAMJIONFIATGUCIMN* -.TAPVA]RlQMLSCAGFNSTUG.CAniai

FALLIN' FOR YOU

COLBIE CAILLAT Mvl!: ■ -li'llfinCI

HOTEL ROOM SERVICE

PITBULL iM- li.'l, iTJLi.i LHOUNOS.J.RMGl

1 WILL NOT BOW

BflfAKING BUUAMM <HLiLL*'MOOD)

NEED YOU NOW

LADY ANTEHILIUM i. M .[ . \r )i;iLLE|

GANGSTA LUV

SNOOP OOGC FEAT DC -DRUM {GOGGYSTYli.HI]0nrrY'CAnrEIL)

AMERICAN RIDE

TOBY KEITH (SHOW ODG NLSHV)LLE)

TIK TOK

KESHA ■ MONEVi'HCfc'RMGt

RUSSIAN ROULETTE

RIHANNA 1 -'- Ii:l ji'.' H.MWG

THATS HOW COUNTRY BOYS ROLL

BILLY CUHRINCTON .M:f i H ■

PAPERS

USHER ilgi

SOUTHERN VOICE

TIM WCGRAW Lt

1 JUST CALL YOU MINE

MARTINA MGSRIOE iH'.A NLoHVILLll

1 INVENTED SEX

TRET SONGZ FEKT DRAKE (SONG BCWK.'Aa ANTIC)

GETT1H YOU HOME (THE BLACK DRESS SONG)

CHHIS 'Olllii; 1 •■ -vlllEi

1 M GOING IN

KIM FEB 11 «ll« 1 niK ST lYJjNJ lUCt G«l imiUWRSA IK>Y?M1 .

BAD ROMANCE

LAOT GAG* ■ -.'v M HrMrvtCKBRVTREMNTEHSCOPti

HISTORY IN THE MAKING

DARIUS RUCKER (. AF'KUL NASHVILLE)

NEVER GONNA BE ALONE

NICKELBACN iROADRUNNER'RRP)

COWBOY CASANOVA

CARflK UNOERWOOO i1'< Anir-.TA hAI^HVIUf i

TIE ME DOWN

NEY/ boy; FUT. ray J (SHOT TY.'ASYLUM: WARNER BROS |

BREAK

THREE DAYS GfUCE iJIVi'JLGl

7) HOT DIGITAL SONGS '

TITLE

ARTIST .l-.M F'R.:^Mii''(;-, '..iHtLt
KUbAD ROMANCE
BfiaiAm'W.. ■i.V,vu-.i-<','_i-iWrrT««IERSCO«)

TITLE

ARTIST .lIMrklN) PROMOT)0H LABEL)

BODY LANGUAGE

JESSE MCCARTNEY FEAT T-PAIN iHOLLVWUODi

Ii
O

So
34

TITLE

ARTIST ilUfRIHT PflOWOIHJN LABEL)

BOOM BOOM ROW

THE BLACK EYfO PEAS i fti, . i W lNItR?.rnOf |

TtK TOK

ICESHA i WljNtT.BCA.'HMGl

DO YOU REMEMBER

JA< FEAAIFAT SEN1 UIX 1 Ul AI«r:A<JliOeYUMt5JLSmft)

TIE ME DOWN

MWBOrZFtAT MY J. .■■-iP, n'.lV.Jflli^fl hflriR i

FIREFLIES

OWl CrlT Mvf H--.t; ^EfUhl 1 ■

YOU BELONG WITH ME

lAYlCn SWIFT i ( U L'Ai.-lNEl

I'M ALIVE

KENNY CHEENEY WITH DAVE MATTHIWS )t»ML

EMPIRE STATE OF MIND

JAT-2 • ALICIA KEYS ' I-. t;.

BABY BY ME

50 CENT FLAT HCTO I'SllADYAnLRMAmiNTLRSCOPt

FIFTEEN

TAYLOR SWIFT MACHIHEl

REPLAY

lYAi ■ Ml VnSf> ilELUGft MElGHTS.'nfPRISEl

EVACUATE THE DANCE FLOOR

CASCACA i[ r . ,1',

FIRST DANCE

BBED !EAT ISffil fOmsamtOC tfWLMELUOVJUGi

NEED YOU NOW

LADY ANTEBELLUM CAPITGL NASKVILLEj

•

OCm STAND SO CLOSE TD ME HCUNGGRL

HH 'M' lyr NATTHEN mmSOt \:\-~ r='ir - . l :i- -. rrLAEV

SAY HEY (t LOVE YOU)

Mcm mun t skmcid rt at m.it,i. i.fr.T^ n r >

WHATCHA SAY

JASOU OEFIULO |-l:L>.l'JJ MfcltiHTS. WAHNtH BKU:,

ALL THE RIGHT MOVES

ONEREPUBIIC iM'.. .! ■ M)l,. 'J!''

FALLING FOR YOU
COIBIE CAILLAT .IIS vu; Rl.-iilu.

)

SEXY BITCH

DAVID GUITT* FEAT AJOM (.lM ASIRftLA't.R^S LAMK.l. .

HEY SOUL SISTER

TRAIN ■,■..■■11' ■.' ■■■

POKER FACE

LADTGAC*. .if.'l 'J ■ (l',',iH--'i"l -'r.r-Ri.llf*i

MEET ME HALFWAY
THE SLACK EYED Pt»$ iliHtRSCCf'ti

LIVE LIKE WE RE DYING

KRIS ALLEN ■ i . ■. . .

GIVE IT UP TO ME

SHAKIRAFEAT LIL MAYNI -H I.

PARTY IN THE U.S.A.

WLIV CYRUS I'tOllY'AOOn)

WHO SAYS

JOHN MflTLft 1 ' ■!■ :-

OBSESSED

MARIAH CADEY ' i .L AMD.'IDJMG)

BRITNEY SPEARS H'.T .r.Gi

TWO IS BETTER THAN ONE

BOYS LIKE GIRLS TEAT TAYLOR SINin {COLUMBIA)

DROP IT LOW

ETB KM Fttf H6 im HIAfr WSMZH ISFUltKWS^

HALF OF MY HEART

JOHN MAYER FEAT TAYlilR SWIFT ir.OLUM&lAi

I LL STAND BY YOU

an CAn FUI OKI MOKTtlTH . :CDt ONHiRY R3I TUtttLBmi

SMILE

UNCLE KRACKER itOP DOG AILANTIO

RUSSIAN ROULETTE

HIHANM TvP :\f JAM IP.'MGI

DEFYING GRAVITY

ofi CUT o« couR 1 IM Hiei :tt.i aicTfY la MnjAwj

1 RUN TO YOU

LADY ANIIBElllfM iTAPiTil. triHr^Hli'll. T I

•

DOWN

j(T SEAN fWT u wm* iTX-Jt i.wt;A wwr i

TILL 1 COLLAPSE

tSWCM FEAT NATE USS (WB AnERMATHTITER^OPFi

HEARTBREAK WARFARE

JOHN MAYEP .IJMSlAl

HAPPY

lEONA LEWIS ■■-.VCO j nWGt

TOES

«C MOWN BAM IICME GROML ATLMfTCnGGER PICnjRE)

l3iL

GOOD LIFE

□NEHEPUBUC MIJ:.LtY,'lNtERSCOPE|

I GOTTA FEELING

THE BLACK tTEn PfAS iirnt«5tOfEi

MONEY TO BLOW

tmm F»I LL WKtW 1 CHMl r A^ MLMYUMIQJt MFRMN)

LOVE DRUNK

■OYStlKt GIflLS ILDLUMBIA)

•

PAPARAZZI

lACY GAGA Il-tjKAj»£>C(l/.t't>«HRYTH£LWTIRSCOP( i

ENDLESS LOVE

lH[«rFUtRI)IB»MBi»Ha»fttgTt*CT,f FAr\Ynj»i

SHE WOLF

SHAKIfU i^lTifJv MUSIC LATlH'EPIC)

ONE TIME

JUSrm BIEIER IISIANO IDJMG*

DOWN TO EARTH

jusiMnEKSOfAUOrwowwenNAaAHiTiMa.

IF YOU ONLY KNEW

SNINEOftWH liTi dMiCi

1 CAN TRANSFORM YA

nms BiiawN feat ljl wayne a swIzz»TZl-r.^l;Jl

TRY SLEEPING WITH A BROKEN HEART

ALICIA KEYS MbK J.RMGl

21 GUNS

GREEN DAY ■■■ Rl i! i

•

FOREVER

IMAM 'J: ■lMRi(AI_M.Mt«Si.t»*i

FUNHOUSE

GANGSTA LUV

WOOF OOOG (EAT TMt-OBEAM nrXii;/STYU,WltMTYWTiai

COWBOY CASANOVA

CAHHI! UHDEH'Alinu , I - .'.41i,Ta MSShv ILt ■

UPRISING

MUSE ■.' < IVARNER BROS 1

HAVENT MET YOU YET

MICHAEL BUBlE ; n )-,-_. ...■;t I

RUN THIS TOWN

JAY I fliHANNA A KANYE WEST |ROC NATION)

•

USE SOMEBODY

KINGS or LEON .hi.. •■. li'.V..

■

BIG GREEN TRACTOR

JASON AiOEAH 'hRL-ni hm'

•

, LEAN ON ME

■iLii Uii W iFrt imt ( »iWIWT0J1'(BniI' RRWa.W-

WHITE LIAR

MIRANUA LAMBERT li.lU'lUUIA (NASHVtUEll

SOUTHERN VOICE

TIM MCGIUW . Ijli6.

ALREADY GONE

HELIY ClARCSON ■ ■ ".-.1 IMGl

BIGGER

JUSm MOER (SOOXBOYAWMM) efwMtSLAMinMQ

IMMA STAR (EVERYWHERE WE ARE)

lERfwm ■ ■■

SWEET DREAMS

BEYONCE i'.' . .■. ■ :ri| 'iVI-K.

•

INVITATION

so CENT |5)'fir'¥ '*FIfR)^ATH.|NTEnsCni'E|

FOR YOUR ENTERTAINMENT

AOAM LAMBERT ,* i hif.

ALBUM CHARTS

Sales data compiled from a compretwiivc pool o( U S music
mcrchonti by Nielsen SoundScan. Sales data tor RSB/hip-hop
retail charts ts compiled by Nielsen SoundScan from a national
subset of core stores that specialize in those genres.
% Albums with the greatest sales gains this week.

Where included, this .iward indtc.ttn Iho title
with the chart's largest u

Where included, this award Indtcales the title with
Ihc chart's biggest percentage growtli.

Irxllcaies album crYtercd lop 100 o( The Billboard 2O0
and has be«n removed from Heatseeter^ chart.

PRICING/CONFIGURATION/AVAILABILITY
CD/CAu«tle priccH are suggested fist or equivalent prices, which
are projected from wttolesale prKes. D after price irvjicates album
only av.-Ml.ible on DimiIDisc CD/DVD afti-r price indicates CD/DVD
combo only available. i> OualDisc available + CO/DVD combo
available • irtdtcalei vmyl LP is av.-»tl.it>lp Pricing and vinyl LP avail-
abilrty are rv>l irKliKied on aH charts. EX after catalog number ind»-
cati-s tltlo n exclunlvc to one .-Kcount or has timrted distrlbulton.

SONG CHARTS

See legends on respective chart pages for the Billtx>ard Hot lOO
and Hot RftB/Hip-Hop Songs.

RADIO AIRPLAY CHARTS

Hot lOO Airplay. Rock Songs. Hot Country Songs, Hot Rap
Songv Christian Songs. Hot Latin Sorvgs and Latin Airplay charts
are compiled from a national sample of data supplied by Nielsen
Broadcast Dat.-i Sy.tems. Charts are r.-inked t>y numt>or of gross
impressions, computed by cross-referencing exact times of air-
play with Arbrtron listener dat.r Main&lream Top 40. Adult
Contemporary. Adult Top AO. Alternative, Triple A. Active Rock.
Heritage Rock. Matruiream RftB/Hip-Hop. RhythmK. AduR R&B.
Hot Christian AC Songs, Hot Gospel Songs. Hot DarKe Airplay,
and SrT>aoth Jazz Songs are ranked by total detections.
0 Songs showing .in Increase in audience (or detections)
over the previous week, regardless of chart nwvement.

I Where lnclixk>d. this awnrd indicates ttie title
wrth the cfiart's largest airplay increase.

RECURRENT RULES

Songs are removed from the Billlx>ard Hot too and Hot TOO
Airplay charts simultaneously after 20 weeks on the Billboard
Hot 1CX} and If ranking below No. 50. Songs arc removed from
Hot R8B/Hip-Hop Songs after 20 weeks if ranking below No,
50. Songs are removed from Hot Country Songs after 20 weeks
if rankirtg below No. 10 in detections or audierKe, provided that
they are not sttll gaming enough aiidience points to bullet or H
they rank b»low No. 10 and post a third consecutive week ot
audlervce decline, regardless of total chart weeks. Songs are
removed from Mainstream Top 40, Rock Songs, Mainitrpam
RAB/Hip-Hop. Rhythmic. Hot Latin Sor>gs and Latin Airplay
charts after 20 weeks if ranking below No 20, Descerrding
songs are removed from Adult Contemporary, Adult Top 40
and Adult RSB after 20 weeks if ranking below No. 15. after 26
weeks if ranking below No 10, c>r after S2 weeks if ranking
l>elow No. S. [>csci¥nding sortgs are remctved from tfvc
Alternative, Triple A. Active Rock. Heritage Rock. Christian
Songs, Hot Chrlsti.in AC Songs, Christian CHR. Hot Gospel
Songs. Hot Dance Airplay and Smooth Jazz Songs charts after
20 weeks and If rankif>g b«low No. 15,

CONFIGURATIONS

0 CD single available. O Digital Download available. O DVD
single available. O Vinyl Haxi-Singic available. O Vinyl single
available. O CD Maii-Single available. Configurations are not
included on all singles charts.

HOT DANCE CLUB SONGS

Compted from a national sample of reports tmm dub OJs.

9 Titles wtth the greatest ckjb play itx^renw- ovcf the previous wook.

[Jif'HJ This .»<v.vd ndk:ato% the title, ajrttfntty bolow the top 30 and on
Luui the chart the week before, with the largest increase in points.

AWARD CERT. LEVELS

A l.t'UM MAR T ■)

• Recording Industry Assn. Of America (HIAA) certlficat»on for
net shipment of SOCOOO albums (Gold). ■ RIAA certification for
net shipment of 1 million units (Platinum). ^ RIAA certification
for net sfupment of 10 million units {Diamond). Numeral within
Platinum or Diamond symbol indicates altxjm's multi-plat tnum
level. For tioxed sets, and double albums with a rurviing time of
TOO mmutes or more, the RIAA multiplies sNpments by tfie num-
ber of discs and/or tapes. Certification for n«t shipments of
100,000 units (Oro) Certification of 200.000 units (Platino).

> Certification of 400.000 units ( Mult i- Platino)

SINGLETS CHARTS

• RIAA ccrtmcatkMi tor 500,003 potd downloads (Gold).
■ RIAA certifrcation for 1 milion paid downkiads (Platinum)
Numeral within platinum symbol ndicales song's rrrUtiplatinum level.
' ~ ' RIAA cvnificntio<i tor net sfupmarYt of SO0,00O singles (Gold).

MUSIC VIDEO SALES CHARTS

• RIAA gold certification tor r>et shipment of 25,O00 units for
vtdeo singles. RIAA gold certiftcatlon for net shiprrtent of
SO.OOO units tor shortform or longform videos. ■ RIAA platinum
certlflcatKMi for net shipment of S0,000 urWts for video singles.

1 1 RIAA platinum certification for sales of 100.0O0 units for
shortform or longform videos. Numeral within platinum symbol
indicalos song's multlplatlnum level,

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA gold certification for net shipment of 5O.00O units or ST mil-
lion In sales at suggested retail price. ■ RIAA platinum ccniflcation
for sales of 100,000 units or $2 million in sales at suggested retai
pTKC- IRMA gold certification for a mirwmum sale o* 125,000 urMts
or a doRar volumo of S9 mdlion .i( retail tor theatrically rekmved pro-
graiYis; or of at least 2&,00O units and SI million at suggested retail
for nort-theatrical titles. IRMA platinum certification for a minimum
sale o( 2S0A00 unAs or a doHar volume ol StB mWkxi at retail for
ttiealrlcaly released programs. arMl of at least SO.OOO units artd $2
milion at suggested r«tail for nort-thMtrlca) titles.

ta for week of DECEMBER 5, 2009 i For chart reprints call 646.654.4633 Go to w ww.billboartl.bi;^ for complete chart data i 39

I CONTEMPORARY^

TITLE

ARTIST jlMPRWI I PftOHOTION lABEl)

WHATCHA SAY |

iSauGA «IQHT&WitMin SflOS 1

PAPARAZZI

lADTCAGAi', ['11 ■■.»,■■:■.! '.lltiil'-i uni!t'v:iUt lUIliv.'.i '1

DOWN

JA> S£M HAI IJl WATKE -■ M i .> f. ti! . -ii

eniTMY SPURS ; Hs'f .^ti

■

PARTY IN THE U.S.A.

MIIEY CYRUS h:i1 LVVi'jODi

FIREFLIES

(IWI niT MH HtPUBllCl

■

SWEET DREAMS

BlXINCt .ii'<: D.'COLltMBIAI

ALREADY GONE

MllT CLAKKSON ' ' KLA'RHG)

REPLAY

iva; : MrJ^fy BfiUGAMtKHl&WPHist)

MEET ME HALFWAY

THE BLACK EYED PEAS imlEHSCOPtl

ID.

SEXY CHICK

□ Avm GUEni FUT AXON iGUU'ASTRAcWfHKS'CAPIIOL)

m^iVQI TIK TOK 1

^llilliH AEtHA iKASI WONEY.'RCA/nifSl |

in—
12

USE SOMEBODY

AINGS OF lEOM

BAD ROMANCE

LAOYCAEA ,l MfRRYlREElFFTERSCOPEl

YOU BELONG WITH ME

TAYLOR SWIFT r. MViflSAL flEPUBLICl

i©

EMPIRE STATE OF MIND

JAY ; . ALICIA KEYS ii n'J r.r.IljtJi

EVACUATE THE DANCEFLOOR

1 GOTTA FEELING

IMF BLACK EYED PEAS iVFER&COPEi

FALLIN' FOR YOU

COLBIE CAILLAT MvRSAl RFPUBlICi

RUN THIS TOWN

JAY Z RIHANNA a KANYC IAFEST iROC PlAHorFl

ONE TIME

JUSTIN BIEBEH ■ 1 ' HUf/lji

: S2

RUSSIAN ROULETTE

HIHAHHA ' - ILL" [l.'W.n

BODY LANGUAQE

JESSE IKCCAHTTJEY FEAT T-PAW IFtOLLYlAOODl

23
27

20
4

LOVE DRUNK

BOYS LIKE CIRLS . i-.'IMJ

TWO IS BETTER THAN ONE

BOYS LIKE GIRLS FEAT TAYLOR SWIFT (COLUMBIA)

IF YOU ONLY KNEW

SFIIHEDOWN lAT.ATJTIC

FIFTEEN

TAYLOR SWIFT .hr> UACHlFJE URTVERSAl REPUBLIC!

FUNHOUSE

PINK llifJfi ,11

GIVE IT UP TO ME

SHAKIRAFEAT Ell WAYNE it^ L

DO YOU REMEMBER

AKYIMNlUt IWFHAAAUJm.V' .i-U.iHi' UMvYn:iA| kEI'UHttL

NEVER QONNA BE ALONE

FMnUMI IROADflUFJNER RRPi

' 32

OBSESSED

klARIAH CAREY . ATlC IDjMCI

HEAVEN CAN WAIT

WETHEKIWSlS-CtJRVEl

S.O.S. (LET THE MUSIC PLAY)
jom mm 119/jMjLCi:

ACCORDING TO YOU

ORIANTHI {TAL Gf FFf V inTtHSCOPti

FOREVER

MH lUT IMTT MYT LA AllTf 1 nn ..L>,f ' IIAUk?M ATtUAKVTEDOJRl

HOTEL ROOM SERVICE

PITBULL L'l- ■ . I-: Nfr. JHEltGI

?©

LIVE LIKE WE RE DYING

KRIS ALLER ' " L I

HOW YOU LOVE ME NOW
MEYMOFJDAY i/t'.A. ^IJLt L jLUMHi.

ALL THE RIGHT MOVES

ONERiniBLIC IFAOSIEV IRTFRSCOPEi

KeRv CUrkson (ottecb her second No. I on AM lop 40, s "Alrudy
Gooe" ascenih 2-1. Ctarkson spent tW« weeks at the stniniH wltti
"Miind These Hazel Eyes" in 200S.

The song's (oronatton uurks the third consecutive leader on the
survey In RCA Husk Croup. [>aU9titrY led lor two weeks with "No
Surprise" in Septemticr. and Kings of Leon followed with an IT-week
reign with "Use Somebody." The only prior label to tink a trio of
toppers in the chart's ll-year history was Arista (now an ttHG
imprint), which claimed the top spot for 39 straight weeks witli Avril
Ltvigne's "Complicated,"
Santana's "The &ane of
love" (Teaturing Michefle
Branch} and Lavigne's "I'm
With You" in 2002-03.

"Already Gone" marks
the third Aduft Top 40110.1
for the song's (o-writer.
Ryan Tedder, who (o-
authored Hmbaland's
"Afwtogize," feabiring his
band Oneflepublic, and Leona
lewTs' "Btee<ting love."

■1

3£

TITLE

ARTIST liFJPRiNT / PflOUOIION LABEll

Kl YOU BELONG WITH ME 1

^WTf T Kib FAACHINEAjmf RSAA REPUKICl |

FALLIN FOR YOU

COlfllf CAillAT . , ■ ' ,-l REPURLlCl

HAVEN T MET YOU YET

FAICHAEL BUBLE [ ''RlSEi

HER DIAMONDS

BOBYRDFAAS ■ l L' ATj AVTICl

m
m

THE CLIMB

lAllEY CYRUS 'I: v HOLLYWOOD)

COME ON GET HIGHER

FAATT KATMAFJSON h (.Q CAPITOL 1

■l

■l.

YOU FOUND ME

THE FRAY [

K
V

PLEASE DON'T LEAVE ME

PINK . ■ iL .,

Wmi

NO SURPRISE

DAUGHTRY ■

1 WANT TO KNOW WHAT LOVE IS

lAAFIEAH CARET I.^LAIt:) 1D.<MG|

CHANCES

FIVE FOfI FFGHTIMG |AWARE COLUIABIA)

KISS A GIRL

KEITH URHAIT i f APITQL NASHVILLE CAPIIOLI

wBti

BEAUTIFUL WORLD (WE'RE ALL HERE)

AM RHKlMAN A AaAMCHOSaiiTTSaM{RSI.W(ICKI«USE UHiCTi

USE SOMEBODY

KINGS OF LEON i- . - i L''^.

ALREADY GONE

KELLY CLARKSON " ■

tia

WE WEREN T BORN TO FOLLOW

BON JOYI ■

CLOSER TO LOVE

MATKEAPBEY i UtABIA|

iSD

CHASING PIRATES

SAY HEY (1 LOVE YOU)

MCMAl rnAKn A SnAMW ?i.'BLI WWAYH l.TiritW^ HIRjBli;

THIS IS IT

MICHAEL JACKSON FEAT THE JJICNSONS lUjJ EPIC I

BATTLEFIELD

JORDIN SPARKS ^ i v- , Iji

WHEN IT COMES TO LOVE

FOBEICNEH -ML HiHILC/l

SMILE

UNCLE KRACHEfl llOP OOG ATCANIICl

1 GOTTA FEEUNG

THE BLACK EYED PEJU ilNTERSCOPE)

THEN

INAO PAISLEY lARISTA NASHVILlEl

OHCHT

TITLE

ARTIST IIUPRINT ' PROMOItOH LAttl)

KM ALREADY GONE

■Q9 KELLY CLARXSON | T B.'RCA. RMG)

USE SOMEBODY

KINGS OF LEON ^Vi,

FALLEN' FOR YOU

COLBIE CAtLlAI i.M.Li -AL REPUHLICi

SMILE

UNCLE KRACKER ' JL A'LAMICi

!•

YOU BELONG WITH ME

lAYLlHl SWIP T iL'ib rj.-. .nirtL UM.'LMbAL KLP„ULlUl

ni'i'JtU FIREFLIES 1

IFuTTllH owe CFIT (UNIVERSAL AEPUIklC) |

SOMEDAY

ROB FHOMAS i FIABLEU ATLANTIC,!

1 GOTTA FEELING

THE BLACK EYED PUS : UTERbCOPEl

SAY HEY (1 LOVE YOU)

WE WEREN T BORN TO FOLLOW

BOHJOYI ,

HEY SOUL SISTER

TRAIN ■ .'. '; L

NEVER GONNA BE ALONE

NiCKElKLi.K .VrJ aRP^

•W

PARTY IN THE U.S.A.

MILEY CYRUS iHQLLYftOOD(

CHANCES

FIVE FDR FIGHTING lAWAREXOLUMBIAl

HALFWAY GONE

LIFEHOUSE btlFLI. iNI-RSCOPE)

PAPARAZZI

LUFY GA£A 1 T RE AMLIKE KOFFLIVE CIVflflTaREE TIYTERSCOPE 1

MAYBE

MBRK) MDIlflMH ICABIN 3A0BIGKAL SYMALLMftf RSAl UOICUN<

LIVE LIKE WE'RE DYING

KRIS ALLEN 1 19 JIVE.'JLG)

COME ON

GREEN RIVER ORDINANCE .'.'IRGm. CAPITOL)

IF YOU ONLY KNEW

SHIHEDOWN LTlA'.Ii:

HAVEN'T MET YOU YET

lAICHML BUBLE HAS REPRIbEl

WHO SAYS

JOHN MAYER :.:'LUUUIA.

BREAKEVEN

THE SCRIPT 1 HiiriOGEMC EPICI

ALL THE RIGHT MOVES

DBEREPUBLIC iMOSLEY INTERSCOPtl

SEX ON FIRE

KlliCSOFLEDIt|RCA.RMGl

s8 Sal" '"''^'^

£b 2> So artist litAPRINT ; PROMOTION LABELI
A 1 IS Vni WILL NOT BOW

3> »S

BREAK

THREf DATS GKICE i JIVF .11 Gl

■

WHEELS

FODfBHTERl :-;jSlVEtLRCA.RMGj

■

CHECK MY BRAIN
UJUIHCHUa I '.iKiiiri 1 APIIOL)

UPRISING

MUSE ■■•> III'.' 1 'AAHSFfl RflOS )

IIF YOU AE WONOeRING V 1 WMn YOU TO) 1 WANT YOU TO

M.tltH lUf,: >JfiHf-.CO-"'?i

SAVIOR

BISE A&HIMST 1 : IT(:i ■ i ' ■

ll-J'iVtU ^^f*GS AND QUEENS 1

nriirnlH lStKOIIIinillM|tMyQHI«MRGN(JVnai)|

■

JARS

CHEVELIE iSni.l

IF YOU ONLY KNEW

SHIHEDOWH iilI'.*IiIIL-l

YOU'RE GOING DOWN

SICK PUPPIIS .OMR VlHGiri CAPIIOLI

THE FIXER

fEARL JAM i'.' l.MVAREHCHt

USE SOMEBODY

KINGS Of LEON .HlA.'HMGi

NEW DIVIDE

LiNKiN PIkHX ".VI HiNt SHO^.'WARNifl BROS )

1901

PHOiNIX iLiJVAiiTLQlASSNOm

PANIC SWITCH
siLVERtUM ncnm ioangerbifioi

MEET ME ON THE EQUINOX

DtHIM CAS fOH CUIIE iCHQP SHOi' AllAMICt

NEW FANG

THEM CROOKED VIM.TUHES IINTERSCDPEi

OVERCOME

CMEO i.'.iNIi -iPj

BACK AGAINST THE WALL

CM( THE ELtPHAKI iDSP JIVE JLGl

IS'

SNUFF

SUPKKOI -III. '.!Ji ■■ kRPi

JUST BREATHE

PtAHl JUM ri'ifC.CHj

MEDICATE

AH i'.;. ■■■lUfEi

SPACESHIP

PVOQU OF MUOO (FLAm.ESS.GEEFEaiNIERSCO(>()

AGAIN

FLTIEAF ijllM OCIONE/lVIERSCOPEl

EAST JESUS NOWHERE

GREEN DAY I'l-Pkl-.f ;

INVINCIBLE

ADEUTASWiT iVIftC.KJ CAPITOl >

MONSTER

S«llin lanDE'JT l',0 AI.AMICl

CRAWL BACK IN

HEAD RT SUNRISE itVAHNER aROS.)

HARD TO SEE

mi FIMGER DEATH PUNCH fPROSPf CT PARK|

IGNORANCE

PARAMORC iFUELED SV RAMEX ATLANTIC 'RRP)

BROKEN. BEAT & SCARRED

METAIUCA iWAHIICR i))tOb I

SCREAM WITH ME

■UDVATNE {EPlC<

CRASH

CAVO iREPfiiSEl

FUGITIVE

□AVIO GRAT iMf^Xtn SIREET.DOWMOWNj

SUBSTITUTION

SJLVERSUN PICKUPS iOANGERBIRO)

WHO SAYS

JftHH MAVER ra.ijMBiAi

FOREVER IN YOUR HANDS

AIL THAT REMAJHS iPROSTHETIC nA^aR & KE)

STORM TO PASS

ATRITU lHClLLrV.[)lJ[))

SLOW POISON

THE BRAVERY i :q AN.-i."-D-:M':-:i

HEY, SOUL SISTER

TRAM 'A'AARE COLUMBIA)

CRAWL

KIMS WLCOH {RCA. RMGl

FIREFLIES

OWLCirr lUNlVERSAl REPUBIICl

MESS OF ME

SWITCHfOOT -niLiiM'i:;

CHASING PIRATES

HORAHJOMES tLUJ VDI[ CAPIfOL)

WHY 1 AM

DAVE MATTHEWS BAND IBAMA RAGS RCVRMG)

, EYESORE

JANGS IHEALIU ILGI

MAYBE

MGHD WHKUON 1 rj«ft !4WKmtl SHWI.UNrVtRSM MOTCMMI

©J

FOREVER 1

RES (ESSENTUL/REO> 1

■0

JUST SAY YES

SKOW PATROL iPOLYDOR'TlCtlONiGEfFEtimTERSCOPE)

Purl Jam posts Its flftli constEullH top
10 on Triple A. is "Just ■rulbe'' uses
1S-I0. The band's strHh b«9an with
"Wstillst" (Ko. 9) In 1998 and contlnteil
with 'last Kiss" (No. S, 1999), "I An
Nint" (Do. !, 2042) and "The Flra"
(No. S, Septembti).

1 tn EO UPRISING

BBSmUU ixLLIUM-SmARWR BROS 1

IIF mm WONDEBING f 1 WMfl lOU TOI 1 WAKT VDIJ

KINGS AND QUEENS

30 SECONDS TD MARS . L'Mi I'l'AL'VIRGIN.'CAPITQLI

3
6

23
15

SAVIOR

RISE AGAINSI l. . IS lERSCORt)

1 WILL NOT BOW

BREAMING BEHJAMIN IHOllVWOOOt

WHEELS

EOD FIGHTERS iRGSLVtLL RCA.'RMG)

BREAK

THREE DATS GRACE iHUf JLGl

8
10

10
16

MEET ME ON THE EQUINOX

OUIH CAB FOR CUTIt '! ■ilIF' 'i-iQI' All Af|l|C|

BACK AGAINST THE WALL

CAGE THE ELEPRART .! I ',

1901

F-HDERIA Ml.;. I t oLAbbllOILl

USE SOMEBODY

KINGS Of lEDR iKi.L RUGl

MEDICATE

AFI II (|!.-' ii i,P(F

PANIC SWITCH

SILVEHSUM RICAUI^ iLtANGERBIRO)

IF YOU ONLY KNEW

SHINEDDWN iU aMl^I

NEW FANG

THEM CROOKED VULTIIRtI |IMERSCaRE|

CHECK MY BRAIN

ALICE IN CHAINS { viRGIV CAPIIOLI

THE FIXER

F^liAJI lUONKEViVRENCR)

EAST JESUS NOWHERE

GREEN DAT RrrRI^.L^

AGAIN

FLTLEAF .■-'.M ' n I iNLUdlLHiCGPEl

JUST BREATHE

RIAHL JAM ■.'iii|.. tVlRtNCHI

SUBSTITUTION

SiLVERSUN RICKUF'S :0AHGERSIRO)

IGNORANCE

PARAMORE 1^.1 1 (n BY RAMER. ATI AKIIC'RRPi

SLOW POISON

THE RRAUERT il^AASU lOJUGi

26
28

7
6

SNUFF

SllPKHOI iRUA;)R0NHER.'1IRP|

MESS OF ME

SWIICHHMT lAILANItCl

Is SS JRHHRmOUOTlON LUCL]

R lalwHO SAYS

FUGITIVE

DAVID GRAT iUiqCtR STRI E I OOWNIOWMi

5
4

6
14

CHASING PIRATES
NORAH JONES IRLUL ROU CAPITOLl

HEY, SOUL SISTER

TRAJN lA'AARE-'COLUAieiAl

MAYBE

nam mMAJON ILAM JA.»1II1IML 9aHAL.VWKI«AL Wl'i

WHEELS

FOO FiaHTim iROSWElLRCllRAAG)

JUST SAY YES

SNOHf PAEROL KLUYliOR.'flCIIOH'GEEFEN IMIERSCOP

IIF TOU nC wmOEHM f 1 WJWT VOU TO) 1 WAKT 10

WEEZER .rii:,C iRlFRSCOPE)

DREAMS

BRANOI CARIILE ICULUFABlAi

JUST BREATHE

PEARL JAM ilJ iNM 'WRENCHI

USE SOMEBODY

KIHGSOFLEOH HCARUGj

FALLIN' FOR YOU

COLBIE CAILLAT i I 'RIVERSAL REPUBLIC]

WHY 1 AM

DAVE MATTHEWS SAW) iRAMA HAGS RCARUGl

24
16

2
6

BinLiliH OAVf MATITCM IRM (BAMA RAG&mCA 1

MEET ME ON THE EQUINOX

DEATH CAl FOR CUTIE iCHLIP I HIIP AT, AN'.r

SOMETHING BEAUTIFUL

HEEDTOBREATHE :ATl nijli;')

17
14

11
18

1 AND LOVE AND YOU

THE AVETT BROTHERS i AMi Rlf A\ C :ll IIMH lA

THE FIXER

PEARL JAM lynri.iyiftHtNCM.

BETTER TOGETHER (UVE)

JACK JOHNSON iSRUSHEIREi'URIVERSAL REPUBLICl

40 DOGS

BOB SCRNflOER (ShOCKORAUJL KIRIlANOi

NOTION

KINGS OF LEON 'RCA.RMGl

SHADY ESPERANTO AND THE YOUNG HEA

STEPHEN KELLOGG AND IRC StXERS IVANGUARDI

BACKWARDS DOWN THE NUMOED LINE

PRISM i-lMI

HEY WORLD

MOtUl FRUm A UUMAO («C0 BCH WAAMR .UMRSU RE PI

CHANCES

FIVE FOR nCHTIMG lAWAREi'COLUMeiA)

40 I Go to www.blllboard.blz for complete chart data

DaU for WMk of DECEMBER S, 2009 I CHARTS LEGEND on Page

i SoundScan

BillbMril

is 3s

HOT COUNTRY SONGS

i sis

TITLE

RIneed you now

Artist

T&WiM8EK. PftOUOTIONLAU.L

Lady Antebellum

B SS

_QQ9

SCOTT J KCAH)

• CAPTTOt HASMVILLt

DO 1

Luke Bryan

<b CW1I0L VASi^VILLE

COWBOY CASANOVA

; J:OND0 B JAMCSl

Carrie Underwood

0 ig AWSTA 'jASKiilL r

CONSIDER ME GONE

■■•iiSOMGREENl

Reba

0 SI»nSIHuCK.VAi.n^-'

BONFIRE

■ K DtNVrvC MORGAN U ROGEHS|

Craig Morgan

I'M ALIVE Kenny Chesney Wllh Dave Mallhews

• It,;, ■, . u ■ . . 1. ■,. . • ,. I,' >.\l>.i ,.|r|. tb I'NA

1 WANNA MAKE YOU CLOSE YOUR EYES

:l i: I L '1 1l U I'L ■ V it. tttAvtHj L' sit N 1 Lh^'i

Dierks Bentley

FIFTEEN

Taylor Swift

® mi UA[.'(I1\!

TOES

Zac Brown Band

O wnUf GflOA-S ATI ANTIC fiIGr>ER Pirl'.KE

RED LIGHT

■■ ■ 1 . ■ n -i FION UPftRCE n M«IK0E.«-Vi

David Nail

Ifl

SOUTHERN VOICE

. ■ ■ MiTH (IDOUDIAS BOIPlEBOl

Tim McGraw

® 1 1«

HISTORY IN THE MAKING

■ ' : . ■ 1 k 1 -i:; C MIUSl

Darius Ruckc

e CAI 'I >v, : ■

WHITE LIAR

1" .! " .-■■jehin HCWBVi

Miranda Lambert

THE TRUTH

Jason Aldean

O flflC'KfN mil

ALL 1 ASK FOR ANYMORE

Trace Adkms

Q rAPlI", r

EIGHT SECOND RIDE

Jake Owen

e Fi'.-

TWANG

I rSHO*K M UU»Efl041.E R MAHVtl.J RUCMEYi

George Strait

O UCA fMSHVU 11

WHY

■ ■ 'H ■'.-■SC:*!, HAIIb 'A SHAMBltN R MAtHtSi

Rascal Flatts

WHY DON'T WE JUST DANCE

Josh Turner

O MLA PtASHVILLt

1 JUST CALL YOU MINE

Martina McBride

O fICA

THAT S HOW COUNTRY BOYS ROLL

■;.-i,(Sif<UiU e CU^ifiifiGIO'i |8 CLISaiNGION OOaviOSDN B

J09lESf

Billy Currlnglon

Q MEfir ■■■■■

HURRY HOME

1' .1 -Mt'* WtLLIAI/Sl

Jason Mkihael Carroll

O AHrSTA PJASM'.'I.

CRYIN FOR ME (WAYMAN S SONG)

Toby Keith

l1'J5iVtli AMERICAN SATURDAY NIGHT

LEnmiH 1 HUUERS m PAISLtV.A GOnUXK LOVELACE)

Brad Paisley

4» MlSTA NA8HVILU

TODAY

i; ■,M;' .h I, .'.L ."11 lU LOHU I L JAMtSi

Gary Allan

0 MCA NASMViLL:

Up4.BRiaQn
impressiOK, third
single andHle tradi
liorn PaUey'j sev-
enth sUidosel
swipes Greatest
GaiTHf nod in lourtli
chart week. Ledd
track "Then" logged
three weeks atop
Itte (turt in June,
and "Wekome to
the Future" peaked
at No. 2 on the Nov.
Jctiart

Jamn S tlw Long
Road to Love di3w
fint Countnf chart
Inks UK Hoi M
DetutalNo S8
(vinnbleal bill-
boanLliii/ilMitsi.
Gnxip leader ts halt
ot brottier duo Evan
S Jaron, wtio rose
to No. IS on the
Billboard Hot HO
•nth •inn lor IhB
Ctrl" in 1001.

^ 25 29

^ 28 30

^ 27 28

^ 26 2 7

^ 31 35

^ 29 31

<l -

o
o

o
®
o
o
o
o
o
o
o

TITLE

i MineCEH (SMGWRIIEA)

A LITTLE MORE COUNTRY THAN THAT

Artist

IMIfUNt i NumtR PflOMOtlOM I ASEL
Easton Corbin

DION T YOU KNOW HOW MUCH I LOVED YOU
BEER ON THE TABLE

Kellie Pickler

® la art*

Josh Thompson

OUTSIDE MY WINDOW
HILLB(LLY BONE

Blake Shelton Featuring Trace Adkins

KEEP ON LOVIN' YOU

Steel Magnolia

TIL SUMMER COMES AROUND

. -.11 K uHbW iM ( ii'A'L.L ^ „HUAN,

Keith Urban

) CAI'IIOl tJASHVILU

33 32

32 33
37 10

34 37
36 36

35 34
40 39

33 38
39 42
4; 44

42 43

46 SO

47 49
45 46
58 -

43 «
53 59

48 M

Jimmy Wayne Featuring Daryl Hall & John Oates

BACKWOODS

Justin Mooro

GIMMIE THAT GIRL

Joe Nichols

HELL ON THE HEART

Eric Ctiurch

9 CAPIlOL HASHVILU

EVERYWHERE I GO

Phil Vassar

i UNIVERSAL SOUtn

LONG AFTER I M GONE

|(150M flSURAf

Big Kenny

19 AND CRAZY

.v!\ lU mWIS J «AR K OSMUKSON A SMEPAfiDi

Bomshel
• cuna

LOVE LIKE CRAZY

WHISTLIN DIXIE
STUCK

LOVE LIVES ON

Randy Houser

gr UWtfE":

Ash Bn

THERE IS A GOD

Loo Ann Vifotnack

HIP TO MY HEART

HOW FAR DO YOU WANNA GO?

r.:ff:F n MYfilCAl

The Band Perry
Gloriana

THE MAN I iVANT TO BE
THE CALL

Chris Young

e Br*

Malt Kcnnon

OUGHTA BE MORE SONGS ABOUT THAT

, 'i.',;„ , , i; ,(.- .il'.'IRYdHAHHAHPOQOHHEU W iRtHilLEl

Montgomery Gentry

CHASIN GIRLS

MNSlMEWillSOEAMt

Rodney Alitins

e III-:.

■

M
B

42
U

«6

^TOP COUNTRY ALBUMS"

,U.'l

ARTIST Title

'. 1 'iiir/HSR □Tt^lniii'jli'ii. 1A9EL irmC!

(■OilTIDtJ

ARTIST Title C

VII <t'.t & mmiV. ■ DISTRIBUTING LUCL (PRICE> S

El CARRIE UNDERWOOD p,.„ „„

19 AHISTA HASKVILLE S>AN 1 13 991 r my vy.i

□

.'5

u""'^ "1°""° , The Man 1 Want To Be

VARIOUS ARTISTS NOW Tt«s V«« 1 Cal Country *l 2

LADVANTEBELl.UM ^^ Lady Antebellum

■

BILLY CURRINGTON ^.tUe Bit 01 Everything

TIMMCGRAW Southern Voico

RASCAL FLATTS Greatest Hits Volume 1

ZAC BROWN BAND ThoFbundal»n

■

SUGARLAND LIVE On The Inside

■ . ...jWji •

10
6

14
11

P§Sy SUGARLAND GadAndGreen

■

•'."STIN MOORE „„„„

DARIUS RUCKER Learn To Live

.lu-o,,,.., NaturatFoiCcs

JASON ALDEAN Wide Open

•

KELLIE PICKLER _ Kellie Pickle,

SOUNDTRACK^^^^^ H^ma, Montana: The Mo*

■

J^P"-^, , Ride Through The Country

)

■'1

TAYLOR SWIFT ^ Taylor S,..lt

DIERKS BENTLEY ^ Feel That Fire

MIRANDA LAMBERT Revolution

■?°^^^*":^^'?.,.„™„. UveFromLondcn

. , American Ride

GLORIANA f-i»,..„-,

,n i . ■ .>97»w»,i39.i Gtonana

W^'"^^., »«.».i«.a«,o-.

KENNY CHESNEY^ Lucky Old Sun

SUGARLAND U»e On The Inside

a
•

MARTINA MCBRIDE 3^^,^

JAMEY JOHNSON , „„.,„„„ „„„„
fciii;3r- iMGr.(in8, That Lonesome Song

RANDY HOUSER Anything Goes

iMTrnvv IT- -jT . Keep On Loving You

JOE NICHOLS ^^^^ Old Things New

LUKE HRVAN D<,1„' My Th.ng

•

^*'"'°Tfn;9., tasyDo..ll

GEORGE STRAIT ^ ^^^^^ Twang

ERIC CHURCH Carolina

ALAN JACKSON _ _ So,,at«WH«w«

■llj

TIMMCGRAW Greatest H„s 3

IS
17

18
16

KEITH URBAN^^^^ ^^^^ Defying Gravity

•

VAfllOJSARTlSTS WW Tl« Wa 1 C* Courlr,

BROOKS & DUNN #1s ... And Then Some

u*'L,,.v., '« About TO Come Alive

)'.

;'i

KENNY CHESNEY Greatest Hits II

■

WILLIE NELSON «™,j,.„ r-i-,.. ^

„.v,,.,;A.ii(i*iFirr-njnr.iir«:, American Classic

RASCAL FLATTS Unstoppable

TRACE ADKINS v jcn

r.ii i' ■. . ' ■ ■ 1 to 9Hi

ROSANNECASH Thi. Lisl

LARRY THE CABLE GUY T.ii™,.. p„,,„

14. • • i.-iwR»i:i9«i TailgalePany

BRADPAISLEY^^^^^^^ Amencan Saturday Nqh<

"TTY LOVELESS^^ Mountain Soul II

□

TOP BLUEGRASS ALBUMS 1

li
1

ARTIST Title

■HlMlUSiR niSlRlflllllNC; LABEL

KM PATTY LOVELESS Mountain Soul II

Hfla SAGUARll KHALI 3L9.'fi

STEVEMARTIN Tie Ciow: New Songs for The Ff«e-S»ingBan|0

THEISAACS TllSatcs IUn«r>rAtII19A[:«KllUhl»l

OLD CROW MEDICINE SHOW Tennessee Pusher

SAM BUSH Circles Around Me

STEVE IVEY Ultimate Bluegiass

If.' '.'Ml-. 1 ■ 'i.is 53«5»WOACV

DAILEY & VINCENT Singing Rom The Heart

THE DEL MCCOURY BAND Family Circle

DAILEY & VINCENT Brothers From Dllterent Mothers

BETWEEN THE BULLETS

GROWING 'NEED'

^ I iitly Antebellutn's "Need You
i \ "^"^ ' bullets in its second week

)hM k i^op I lot Gountr)' Songs witli llic
i;ittcst weekly audience sum so far
this year and the diarts biggest in
more than two >^'ar^. Up 5R3.00()
impressions, the single collects 38 million audience impres-
sions duiing the tracking week, surpassing the year's prior besi,
whidi happened when laljelmale Darius RucJier stacked 37.8 mil-
lion impressions with "Alright" on the )uly 15 cliart. Lady A regis-
ters lliebif^est weekly audience since Toby Keith's "Love Me IfYou
Ciin" led tlic Otn. 20, 2007. diart widi 38.1 million implosions.
Tlie trio's second album is due )aii. 2f>. — y^/adr Jtsscn

ta for week of DECEMBER 5, 2009

For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data 41

BillbMral.

MONITORED IT COMTIUI

niclscn niclsc

TOP R&B/HIP-HOP
ALBUMS

AHTIST

TITLE iij^ttm UlSimeuTiNG lAaiL

EDBl c^ENT

1 $

MICHAEL JACKSON

JANET

HUU» OWS A&M 013612. UUE

THE BLACK EYED PEAS

THE E N □ 1'. IbRSLOPE OUBB/MGA

■

JAYZ

THE BlUEPHIMI 3 RDC NATION &?MH*'AG

□

BEYONCE

■

'«

WHITNEY HOUSTON

1 LOOK TO VOU 'Hf.i ' SCJJi RMd

TREY SONGZ

RAKIM

IHt SIVEHTM SEW Hfi 5-l?*,SMC

MELANIE FIONA

THE BRIDGE '-^r !;'.'.'! ft!^*t )*^^OWh OHiiW UMBri

DRAKE

BEBE i CECE WINANS

MARIAH CAREY

MEMOnSOF Ut IMPERFECT MSB. E^AM) 01 j[22&lCLJkKj

lift

PRETTY RICKY

ratlTy RICKt !!.; I ilAR BIG CAT 0? lOilhrir BOV

IP si

WALE

KTTENTION flEflCIT ■'iLLIDn IKTtRSCOPt 0I.13W1OA

MAXWELL

SLACXSIIMMERSNIGHT r.lXIAlEU'l flSMZ'SOVT MEJSIC

EMINEM

HfUPSE M^Fiafim WTtf1MAlHISTIfet(H01ia63"ilG*

VARIOUS ARTISTS

KBW 31 i Mi Mfliv! R'lAl J* M.i'. ,",M ,■ ijy MUSIC

SLUG i MURS WITH AESOP HOCK

FtU 3 ■ TRIBUTE TO flOSK PERt/ ■ 'r - H , Ui16

JACKSON 5

UITIMAIE CTMSnUS COtlECTTON M'.Tir/'li'ii' Ui^tME

KID CUDI

MARIO

ON A ru-.S^RMG

TECH NgNE

KOD ■ IHI.M.I f.4flElC

LIL WAYNE

IMALAHTInlll .. 1 ■.• '1 > ■Ai'iMN01lin"UHH0

JOSS STONE

COLOUR ME fHEEi .itl'. 'i i . ■ ■■ " CAPITOl

AMERIE

IN lOVE IL WAR - ■, ■ IInMG

RYAN LESLIE

IWdSTOH ' ■ ■" ■ ,.- ■■, ■■ - " V,'. li^ -Ht

BRIAN MCKNIGHT

EVOLUTION OF AlUHHAnDWDHK SI2Z EI *'

LETOYA
lAOt LOVt ' -M-TMI

VARIOUS ARTISTS

HMTMri vMi 1 uli ma awwimupwiwi wnwnMt

CHRISETTE MICHELE

EPIPHANY lAU tlV'J'lMIUUO *

PITBULL

REetlUIION MH .'OLOGBOUNDS Jbmi 'RUG

LIL BOOSIE

UP»C' M IETJ«:f Kt£I MUITSLJinJil^miMMVieiMX

K JON

1 on JUWUW [pSXJPMtKtPSK REimC oinszunQ

JEREUIH

JfllEMIH r.'li. K rTCHlJLI/ DEE JAM ai30K*^lDJUG

FABOLOUS

iaunM>;iaMniKni>'Ji<1 :iICHUll >U01JM>CLMi

■

NEW BOYZ

MiMH' JLAU MO A MC SWm.'JWllM SMWMMMJI WOS

MARY MARY

THE SOUHU ',T< !<LOCK.'TXXUUBU2BOB7''SOmMUSC

RAEKWON

om BUILT -1 CUBAN UNZ.., PI 1 ICE H?0 MT94

TRIPLE C S

CUSTOM CAKSS era E5 '.V-iWOWB MiQIJUBUim

VARIOUS ARTISTS

iu<kuw« »i..<'w-«i.nDMj|>BMBIMHBnTliM«UHa

CHARLIE WILSON

UNCLE CMARlie P MUSIC JIVE ;'ii89i'JLC

LEDISI

TURN ME LOOSE . 1 i .1 'CHI CAST 012677 VG j'

ANTHONY HAMILTON

THE POMI OF rr AIL M : 1 : iTj lAtSCiS SO ICE 73X100

KERI HILSON

m A rtfirai WORLD- ;i ifiM Amr&ean oixmcA

T.I.

PAPfniiuii ■ ■ ■ [ ■- '.rnic 5iZ267*''*0 *

MICHAEL JACKSON

m UtHHnml LiiiLilliur* ■■ 0137fl7,ilWE

THE WHISPERS

TMANHfUL ■ . ..-IS

Rf-emn

BEYONCE

wtwi'mKBu:n>i>Kiwiriui «ur»jpM— ■ ij)

JACKSON 5

1 MW1 mi wn.' iwMUAiu wuitm mimtttlBmm

l^iTliflililii^M

§1

-"-

TITLE

AHTIST iKTiM-iNT. PROMOTION lABELi
Kl EMPIRE STATE OF MIND

KBMjAY-I t ALICIA keys --'LiL Ui'\l<'i-

1 INVENTED SEX

IRET SOUOZ feat ««W

PAPERS

USHBI . ■ l.ii

MONEY TO BLOW

FOREVER

OflAKE iHARVtY MASONi'IONE 4i'STrtEAMLIW.<1H1£nSC0PE)

BABY BY ME

M CMT F»T. Nl-rO (SMADVMnEnUATH/INTERSCOPE)

REGRET

lEIDYA FEAT. LUDACfilS l-AI'I'lJLi

1 CAN TRANSFORM YA

CHHIS MOWN F£At LIL WJtYK « SWU KM2 (JIV&AG)

WASTED

IT KILLS ME

Mimt FIOU iS^C UNIVERSAL MOTOWN,' UMRG)

BAD HABITS

■AXWEU r:MiMeiA|

SPOTLIGHT

CUCCI MAMI FUI. UlHCn lUI/AV ASnUMilVARNfR flflOS )

UNDER

PLEASURE P lAILANTIC)

HARD

HHUNU FEAT. JOTT ■i,nf DEF JAHdOJIlGt

•»

NUMBER ONE

n. ISLLr FUT. KE» NIIUN i JV[ JI.G1

BREAK UP

kURIO FIAT GUCD MMI • SUN OMMm <J. RUG 1

) GET IT IN

OMMKM FEAT GUCQ HWE i^MKWHUJlMjMJlWWKSIUG.CAFITDlJ

1 LOOK GOOD

CMAUEIOT ■ IHf 3fiD JIVt BAItEHV,

PRETTY WINGS
MAXWELL' '.-Mtli;ii

GANGSTA LUV

tMQP D06G tUL TW-IMEMI iD0GG>%TVU««IOnTV.'UI^0Li

SAY AAH

TRITS0N6I ■ • illANTICi

FRESH

• me .■ ^/.TiEFivi

EVERYTHING. EVERYDAY EVERYWHERE

fABOlflUS FIAT MHI MIISQN 1 -.tStRT SICFtWOfF JftWlCUMG)

RUN THIS TOWN

JAY'Z. RIHANHA i KANYE WIST IHOC FMTlurii

THINKIN ABOUT YOU

MARIO

TIE ME DOWN

Nf W SOVI FEAT. fUT J 1 SHOT TV' ASVLUM WARNER BROS )

GOTTA GET IT

MVEMU <: 1- F1 .IIIAIITIC)

I M GOING IN

VIDEO PHONE

SETONCE v.. -.11.. Wmi [1 COLljMBlAi

BjPB BEDROCK 1

SEX THERAPY

ROeiMTHICNE h

TRY SLEEPING WITH A BROKEN HEART

ALICUKtYS "-■ "1.11...

I'M GOOD

CLIPSE FEAT mWnCU wmUin i.RE UPCQIUMSIA)

TRY IT OUT

116 BANK ilACK FEAT, MMOI tDUCT TAPE/DfF JAM IOJMG)

1 AM

MAKTJ lUSE iUA1H>A>Ei.iMitrilH/INTEfl<iC0Pt)

ECHO

N.HLUi III JIG!

LOVE COME DOWN

DIOOY - OIRTTIKWY 1 'Ui BOY IKIERSCOPE)

MEDICINE

PUCS FEAT Un WLSON Hi(i &ATES'ATlANItC|

1 GET CRAZY

MOU HMAJ fUt UL MAYM |VOUNG UONEV)

HEADBOARD

HURRNMC CHS FE«T Him + rin fOO GROtM&jmCl

ss9

if TITLE

53 AflllSI :.I r HOP/nTinn 1 ABELI

Kl laiimS] EMPIRE STATE OF MIND

BftarTTnTHjIET Z + UKUHTSIROC HAIIOR)

SWEET DREAMS

BEYONCE '. ■'. 'Kl ■ .ULUMiilAi

WHATCHA SAY

JASON DCnUU) BrillGA MEIGMTS WARMER BROS 1

FOREVER

DRAKE -'I'll',- ■ MA&DN7aN£ 4.SIREAMmft1NTERSC0PEl

DOWN

iAY SEAR FEAT UL VUTNE [CASH MORET UfJVERSAL Pf F^OGUCl

SEXY CHICK

MVIO 6IICTTA FEAt MM iGUM.'ASTFtALWERK&'CAPlIOll

PAPARAZZI

LADY GA(>A ' '!''.MllNE.K0MLlVC'O<EnflVTHE£;1HTERSCCf'E)

REPLAY

IYA7 i "' IS MLLHiA HEIGHTSREPRISt'WARttR BF40S

RUN THIS TOWN

JAT'Z. RIHANNA A KANTE WEST .'ROC RATIORl

MEET ME HALFWAY
THE tLACI EYED PCAS i 'i : h -.1' " f ' .

1 CAN TRANSFORM YA

CHRIS IROWN FEAT LIL WAVHC 1 SWIU IEJII2 IJiVE JLQl

TIE ME DOWN

HtW lOTI FEAT RAT J 1 iV AARRER BROS )

GANGSTA LUV

SNOOP DOGG FEAT THE DftEAM < h - 'LLTmyOTYXAfftQ,)

BREAK UP

MARIO FEAT, GUCCI MANE A SEAN GAfWTT (J'RMG)

BABY BY ME

H CENT FEAT HE -TO i:-<''ii > >iF IE m,iAIH IMEHSCOPC 1

THROW IT IN THE BAG

FmOLOUS FEAT THE-ORCAH 1 "f ^HT SfOfiUlJEE JAMT&iUDj

ONE TIME

JUSTIN BCBER 1 < ' MCii

DO YOU REMEMBER

OBSESSED

MARIAN CAHEV l'>^ AKTI.'IOJUGl

IMMA STAR (EVERYWHERE WE ARE)

JEREMIM .LHJUiOEF jAU.IDJMGi

PAPERS

SPOTLIGHT

GUCCI MANE FEAT. USMBl lUI^AV AbVLUU WAHNEH IJflOS 1

HARD

RHUNNA FEAT. JBU (SRPi'DEf JAM'IDJMG)

TIK TOK

MONEY TO BLOW

EVERYTHING, EVERYDAY. EVERYWHERE

FABOLOUS f EAT KEill NIISW L'li>LRt 5TGFUADEF JAMPJUC)

SHUT IT DOWN

SMTNET SPEARS iJiVE.'JLGl

WASTED

ouoii MM FUT lui m oj IH juceHH lW^v w crt.wMwn nncn t

BAD ROMANCE

LAOT GAGA ■ :THF ,!'.i; 1',; HiNl fJtCHERRYlRtUMTERSCOPf 1

1 INVENTED SEX

IREY SQHGJ FEAT (Iftm ' '.[> SOOlL'ATLANTICl

RUSSIAN ROULETTE

RIFIANMA ' ' [F .:,VM.I0JUG|

3> .

OH YEAH

JAICKO FEAT SNOOP OOBQ (CAPITOL)

SUCCESSFUL

[PMtiun nrrmuALiViiina 'i)«.wi(vcoiMCinu«0U.WiraM«

3fl

I'M GOING IN

[w )ut u iMM 4 im w i<uj« wcvu» MMn wnm

GOOD MORNING

CHAMILLKMHM iCHAAIILLnAHV, UNIVERSAL REPUBLIC)

GIVE IT UP TO ME

SHAKlFUFEAT LIL WAYNE ifPICJ

1 GET IT IN

ONiMmFLni [tuccimim "■'.'.■^awuscMCMSi ucDtmoi

„

HOLD MY HAND
SEAN PAUL .- Ml

PARTY IN THE U.S.A.

MUET CYRUS |HOUYA(jOni

tip pkKiHi bUm ntwm 10 (do tU/Wp-
Hop /Uhm wWi hb M »( of new maloial
in a dtode as "Hk Swnlli S«l" crado the
Up n al No. 9. IMS is Ills ttiini top 10 entry
lolkminq "Tlw Nastef" in 1999 (No. 7) and
"Tliel81tileltei"inl997(N«.l).

BETWEEN THE BULLETS

50 LEADS REVAMPED R&B TALLY

CENT

After early sales In ihc prior issue. 50 Cent charges 48-1 witli
K>0.«)() units this week for his fotjrth No. 1 on Top R&B/Hip-Hop
Albums in the first issue using the chart's revamped methodolo-
gy. The tally is now compiled from overall albums sales just as the
Billboard 200 and other genre charts are built. The former rank-
ing was based on sales from Nielsen SoundScan's R&B core pan-
el of stores tiiat monilors retailers specializing in urban music.
The other R&B core charts (Rap Albums, R&B/Hip-Hop Catalog
and R&B/Hip-Hop Singles Sales) also move to the new format.
Some albums experience unusual shifts as more sales are fac-
tored in. Mass-appeal acts like the Black Eyed Peas (10-4) move
up, while genre-specific artists like LeToya (20-29) fall backward,
but still have sales gains. — Raphael George

1 1

^Bl 4

BB'

|H| 7

Q 12

^B ^

4
6

BB^'

■ l4

■ l8

Bl6

m27

Q|24

BB ^

B|29

■ 25

MILLION DOLLAR BILL

CANT LIVE WITHOUT YOU

CHARLIE WllSOh ' ' . , f IGi

WHAT I VE BEEN WAITING FOR

BRIAN MCKNtCHT I !..■■[' .Srinn [ li

PRETTY WINGS

MAXWELL .1 II f.1.:<"i

DOESNT MEAN ANYTHING

ALICIA KEYS itJBH .I WU-

CLOSE TO YOU

BEBEACECE WINANS i fl IC.MALACOl

QniQS] A)NT LEAVm VVTTHOUT Vdj

EHEuaH J*HEBI (PIVWE will ATlftilTICI J

THIS IS IT

MICHAEL MCKSON FEAT THE JACK50NS 'Mil EHC'CQLlia|
ON THE OCEAN

KJDN . ■.. -i.i ■■'lAL REPUailCi'UMRB

THE POINT OF IT ALL

ANTHONY HAMILTON iMI^I LR S MUStC'SO SO DCF/JL8

KEVON EDMONOS iMAKfcj

IT KILLS ME

MELAMIf FIQHA J i l LfNIVEftSAL MO I OWN/ UMRG)

YESTERDAY

lONI RRAXION FEAT TfltY S0M62 lATLANIlCi

RELIGIOUS

n AEllY - r, i 'I ' ;

COIN THRU CHANGES

DON T STAY

DONT MAKE EM LIKE U NO MORE

FiUBfN SIIJIIDARD HIC^OFIV PFOi

BULLETPROOF

RAHEEU DEVAUGHN fUT LINMCRIS jJlVE i

t LOOK TO YOU

WHfTNEY HOUSTON i.'H.ISTA RMG.'

TRY SLEEPING WtTH A BROKEN HEA

ALICIA KEYS ■ H'.'Ih

I WANT TO KNOW WHAT LOVE IS

MARIAH CARET ii^il^NU lOiUCil

MY CHILD

ALL-4 ONE iPEAK CMG)

TITLE

ARTIST .;MPRlRT / PflOMOTIOIT lAB£l)

Kn EMPIRE STATE OF MIND

_Qj2gjAT-T t AllCIA NETS ihi'.: iN,

FOREVER

DRAKl ..... '1. ■it.'.Murit 'SIERSCO

BABY BY ME

;,U CCNI IIAI hi to . 1 HHIMTMWTER&COPEI

MONEY TO BLOW

HIOMU IU1 ul «Mn4 A DMA! 4 .. . 1

WASTED

HUN THIS TOWN

JAT : RIHANNA 4 AANTE west - "

THROW IT IN THE BAG

FABOLOUS FEAT THE DMAM .raf.tRT illOliMH* .WU iHj

GANGSTA LUV

SWIOP once FEAT THE DnEAM .OOCOTSIVLEFMIWIIVtWT

TIE ME DOWN

REW BOt: feat rat 1 ISHOTTY. ASYLUUWARNER BROS

SPOTLIGHT

GUCCI MARE FEAT USHER IMUAY ASVLIMWARNER BflQ

I'M GOING IN

iwTi'.r ii..i'^i<iucfiTTir.iM,*utta»Ki(RiM«lliaTMI

EVERYTHING. EVERYDAY, EVERVWHI

TABOIOIIS TEAT KFfil MISOH illt^MI SIWWIHI lAUUX

SUCCESSFUL

UMRiniMIA, WJtLt Aint 'in UN. 1 A.,- UH.'IMKAKRM

BEST 1 EVER HAD

DFUKE 1' < '1 li.i lJ..-n1JChf\IMKM MOTOMKM

1 LOOK GOOD

CHAllF BOT .i.i ■ . ..[1 jivi BATTERVi

5 STAR CHICK

YOtDin PIUO GROUNDS J RMGi

FRESH

6 IRE G iML'LiriSI'JNE JIVtBAITERVl

BE ON YOU

FLO FliOA FEAT NE-YO .fOE BOV. AILANTICl

HOW LOW

lUOAtRlS i' -1 .-'.y i().ll.((i|

HOTEL ROOM SERVICE

PiTBUll iM-i ■ I , ILL! OfiOUHOS. J'RMGt

SHUT IT DOWN

PITBULL FEAT AKON MR L)OSPOLO GHsOUNDS JRMG.i

GOTTA GET IT

JUWEKILE ■! ' (I'iTICl

WE BE STEADY MOBBIN'

LIL WAYNE FEAT GUCCI MANE l\OI LISUDi

Ni-orniY

I GET CRAZY

NICKI MlmU FUT LU WAYNE iVQIitiG MC^EV]

42 1 Go to www.billboard.biz for complete chart data

Data for WMk of DECEMBER S, 2009 1 CHARTS LEGEND on Paga

clscn n'.S'.';?!!

IS SoundScan

":T-.r=fflTTa:r*IiEI

^HOT R&B/HIP-HOP SONGS

TITLE Artl>l

PROOUCtR tSOUCWRIlfRi IMPfllNT ■ PROMOriON Uflf L

■

TITLE Artist

PCOOUCER (SOMISWRIICB) IMPRINT . PROMOflON UOE'.

KM EMPIRE STATE OF MIND Jay Z * Alicia Keys

ftappcr scores con-
secutive No. b on

THINKIN ABOUT YOU Matio

PAPERS Usher i

I! ;j>IOVtN (U ftllVMCWl b UAHHttl.K UUlbOU A «ft-Hlb( ®L'.»*CEJLl=

the IttirttHnic chart
lor the first time in
his (afe«i. having

I'M GOOD Cli|)se Fealuting PharreH Williams

1 INVENTED SEX Trey Songz Featuring Drake : 1

DROP IT LOW Ester Dean Featuring Chris Brown

'1 >■■ II'. ^ (J jor^tsE DEAN c BflOWNi ® h.V"v-\ f.'.virdi ;nr(: J !:T"f AV.ifU rri- ■

BAD HABITS Maxwell ''

rwertJv reigned fo
tour weeks with
"Run This Town."
Overall he cele-
brates his fittti

YESTERDAY Toni Braxton Featuring Trey Songj
1 k:.Sk t.n UASOH. JH (J FRANKS, J ARMSrHO?tG.M VUHlIt. ^ SATtLt 1 BRAxiUNi

MONEY TO BLOW Birdman Featuring ul Wayne & Drake ■

iliY B VllLLaiil^ H (^KAHAiJ.O CARIER.C GI^DiSOilf ® CASH UnN(V,'Ufi VTRSAL l40r(yWN<'UMRG ^|

FLEX DJ Mr. Rogers Featuring The Patv Bnyj

'1 T LtSItO (NOI HSIEDl

»\

FOREVER Drake Featuring Kanye West, Ul Wayne & Enrilnem E|

M Mil lAGaAHAMKWfSinCARTfRMMAlHEftSl O 1"RV1V l4ASOH'7tliit ASIREAMUNE-lNItRSCOPi ^1

RELIGIOUS R Kelly

i'<F PENTAGON (R KELLVE DAWKINS.AOfXDN^ n.: I .

PRETTV WINGS Manwell ■

M l.;i iH DAVID UUS^Et 90 COIUMBIA ■

chart-topper wtitk
Ukta Keys earns
her fourth.

ill

WASTED Gucci Mane Featuring Plies Or OJ Da Juiceman M|

1 naUGl ASRUAVISAttASHlNGrDlli O l<iiZAr so ICEY.WARitlR BROS H

■

IS.

O LET'S DO IT Waka Flockn FInmr-
PFAT? i; UALPHkiiSl SO ICEV.'ASnuUWAfiM

BABY BY ME 50 Cent Featuring Ne-Yo

ECHO n Kelly
r,- •(! i : A'JPtR R KELLY (« KEtir.J SUtCOf.D CAMPER C KELLYi

REGRET LeToya Featuring Ludacris

1 ...1. il.iin I'l ilAWK.K SIEPHEHSflW J VALEHIiNE.l LUCACnftNE'ATSR I FRAJIKLISC BRiDCiS'. 6 PtPIKX

■

TRV IT Ol IT Rin Rank fttafk Coatdrlnn k-in>ii

1 n T II 1 Diy DoiVn Dicioiv reoiuiuiy rxuiiui

■ .1-1 ■, n (til. ■ K S'jRRUSS X DOISONi O DLiCT lAP[.tl[F i .(i ir,' ,

1 CAN TRANSFORM YA Chris Brown Fealuring Ul Wayne i Swizz Beatz

.M.'; 1 |.'.l.' 1 luilV/fNJSOVDKDEAIiJAntREAl nCARlFR^ GJIVCJloHj

■

LOVE COME DOWN Diddy - Dirty Money

j^BOSMMi " KILLS ME M«lanle Fiona

LifJlJ^HJhUU'i JIDAAMNItH(AWWWJUjm£JtHEJR4.0Viai9UMWI 9 SRXMBtSALWnMMIMIG

MEDICINE Pliss Featuring Kori Hilson

■ liL'j |A 1. WASHINGIOHl t.h. ...'.I-. .11 .■.rci:

GOD IN ME Mary Mary Fealuring Kierra 'KiKI' Sheard

1 .'■ "VII^BtlL f AIMNS-CAMPSELL 1 AlKltlS.CAUPBELLI ® M> ULO^K C.JIUWBIA

nun UK aw vi

[trakeand his usual

SAY SOMETHING TImbaland Featuring Dral<e
;|^■ ■■■ ■ iRiir nvMOSLEVJ.HiM»WUlGR»WWTCl*riONJM»UlJS8V| ©MiHL£y.tlLA:Hb(iUL.Mrf.lr. i v

SAY AAH Trey Songz

(ottatwralor Lit
Wavne. Birdman

CRAWL Chris [jrdwn
- " . .iK S AIWEH IC BflOWN.A.MESSINeER N ATWEH t SOVOj

BREAK UP Mario Fealuring Gucci Mane & Sean Garrett

(ptctured) achieves
anew career peak.

ALL THE WAY TURNT UP Roscoe Dash Featuring Soulja Boy T"i f-v

M „l L i::hnsck«,0 WAYK ERONCIU C ARCtOl >:

NUMBER ONE R. Kelly Featuring Keri Hllson

THUG Sinn Tiui:

UNDER Pleasure P

■

FED UP OJ Khaled Featuring Usher, Drake, Young Jeezy & Hirk Rns^
• ^1MUtm.unttUIMJWJErHKWR(Hn^51AGRAH«lAHWV^ O v

MILLION DOLLAR BILL Whitney Houston

' 1^ ' * f f > \K K F V'-. ^ ALN HARRIS A W F-ELDER.fl TVSOKi O ^RtSlAi'RMG

■

1 GET IT IN Omarion Featuring Gucci Mane

•'i ' ' 'iLV.-. Ii 1 .IJ-IVI^ OGHMJDBWRVJVitilfilBf O**!)! O SIWWil>iLnV1J3tWj(*-iT„ j.l^'Lt

1 LOOK TO YOU Whitney Houston

- - 'i'<UASON JR IftKElLV) ® ARISIA'KMG

DOESN T MEAN ANYTHING Alicia Keys

' ■ : 1 'i[ * ^ A ^ I V Ij ^ A hF I'S.K BROTHERS. Jft 1 Q V\\*^ \ )^.yy.i

lenol tier 19 chart
hit^ haw tparttpd

BETTER BELIEVE IT Ul Booste Featuring Young Jeezy & Webbie

r.':iUS£ as THA TRACK (I HATCM.W GMDHEV JR J W JENKINS WWIlllAMS) & IRHL ASYlUU.'WARNFfl BROS

■■

THIS IS IT Michael Jackson Featuring The Jacksons

. .1 ■ 'ill'. ,1 V!nct*IM M WARREH |M JACKSON PANnAi f/, J t i : 'HUMH 'i

the top 30 in tour
weeks or less,
including tMs song

LOL i*y Trey Songz Featuring Gucci Mane & Souija Boy Tell'eni

r 1 .Ni) f. pRiff iIUfvfR^OS I rAYififl T SCALES D WAY H DAVIS* 8 SONG OOOH'ttrLAHIIC

SPOTLIGHT Gucci Mane Fealuring Usher

NEVER KNEW 1 NEEDED Ne-Yo

' " '. O HEF iAM.'WAl.t OISNEV'IDJHG

■■

1 LOOK GOOD Chalie Boy
1 " 1 O 04RIV JRD.'JIVE.'BAIURV

which extends her
streak to tour
stralt^t tracks to

1 WANT TO KNOW WHAT LOVE IS Martah Carsy

'li-^l e ISLAMD/IOJIie

■1

AIN'T LEAVIN WITHOUT YOU Jahetm

PRETTY BROWN Amerie Featuring Trey SonQZ

CAN T LIVE WITHOUT YOU Charlie Wilson

»ch the leiritiHv.

SOMEBODY COME GET ME Melanie Fiona

tsis

CLOSE TO YOU BeBe & CeCe Winans

I- iH vi: 1- G 6SC'tULfl:;:i

'St-"

SWEAT IT OUT The-Dream

" M-.H C oTF/.iH; .'^aSH.C A SIEWARIl O «A0IO KlLLA.ricF JAM IDJMG

5 STAR CHICK Yo Qottl

(■ '[ f-;. M ;M viiMM-i n lATt JH i Q) PGLO GROUNDS,' J. 'HUG

HELL OF A LIFE T.I.

;r .1 HfiRHKn It ' M HKtS> ® (iRA?(D HU'JUE.AriArriC

TRV SLEEPING WITH A BROKEN HEART Alicia Keys

■

YOU'RE NOT MY GIRL Ryan Leslie

ON THE OCEAN K-Jon

MOI
Ot

SHOT
UT

DON'T MAKE 'EM LIKE U NO MORE Ruben Studdard

NO! UStEO (MOI USIEOl • NMCKORHMO

GANGSTA LUV Snoop Dogg Featuring The-Dream

Hiruj earns double
detMts on
Mainstream R&B/

K'l

tnwi

C DtgAiiGE J IHOMAS (C.OlBARGf ,J IHOMAS A SEST) • REAIIIY/KEOM

WHAT 1 VE BEEN WAITING FOR Brian McKnlght

BORROW YOU Eric Roberson

■ ■ ■ 1 1 ■. 1- ^iftRFni Q pujE imr_ Lic, I

SUCCESSFUL Drake Fealuring Trey Songz & Ul Wayrw

Hip-itopasltiis

Irarii m\M% »t Mn

RUSSIAN ROULETTE Rihanna

■ ■! .■■.'iii.C HAHMOm O SHf.ntI I r.' .

1 M GOING IN Drake Featuring Lil Wayne & Young Jeezy

39 and "Bedrock,"
hei group eftorl
with Young Money.

RUN THIS TOWN Jay-Z. Rihanna & Kanye West

■ .M 'lO I n 1 j L CAHltil.K WEST t WllSCW.fl FEMIY A Al AIASl ' ' '■■'■I ■.

VENUS VS. MARS Jay-Z

-1 ■■■ ■ -an iisitoi RGc NAiir.ij

BEDROCK Young Money
■ ■ * /i:]jjfi(j.Liafn::DiFTaAUR»n(*Lawiscmwsi™^ wcMOHnW".".- rj,-.;.-. i,\ ■ '.'.'i;v-i,

earns apptause at
No. 50.

SLOW DANCE Keri Hilson

■■■'..v, iiLn.^w^',KLHLst«jri*mAW:jBtAMLiH»aCTKsu]imjoa™rtim ® i*mYa*t iifmn^jiixi

' w

FRESH 6TreG

■

THIS TIME K'Jon Featuring L^e England Jr. & Augustine Alvare?

■ ;i. P .e HUGHES.H 0PATTO^O DAVIS.H WALIER51 0 MOOHSIONE JIVE.'BATTEHV

K'.' .pfi 1 ■'■ 'J L '.' K ; . mN'>'J% [ UPiUP'U*ilVtRSAL REPU :i . i' r,' 1

THE POINT OF IT ALL Anthony Hamilton

CANT HARDLY WAIT N'Dambi
II iN DAIriBU R aUILEflJR .R L BfltAUX.S M ELMtMDAOUJ LF SVLVERS III) 0 COCO RED^IAA Cf.1G

1 AM Mary J. Blige

■

The group's first
albuni nlltHHil
Pleaure 9 arrives

BODY Marques Houston

~i ?/JBllGEMSERIKSEN Tf MtRMANSEN.JAUSTIN.EOEAM.MBEn^l lUATRlAHCHQEFFEriMnERSCOPE

■11 ■ -t..iLiSION..'(C HSHER.C SIORESI ® MUSICWOIJK'" I , ■

LAST CHANCE Glnuwlne

100

BREAK UP TO MAKE UP JcrrmiM

TRUST Keyshia Cole Duet With Monica

«ilh 9.000 on llie
BllllK)afil2O0(Ko.
97).alarili«e(eiK

FISTFUL OF TEARS Maxwell

! . ■. It L.'iU- ® .:iUiiMl^,A

J»

TIE ME DOWN New Boyz Featuring Ray J

INDEPENDENT CHICKS Candi Redd

1 ■ ' . '.H "i| .1 OttV'Ut HALl A->AMt

EVERYTHING. EVERYDAY EVERYWHERE Fabolous Fealuring Kert Hilson

horn Its last set,
whldiledlliellstin

•9

RAMPING SHOP Vybz Kariel & Spice
I ■ : 1 M E HERMAttS(N.S SMITH) Q) ADUAHEIU

THROW IT IN THE BAG Fabolous Featuring The-Dream

2007 with 132.000
units.

SAY A COMMAND Pretty Ricky

b SMITH ID 9 UMIH S 6 SVITH.S SUItK.C MATHIS.E KANOA) • BLUESTAAOIG CAT TOMUV EtOY

BLAME IT ON ME Chrtsette Michela

■

DONT STAY Laura Izibor

S LUNI.L IZIBDR a mBOR) « AllANIIC

BULLETPROOF Raheem DeVaughn Featuring Ludacrti

WE BE STEADY MOBBIN' Ul Wayne Featuring Gucci Man*

I- ' ■■■■ lli. l: .illH\SONHDAVIS) NU I LISTED

'PAPERS'

CHASE JAY IN TIGHT RACE

■ 1

SOBEAUTIFUL Musfq SoulchM

GOIN THRU CHANGES Ledisi

JAY-Z

)ay-z, s trnpire state oi Miiia remains atop tiot K6i.K/llip-l lop bongs.

over

HOW LOW Ludacris

■ ' ■ I Ai.LIAWS C RIOtHMOUR,£SAOLER,H,SHOCKlt£) DIP'DEf JAU-'IOJMQ

Usher's "Papers." l)y the slimrnest niarj»in in chart points between tJie top two
songs in six years. Witli each song earning slightly more than iS million impres-
sions, the rapiXT has a 1 .i-point lead— a difference Usher conld have overcome
with one additional spin from almost any radio station. Tlie chart last witnessed

)

1 GET CRAZY Ntckl Minat Featuring Ul Wayne

I. -.VJ O CARTER) VOUNGMDNFV

VIDEO PHONE Beyonca

' II B KHOWUS (B KWMn.ES 5 CRAWFORD S GABRETIA BE>1NC[) G UUSIC WWUxmUUM

)

GOTTA GET IT Juvenile

a margin this narrow in April 2003 when 1 1 points separated Sean Paul's "Get

SEX THERAPY Robin ThlcKs

Busy" and SOQ-nt's "21 Questions." With three weeks at No. 1, "Hmpire" malch-

SWEET DREAMS Beyonca

es "1 Just WaJina Love You (Give It to Me) as |ay-Z s longest stmt on top as a lead artist. — Raphael George

ta for wGel< of DECEMBER 5. 2009 I For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 43

TOP GOSPEL
ALBUMS

120091

CHRISTIAN SONGS

TITLE

AHTISr iVtfRlliT F'ftOMOTIOH LAO[t

1 15

]

UNIIL Inc WnULc VVUnLU nCAtlO

CUSTIKC CfiO*HS " i i ; 1. nui

SIDEWULK FHOPHEIS Ii ■ ,- 'il /,

DCVICt ATI/^W CfMkl^

PHIUII'S CHAIG ft (KAN r. i

WHAT FAITH CAN 00

KUIItSS Hi ■ 'li"H f. IIAK

kJI^I r> KIV UCADT

nuLu M T ncAn 1

TENrtl tVENUC NORTH RIUNION/PLG

THIHI) CAY tf AI lACETMOStrV ESSFNTIAL.'PLG

LHAU ivit 1 vJ 1 nc lainUaa

CMItlS AHU CUhlkAO f

^ttJfX '^lUCi *«INf.
oinvj, olrvu, OlrlVJI

Chios tomiin : >.','iPi. ^pAnRow fMi cmg

THE MOTIONS

MAmEW WEST l^^rAHiiOA tUI CMti

MARK SCHUin WtmO CURB

HOW HP 1 OVP^

DAVID CnoWDin 8AN0 ^11 S It I'S. SI'ARHUW'EMI CM<i

MORE BEAUTIFUL YOU

AI lUC Af^ A IM
MLIVEl AuMin

MAimUIUH- ■ f'lG

1 AV cu rtrMAJU
LAT Cnrl UtyWrl

N(EUID8R£AIhlt ■■! -^li ,'. :"'flD-CURB

ncMVCH Is 1 nc rH^c

SIEVEH CURTIS CHAPMAN .i f.^iHOW EMI CMG

LET THE WATERS RISE

MIKESCHIIK ' 1

c/*\Dr^ ll^C M

SANCTUS HEAL ■ H' ..'. ! Ml CUG

lEElANO WITH BHANDOH HUIH ESSENTIALPIG

i n uccn A CAumB
1 u r*ccii A sAviun

AMONG IHE THIItSIT HtV

UN ANU UN

CHAStN iri'l

uc IC u/iTu vmi
nc la wiin tuu

MANDISA '^rARIinw EUl CMG

iT'C vmm I iBC
1 1 d Tuun Lire

fRAHCtSCA BATTISmU ftRVENI.WOH» CURB

i-HlL WTCRKAM (EAT BART MIIUIIO INO

rii nRini i^

NtWSBOtS i .

LINCOLN BHEWSIER tiltEljRIIV

ALIVE

POCKET fULL OF DOCKS '.'v-ittH WORO-CURS

Vir'

BEAUTIFUL ENDING

BARIOWCIRI ■ ■ 1 iJfiB

THERE IS A WAY

NEWWOniUSCIN 1',' J'

ALWAYS

KWltCHfOOT < i| :i:UIIAI rUI CMG

YOUR HANDS

JJ HEtllH ■ I. M I.'.LIli

SOMETIMES

MATT BRGUWEH 1 ! - • [

FROM THE INSIDE OUT

HfVENTH DAT SlUMBEH ' [i.:<TH h \M

HEALER

KARIJOBE iNTil.'llli

WALK ON THE WATER

BRIT I NICOll ^l.^:-|l.^ (Ml (..M(i

HEARTBEAT

HEMfUY DHtVE .■.h'i"'. ClIHB

GLORY TO GOO FOREVER

HE ilJi.

rUH Inc rlHbl IIMc AuAtN

JASON Gur ciiar^iLiTv

AGAIN

ILTlEAf '.!lM;0<:iONE.'INUHSCOPE

(jUlJ-brlAPcD MULt (ZUiO)

PIUMB . 'I'l-i

41
©

39
42

THE MEANING OF LIFE

MAWM KELSON ■ i ' "mi ill ^ Ul.i:

FORGET AND NOT SLOW DOWN

l<ill[H1 !>■■■ ■,. I' ■ ■ 1

DONT YOU KNOW VOU RE BEAUTIFUL

SEABIRO i:i ' 1 Ml''.. iM. (.Uli

LIVE LIKE WE RE DYING

KNISAllEN 1 . V- .Lli

40
©

46 5

1 liMI'jJ

mSm

1 AM LOVED

ABDUE THE GOLDCH STATt SPARROW. EMI CMG

HANDS

THE ALMOST lc:iTM A MML

MESS OF ME

5WIICHF0D? ' i'l f Ml tMti

NEVER SAW YOU COMING

BIBO NORMAN !ifr. T-.ntx >. tMiL

OUR TIME

CROUP 1 CRtH il ..:i' .'. . ■■ ;.i ■

WE WANT THE WORLD TO HEAR

Dili UAOOY WEAVE '

m I.BO pbys at !4 o< UK st^ ffloi-
itoied toi Hot tapd Songs, tofliul velmn
Ffed Kammofid mUhes Ik lint No. I since
lt» diart's 200S laundi. As a lead artist his
mloi best ms tiK No. IS peak o( "TNs Is Uw
Day" in Janiary 2007. It's also the lii<^
tank l« teatuted artist John P. Kee.

ATOP CHRISTIAN
W ALBUMS'

■

s*»
SS

ARTIST

HUE I'.'t |..;ra i NUWUlfl ()l!,IHIhUI''J(, L/.dfl.

CCHT. 1

mCSI HI CASTING CROWNS

' t

1 2

FLYLEAF

MEUfNIO HOni iW OCIONE 013S12/EMi CUG

VARIOUS ARTISTS

iHW iflTS ?P1il 1'.' ■ ""i^^ii^JEW-WTEfiRnY 4fi7,QAClC

PHIL WICKHAM

CHRIS TOMLIN

ClOHY IH IHI HIGlKSI ■' tl i'l'iPWflfW ilil fUl CMG

SWITCHFOOT

^ip ifmit ■ ' 1 Lie*

STEVEN CURTIS CHAPMAN

BUUIY will H1S( ' L"

SKILLET

*W*K£ ■ ,1 ■ . J . I'.'lLjtm

DAVID CROWDER BAND

ll'l.^i'JtU CHRIS TOIMLIN

KUTLESS

IT tS WELL btC '1/4 [Ml t.Mti

FRANCESCA BATTISTELU

M» PAPIB M[AHI 1' .S'Jt Wd'J'HiWIJHD CUHB

SARA GROVES

flKFlUS AM) SOMGS •' 'J.t'HHriZWKMIhTfOKHlY

THE ALMOST

MONSKfl MONSUH ~ 'riTH & KAIl 4S41'tMI CUG

MICHAEL W. SMITH

THIRD DAY

flCVtLATIOH t j^ilJTlAi tOSEi3i'PROW€NT-IMTEGftlTY

■HI

SELAH

TOO OCLIVER Me CURB /9l3BH'W0R0-CiAB

IE)

2
4

VARIOUS ARTISTS

MiMlHiw»3un»fT+i"-' -I'v •

«C'W»u!i:«i:i:C-:- . -isyjiii

HA/

HIUGCHnsTMAS KUS' :J3t

BARLOWGIRL

LOVE h WAH KHVt'.T OSfS&KWOflO-CUM

MARY MARY

TM SOJND'/' ■illXTiTKKTiOlllAflAUIirMniXVIUIiENIV^

i©

JEREMY CAMP

LIVE ■l;r 19;'3 EMI CMG

RELIENT K

(0%tt WCIMJT SiCW IXIWII WWO 16 KtEFB iOTIIiWJflEMlflB

f©

MATT REDMAN

WE SIMU NOI SE SnUIH .iCSID^SfWROW 222001 (ML

TENTH AVENUE NORTH

OVERAMlUNOOWfAni i!Lr«n IDI&VfKMBETWIfEnnV

VARIOUS ARTISTS

SONGS 4 WORSHIP bD ''(tLGRITV 2.1 J02. IlMt LIEt

NEEDTOBREATHE

IKE OUTSIDERS ■■■ i .".'1 S''t:ii. iVjI'^l L L'Klj

I-

VARIOUS ARTISTS

•

wow WTS ZW) ■ ■ ■ . . ■ 1 .

1©

■EW

■mE BROOKLYN TABERNACLE CHOIR
MOM ram WW imm&v

PHILLIPS. CRAIG & DEAN

FEARLESS ',i< . ii'.l:.' NI 1'. II ' > .

BRITT NICOLE

THE LOST Gfl FDUWD ''nsiRDW 2i^& EVI CMG

JASON CRABB

iASm CfUBB L, ' 'I'll ','IJSIC«iCJllf lUiEWCMr.

SHANE & SHANE

EVERTtHINGIS DllfERENT INPOf Ud3 EUl CUG

KARI JOBE

mUUiOBI IVUdRITY 45^'PROVIDENT IMTEGRd'

JEREMY CAMP

SPEAKING (OUDEH IHAN BEFOU > . W>U tW, *

GAITHER VOCAL BAND

REUNIIIO , ' . . ..l.i) -U. t W,

THOUSAND FOOT KRUTCH

WEiCOMI TO THE MASQUOUDE liJJTH H M I 'LiU/l LVI,

MERCYME

loin ■ ;t.p .'I-. V uv.i iJiTLGniiv ♦

RED

IIMDCEiCEiilSTlKin-rtMW ■i.ffeLtHWttW-AIECWY*

HAWK NELSON

LIVE llfE LRUO' ■ 1 " ■ '.'I '

ERNIE HAASE & SIGNATURE SOUTffi^l

SIDEWALK PROPHETS

mist MMht TduiHF, ''.Tlllnti79«l£XW0Bn-CUW
MARK SCHULTZ

COME ALIVE '1' ' ' '1

PAUL BALOCHE

CLOfl«OS'NI|..' ■ 'trit ifUfGRllY

LEELANO

UM IS Oh THE MOW!

HILLSONG

Rni - WPS • Jfrt .\t .,.;,":i>!i"i .J..Ji^i.MtV-|-r;at*'

BRANDON HEATH

WMAIIfM ■ '.■ ■ l*.#iI0f7f«mtVl-KIEG«ri'

WOMEN OF FAITH WORSHIP TEAM

A Gftftfid KIW [lAY '■ ■ ■ 'Iiwiirfl.-J E K «'f)flr» CURB

ISRAEL HOUGHTON

iME PtwEflOf ow.',!' i I: ■. ■ 1 riLMHwrmLiwrf

DECYFER DOWN

CHASM 1;, ■•■ 1, , ,i| ■, 1 Hi t'.HIlY

WMi Un Qnup's fouth studo ailMi, bsling
(fOMS nalK Its biM Ho. 1 start on Ion
QllsdMi iUhns and iKst Nielsen Soundkan
weeli to dale (167,000 coiiies). The group
logged its fifeviot5 best week NtKii "Ttie
Altai and the Doot" moved 19,000 in
Septtmba 2007 (se<sloiY,page22).

HOT CHRISTIAN
AC SONGS

WEEK

»o

TITLE

ARTIST 'M'-HiNI CfiOMOnOIJ lASEl

l.I

LI t Y UN OUH KNcca

lOArMU FOREFRONTJEUt CHG

UNTIL THE WHOLE WORLD HEARS

CASTING CBOVmS ttf ACH STttff T.flfUNlON PLC

1 nc WUHUb 1 WUEJLU aAT
SIOEWAIK PROF»HnS Fmvfljr '/iC.KO am

REVELATION SONG

PHILLIPS CRAIG & DEAN 1'. >

LEAD ME TO THE CROSS

CHRIS AND CONRAD . -

WHAT FAITH CAN DO

KUTLESS I L'. liirjTH *. NAIL

BORN AGAIN

THinO OAT FEAT LACET UOSLfV ESSENIIAL PIG

HOLD MY HEART

lENIM AVENUE NORTH liL U'II(}N'P1.G

HE IS

MARK SCHULTZ WORD-CURB

ciur* ciu^ eiki^
SING, aING, SING

CHRIS TOMLM ..USIEPS.SPAHItOW EMI CM6

LAY cM DOWN
MEEOTOtRUTHI ATLANTIC WQRO CURB

GLORIOUS

NEWSBOYS INI-'M"

MORE BEAUTIFUL YOU

JOHHT DIAZ ',:<

FOLLOW YOU

LEELANO WITH BRANDON HEAM ESSENTIAL.'PLG

IT'S YOUR LIFE

FRAMCESCA BAniSnul FERVENT. WORD CURB

ALIVE AGAIN
MAniUHCR 1 '.''^-NTiAi PIG

HOW HE LOVES

DAVID tnOWDER SAND x .1fP&SMftRQW,EMI CUG

HE IS WITH YOU
MANDISA > '.V 1 '.'1 1 Mu

SAFE

PNU WICKHAM FEAt BART MILLARD ItJIl

HEAVEN IS THE FACE

STEVEN Curtis chapman .''ai^hoiV.eui cul.

ll'J.'i'JtU FORGIVEN 1

WHAT DO 1 KNOW OF HOLY

ADDISON ROAD IHO

GLORY TO GOD FOREVER

m 'ill

LET THE WATERS RISE

MIKfSCHAIR l.l'lli^

ALIVE

POCKH FULL OF ROCKS U'-KK" VtOtdi CUHH

UtST

WEEKS
on CUT

TITLE

AHlrST iMPXifJT raOUOllON tMEL

Vn CITY ON OUR KNEES 1

B^9ll>SrMAC IM -MHONI.'EMICMG 1

WHAT FAITH CAN DO

RiniESS ill ,M

ll'I'lVm FORGIVEN 1
milEim S4NCIUS REU SI>ARflOW^MI CMG 1

HEARTBEAT

REMEDY mv( ■■[' I t

BEAUTIFUL ENDING

BARIOWCIRI 11- . ■ '. 1 ,Vi l-iL> ' ' III

UNTIL THE WHOLE WORLD HEARS

CRsriHIi CROWNS - ' ' -i .IHttl REUNION RIG

ON AND ON
CHASER IN.

FORGET AND NOT SLOW DOWN

REIIIRT « Miri;' VS SlfftfOGfllfF

THE MEANING OF LIFE
HRWK HILSOH n in HI A RAIl

HOLD MY HEART

TENIH AVENUE RDRTH i [uSiOR.'PLIj

FROM THE INSIDE OUT

SEVERIH DAI SllfMttER HtC lOOlH & IWll

LET THE WATERS RISE

MIKESCHAIfl r iinit

OUR TIME

GROW 1 CREW 'EKVtRl rtORD CURB

IT'S YOUR LIFE

FRANCESCA BATTISTCUI FERvrNI'WORO CURB

FORWARD MOTION

IHOUSAND FOOl KRUICFI I 'HUi t, N.lll

DONT YOU KNOW YOUflE BEAUTIFUL

SEARIRIl ' 1 'i I.I.I > Ml C.F;r>

HEAVEN

JARS OF ClAY GRAY 1.' AI IF R^<f SSENItAUPLC

•©

AGAIN

FlYLEAF ' 1. i r.TtRSCOPE

THE WORDS 1 WOULD SAY

SIOEWALK PROPHEIS •tK'.iNl'WORD CURB

BEST OF ME

THE ICTTEII iUtCK lOFFTM 4 NAIL

ANTIDOTE
LHBTH GOIEE

HOW HE LOVES

OAVID CROWDER BANO '^ItSFEPS SPARRUW'EWI II.

FOLLOW YOU

LEfLANO WFTH ilFUNOOR ttUTN 1 r.i;!NliAL.'Pl U

SAFE IN YOUR ARMS

ABANUON 1 II |. 1. , 1 . Vl 1 !,((,

•E

HERE IN THIS MOMENT

BECKAHSHAE' r..|. M.' F

THIS
WEEK

W
sS

ARTIST J

IIILE lF.tl'H[NT S .'(UUetH DISIRIBUIINU lABEl 1

BEBE ft CECE WINANS

i 64C 31 tas.mAco

FRED HAMMOND

LOVE UNSIOPPABtE F HAUMORP'VIRIlY 4.U41 JiG

TAMELA MANN

IRE HIASTER PEAK IILlVMAHN S13S

MARY MARY

FHESOUIWi/YWiKXtCll W« imT'^ MUSC ♦

BYRON CAGE

EAITHEU TO BELXVI m-fV CERTRFT. VtHFIV ^W l Fi (.

THE WHISPERS

TFtAFJKFUl ■ M

THE BROOKLYN TABERNACLE CHOIR

IIEUIl>a*i««LF««HS»-. ■ 1 '.••-F,;'jS»FASC

WHH VARIOUS ARTISTS
|iir::.F.:i,.--.:.=» >.<|,.t.^

HEZEKIAH WALKER & LFC

SOOLED OUT '.'1 ' 1 ' .' : . <

VARIOUS ARTISTS

icn -u! Gayn' UBSTui . i.'' -." . ■■..'■-u^jairMSC

VARIOUS ARTISTS

wow GosnL 21)09 '.viftvaiieEMi OA-ifFfTV ner^XG

BRIAN COURTNEY WILSON 1

JUSILOi/E iii;i:i.i r, , 11 i; F/uSIC WORLD |

loriMcc n\JUvjniun ■

IHE POWER Of ONE i' F 1 : 1 r r 1. i.LLMM tZM'SMI MEJBC 1

VARIOUS ARTISTS 1
liOSPELSHSt MENWOMENQOnSMGOSFagEKrEX 1

J MOSS 1

JUST JAMES is'.IWiy'mtCfNTfiJC VfHITV 47i|10,Bft

VICKIE WINANS

HOW t GOT OVER [)FSTINV .iOy 81 ?a

LECRAE

REBEL 'U ACM 9H07C1 lllFIMIv

125

MARVIN SAPP 1

IMIRSIT ','f liil ■ ■|'/l.);i Jl^

THE CAJO FAMILY

■jSi tiwiEUi 1 aiiwtrvt FUJcn "WBPHFiwn*?''^ i.

TOUTHFW. PRAJS£ FEATURING JJ. HWRSTON

HtSTlNG DM HJS PFiOMISt - .l|F-.',Lf. tJlSf^L i:ii;N*Fl

SMOKIE NORFUL

LIVE ■! 1 f ■ '-.:." t'.'l i,--rift\.

VARIOUS ARTISTS

SOnA»*l«GOS«l'Tf.l! ,.'- .i-viaNTBtvWTisaTruiF

YOLANDA ADAMS

pumr -t m )ssi ■>■ rum tarn .mniwo r«ia» i»f j

OONNIE MCCLURKIN

WE ALL ARE DhE HIVE IN DEIHO(T| itHtlV ;|ii-ri*. ;lii

BSHOP «UL S. MORTON PRESENTS THE RJBCfMC

CRY YOUR lASI TEAR I- III, 1 .'.■• ..." H,' I

li ii

OH CHT

TITLE

ARTIST IWPSIHI PHOMOriON LABEL

KIthey that wait

BQfl ftDIMMMOIC FtCmM Pm F HNUI.U)ClV1Htr<

CLOSE TO YOU

BEIE A CtCE WINANS ' I.'.M ACH

1 WOULDN T KNOW YOU

jiMinnK 1 i-iHn s'x MOFUTMni vuniFiiioaiuw

JUSTIFIED

SMOUE NORFUL ! ■il,-v_l;. f'l Ml I'll

GOD IN ME

WART MAITY FraT KKIVW 'MJCT SKARD l.<V RIDCXCOIIM

GOD FAVORED ME

t^nilM W'ALIEH i LFC FUT NAfflflH WT • U BOGBB

RESTORED

J MOSS ■'.'■ 1,1 "-.i'O cnirHiciiG

WAIT ON THE LORD

MMNS MCCIURKM FUI URfttClAIM-SHUROVEWn

PRAISE HIM IN ADVANCE

MARVIN SAPP '.'1 h:T'F \.U

RAIN ON US

EARNEST PUGH . I'M 1.1 i.'.VDKI ■AOHLD'ft^PL

HOW 1 GOT OVER

VICNII WINANS rtAI TIM BOWMAN. JR. DESTINY Jil^

ALL 1 NEED

BRIAN COUflTNEY WILSON -'I'lfl RISING.'UUSIC WOR

ALREADY HERE

BHIAH CDUflTHEV WILSON -'Hll HISIH&'MUSIC WOR

FAITHFUL TO BELIEVE

BYRON CAGF .n ■ n i I lie: -liERUVJUj

AWESOME GOD

THE BftOWN SISTERS ' 'i . m.'

EVERY PRAYER

ISRAEL WUI'FJfTUH FEAURWti MARY HMV WltGflllY.CaLr

LORD DO IT FOR ME

AlUIH DARIIItn; - '.' Ill' . ' < -1

BROKEN VESSEL

JEFF MAJORS FEAT LASHELL GRIFFH MUSIC ONE

GRACE

BEBE A CECI WINANS B&C T/AIACO

NOBODY BUT JESUS

SRIRLET CAESAR FEAT J MOSS SHU-SEL'llGHT

THIS JOY

KHP Mti) UiiJM niDirs kiourc Fwi H MR an iftiDunF

HELP ME BELIEVE

KlRK FRANKLIN i ' .1 iitlSPO CENTRIC.'JLG

GOOD NEWS

UANfSSA Hfll ARMSTRONG fU\ GOSPEL

1 LOVE THE LORD

PHILLIP CARTER A SOV ' ''HNr.S Of VICTORY

1 LOOK TO YOU

WtfllNEY HOUSTON .1 i-.l ;.V "MG

44 I Go to www.billboard.

.biz for complete chart data

Data for we«k of DECEMBER S, 2009 I CHARTS LEGEND on Page

BTOwo IT comro r
:)scn iiidscn
1""' io^Um

iiiclscii ntclscn

JAZZ/

CLASSICAL

^HOT DANCE CLUB SONGS

TITLE

in S O S. (LET THE MUSIC PUV)

MEM -CADm imiMS )S JIVL'ILG 1

B* |5 TITLE

., c MANOSALAIHE

HtlLYdJKUOO'.H l'".;M,rH

PERFECT

DEPECMF uoyi i ■ iiii

Z1 11

CAD crtM^

3 e

HANG ON

CLUMB ■ ■

24 13

LOVE SONGS

MJUIJE -i

t 6

1 WANT TO KNOW WHAT LOVE IS

MAfWIIUWr ilMi.

20 1

Mice vm 1

«0N PEMOt ■ - i ■

6 9

WE ARE GOLDEN

40 2

7 10

SMOKE

JUS JAUK «m PMl GiUUMT FEAimK MIDM FUW UlXU

3S 8

9 10

TURN fT OUT

ALIkfl f UTUMMG Jt*M nUCT VllWAttOUSi

[W-.S

AriucL UP) 1 nc UAriLfCrLUUn

UV! lUnWXS FEATUniHG liniUUfUinP t^HHIUIl

11 9

SEXY PEOPLE

lOiEUE r.iMVn

37 4

WORKIN' GIRL

Mindiic-'r -1, 11. , v.

1 9

F-CK YOU

ttLr»tn>i -■

E9|:> *

ricAvT wKUaa

IXCOKtlP' i< MHi:

12 10

BODY LANGUAGE

jfSii Mrt»BTiiiv FEjnuBiM I nm i-m it'.vi n:o

42 3

GIVE ME LOVE

STEPHfMiiryti ■ .

M 9

FIGHT FOR YOU

41 3

DOLLHOUSE

a 1?

DID YOU SEE ME COMING?

38 11

BRAND NEW DAY

Gtcmr.iE piwfiif . ■ i4t

13 10

PAPARAZZI

iJiiiYMCJi I Ni. •iMiM'CecRRmieLnTEnjcoFi

J1 H

SEXY BITCH

(Sim liUtlTk lEATUMNCUCOK l^lUJLStlUl'AtmSI'^ia

23 1

MAKE ME

■» "

RELEASE ME

«.MES • ■■ ■■ ■ " ',IM.NIM

17 7

OUTTA HERE

fSMK ofhmi ■ .■.M.i.iriiNniscon

44 3

COME BACK CLEAN

n« utim HiTKU funjRM swr himi trn inucvi''. : l

18 6

PUSH N PULL

umm\ i MAHiMivssnvutosuNkiMliUBiaAnaii

Z! 12

SUPERSTAR

UVID M» fUTUfWO MtHSEI MOOEtTO ASICU

DO WHAT U LIKE

4( 2

HEY BOY

UD m lilt Ff ATmima mtsu mukr MTrvnitK

UDKIt ' 'i .t. T

19 8

BAD HABITS

29 13

LOSING MY MIND

22 7

WISH U LOVE

c>i*D j*t > 1 iiM LdTHR n nm H*oes

a <

PARTY IN THE U.S.A.
MiuT cimis !■ 1

2S 5

MISTAKE

43 a

AINT NO STOPPIN US NOW

lUOnAH ( DARRYl OMNNrW r<^

:»

25 5

YOU USED TO KNOW

K 11

STRAIGHT THROUGH MY HEART

10 10

MILLION DOLLAR BILL

ON THE FLOOR (OH BABY PLEASE)

18 10

WAKE UP

SIMM* r ■ -. ,%A-iVH 6KaS

RAIN

jwjuiif '■ ■. ■■' ■ :U(i

28 4

DRANf A QUEEN (TEXTINQ U)

' MCNf i['IKr - =HIHY UMIRIS =iABHV it*HPIS

EN EL MOMENTO

SILiI > i IK'IIU Hin^iilJ ;,tA IQ SUN

BAD ROMANCE 1

STRIPED SOCKS

i 3

J 8

ARTIST

tint ;'.'^Hini I miMBER f msTniBuTWG l*ki
d LADY GAQA i

OWL CITY "

IMOGEN HEAP

ELLIPSE ^i-.inFHLIML' PCH laKH.'HMS

30HI3 "

VARIOUS ARTISTS

4 12

5 16

V" 15

a 18

• ;i

0 19

1 20
t 22

S^FMIILV FORCE S
' FitWU tmct it CHHBTMW HMBHIT tMC

DJ SKRIBBLE

.iOmCI WtM.1HBlVI

Km SEXY CHICK
BMaTOaCTWMiiaiMiiiuaMnMiiiiBKWff^

KISS ME BACK

KIMSQUI !:]•<.:

MEET ME HALFWAY

IHE EYED PIUS :M-^M.1>'!

1 WILL BE HERE

TlESTD i ShfAXY sOllhD SYHIH WR*

EVERY MORNING

BilSSMUHIEH l-.-RA

RELEASE ME

HANG ON

PLUM . : iH

THE SOUND OF MISSING YOU

PAPARAZZI

UIII 0*U ^TT|iMlilHL^HltvLOItHHY1KL«rUSCDP(

BWTHEYtPUU Jt.f.JLb

SMOKE

jid jio OTH M uim njnwM iwnm nuns Mxw

1 REMEMBER

DMCMAU^ • KitSICVlI '.' i .I'l 1 HAf AND PRESS ilfLTRA

EVACUATE THE OANCEFLOOR

CUXCADA ' :l: .

FIGHT FOR YOU

MDRbAN PAEIE ',

SWEET DREAMS

REYniltE ' IIUMBIA

fd <• '

HOT

HEADY FOR THE ViTEEKEND

CALVIN HURRlt ri' .'.

1 BELIEVE

CYKnUIW RAUMW MX IMOWWI RUl ^^mULY EHnW

GHOSTS N STUFF

OtADMAUMlATuniNG HM tWM IMUSTKAP.IIURA

RIGHT HERE

CARMIM HllCt 1..'-

SAD SONG
BLACi itwit rt;«Mt fl'jy

SEXY PEOPLE

lOltM i.M'iICv

TIE ME DOWN

HEW ton FEAriHMG MY i SMjlTf AS 911)111 VWllP. BRX

REPLAY

lYAI TIME IS HWWEi. flfLlJO* MEIGirS. fiEF^lSt

BA8V BY ME

HcnnFUTiinHi«-nsHADv.AFr{iiuiiHii.rER5i::jPE

M for week of DECEMBER 5, 2009 I For chart reprints call 64G.654.4633

FAZZ ALBUMS' ^

ARTIST

1 1 7

MICHAEL BUBLE

"SSI

VARIOUS ARTISTS

BAR6RA STREISAND A

lOVt 1H[ AHSM'IK ■ I.'.IL.i

HARRV CONNICK, JR. ^

. •

VARIOUS ARTISTS ■
Li?'vati»NiAiifUWUOl(aiKiDi::M»[iat«iiSE ■

5
6

4
5

PINK MARTINI
tncNMR IN TK imil Hi m s-

WYNTON MARSALIS jh

3S
6

DIANA KRALL ■

OUIET NIGHTS .- VI

THE BRIAN SETZER ORCHESTRA

tOHIA IMi-jH LUHtLH AVEHUI 1 :

MICHAEL BUBLE

KMC 1 ■ ; enwo TjR ^1

MELODY GARDOT

~F^NK SINATRA
C*i!n«iir- !«,•'* (v-Mi .■

FRANK SINATRA

Bw««i-n

NELLIE MCKAY
iniiKUUEiBwrFi.Amunr[i

SOUNDTRACK

ATOPTRABiTIONAL

W CLASSICAL ALBUMS'

ARTIST

TiUf mmi h mmis ; oisinsutiNii uiBti

Kl CECILIA BARTOU

BSs itavoM ~t;;»aiMiaiiwGi.cussi5finair

2 53

THE PRIESTS

THE mtsn Ni.iviL.iiiR jj'iii'J y.irji ui.ii::

5 S

UkNG UWa WDM R^HiMIIIISCHA MMSKV
iMuncwnwHrpwim^

4 37

PLACIDO DOMINGO

3 10

RENEE FLEMING
vimm li'i..-

21 2

LEIF OVE ANDSNES

luiaon mm o u {iw-miixuiM

11 76

THE CISTEBOW HOWS Of STfT fCLBEHKRELC

to 64

JOSHUA BELL

■

B 13

BELft FLECK ZAKIfl HUSSAIN EDGAH f«YEfl

JOYCE DIDONATO

nii'-SM cdiFfWi ruEMijy ■ j ■ .

13 54

LUCIANO PAVAROTTI

TIT nuns - -/ ■.:■■<■■;

MICHAEL JAMES BATTLE

IKOriH AflER UIDNIUriT > i ' " ! '

HEW

ENSEMBLE CAPRICE (MAUTE)
1ELB«MU]GI1IHII»ani«»DUr^ . '

e 3

ANDRE RIEU

jF.mHBEttinHiiiKiiaiiiitHift-j'jHn'..')'.-^

16 9

JOSHUA BELL

K eroF Mnu if»nMi>n Ttn-MRsicesr xir

■

li! li

S ARTIST

Tiui mm' & HuuKil . otsTiueutiwi ^t^Li

BONEY JAMES

ID " '
Bl " "

HH^ ' 17 45

EUGE GROOVE

SlIhOM UURNING I '

PETER WHITE

C0O[iD4V ■ II

NAJEE

M1W DVIB MMltBllfJWi UP 31H

KENNY G

ftrams ■■ri MFJCc^^uHwntt.iW^wa

SMOOTH JAZ^
SONGS

wW TITLE

t pi ABTin iv^-^iN' pnoMTioMUim

BTI BRIGHT

PtIEHWMIi WAH'CMfi

A TOP CLASSICAL

V CROSSOVER ALBUMS-

?i is

ARTIST tr

TIILE il.lHtnT & HL-AISifl DtSIHI6.-JTII»a tABfL 8

in ANDREA BOCELU
ifftl MY cHFtiinui suawt ou^jTitiECCA

STING

■ ■. " J >' •

3 6

JOSHUA BELL

5 U

MORMON TABERNACLE CHOIR

fiw;:MHSiM«*Eiis " ■

■

J w

IL DIVO A

IHE CHtJMISL ■ ' ^

6 55

ANDREA BOCELLI

INCAKIO •

7 25

DAVID GARRETT

9 37

[MM (iWlttn >

SARAH BRIGHTMAN .
STFVMOiiY u-«inmuH* .'<'inH?i«tBl£>^ Bl

8 7

CHARLIE BAGGETT ■

1 ONLY WEAM W YDU ll'-. 1 . Irl

13 30

PAUL POTTS ■
MSSIOUE ^YCG ^TmSMY UllSir. ^1

11 ?

;is

GREGORIAN H

CHRISTMAS CMAFirs :

MORMON TABERNACLE CfHOIR'H

. W .L,1.n.|.l«, -J^MM

10 ■<

THE CANADIAN TENORS H

A JOYFUL NOISE ~H

15 26

ESCALA B

TOP

WORLD ALBUMS'

ARTIST

TITIE W'l 'lf V.W-

RIrodrigo

TROPICAL RAIN

ifSSY J LlJj

BURNIN

PAUL lAYUlR .4 [:MU

TALK OF THE TOWN

OAmUIMMHr;.'.."OL<a

SONGBIRD

CHAlG DIACUIGO "". > " .

Ifl

SWEET SUMMER NIGHTS

CHASING PIRATES
NORAH >OHES - ■ 1. '■ &

LIVING IN HIGH DEFINITION

CEaRQCUNSON

TIJUANA DANCE
mci BMAim ' I'l' '!

WHO WILL COMFORT ME

«L00» GAROOT .-.h.i

BOGOTA BY BUS

ifSSE com i'*(.MH(KJSt'ti

lilD

TOUCH

BONEY JAMES i ^'.LORUCIKl

RETRO BOY

RICKAFtOELllOI AtllSTRY

GO FOR IT

BERNIE WIlllAMi R!F(»1I4 t^UCK HIDuE

■

NIKKI S WALK

sum Im

Y GABRIELA I

■ i,:'.!il-_*!0_t

TS B

CELTIC THUNDER

LOREENA MCKENNnr

A iCDrBWMMi vmst j ej '.s ":wnvBM w

REBEL GILBERTO

ALL IN ONE .! I ■

DANIEL O'OONNELL

ffkCt IH iw VAtiEY tinor..'«[L. ti;D»TV UtMA

JESSE COOK

TW BajWBA FOUWOATIIWI COA^H HQVSl iWZiII

Go to www.billboard.biz for complete chart data

BillbMrd

AIRPLAV SALIS Oni

MONtTOAEO Br COMPILED

niclscn P.'.Sl'tVT

BDS SoundSc

N SONGS

■n

TITLE

ARTIST 1 ll.'i'HIfn PROUOItOM I AHtl 1

Kl LOOKING FOR PARADISE

WffCT lUJINDnSMCnOIJWQMXHNIVSiWAPMnuinMl 1

ESCLAVO DE SUS BESOS

DAVIO 8ISHAL i i i : '.' I . tiii

TE IRA MEJOR SIN UI

JOAN SCaASTIAN Vii /. l! i-.iir'A

ME GUSTA TODO OE Tl
HANDA tl RECODO l' jlJO'i'h^/>i

HAY OJITOS

INTOCABLE SHNV MU5IC lATtN)

TE VES FATAL

El IXaNO OE MEIICO il r)riOVISA'UUSIVISAl

GRACIAS A Tl

WISIH A TANOll ■ : ..( T

■

LO INTENTAMOS

ESPItlOIA PAZ

Ml CAMA HUELE A Tl

ina El BAWHINP' FIAIUntNll ;10N I LEHNOX iSlEHIh

SU VENENO

AVENIUHA ■ 1 ■" " ■'

DERECHO DE ANTIGUEDAO

LAOniGINAl HANDA El IIMOK i:'IJ'~ulSA|

LOBA

Nl ROSAS Nl JUGUETES
rAi.imi (iu^ii:i . , .M I'mii. laiinDi

LA CALABAZA

lA AHDOllADORA BAHDA EL IIMON <DISA|

MANOS AL AIRE

MELLyFURIADO iMlb TAR UMIVEHSAL lAUSIC lATINOl

SUFRE

10$ OAREVES OE LA StERM |0ISA>

Nl CON OTRO CORAZON

PEDRO KHNAItllf; i uib'l

Ml COMPLEMENTO

lOS IIURACANES DEL HOAtE i:>ISA»

FELIZ

AANY GAEtCIA ll.ON/ MUSIC lATIKi

EHES TODO TODO

JUIION ALVAREZ Y SU HOHTENO BAMM 'OfSA ASl |

SE ME VA LA VOZ

AlEJARDRO FERHANOEZ IVIVIR^AI MUSIC lAIINOl

RECUERDAME

LA QUINIA (SJACIDM ^JV MUSIC lATIV'

IHl'lVHI ENAHORE DE Tl

rTillTTTI^I CMAVAIMf iSONV MUSIC LATIN)

EQUIVOCADA
IHALIA I' '. -•'IN

SIN EVIDENCIAS

BAHDA MS

ESTUVE

ALEJANDRO FEHRARDEZ PUHDVISAj

GRITO MUNDIAL

OADDY rARKEE il LAfllill

■

CELOS

FAMBYLUH.'JIVrRSM MUSIC L AIlNOl

CAMINOS DIFERENTES

ROBERTO TAPIA iFOriOVlSJlMUSIVISAi

COMO VOLVER A SER FELIZ

LUIS ERRIOUE iT^P ^ITOPl

1 GOTTA FEELING

THE BIACA ETED PEAS

HOTEL ROOM SERVICE

PIIBUII il'- 1 Ml, 1, . ^ ■; ■. I HWGp

TE AMO

CUMBHE NORTERA : l.- 11 Allfii

SEXY CHICK

DAVID OUETTA FEATUfllNi: AKON iGlM flSTrULHCRKSi:tflTDl

EL BORRACHO

GRUPO MURTEE DE OURAHCO IPSA)

EL DOCTORADO

rORT OIIE ■ II

SOY TODO TUYO

LOS lUCAHES OE IIJUAJU iFOROVISAMDSIVISAi

ENCONTRE

CONJUHTO ATARDECER lOlSA ASLl

SIN OUERER

IDRtrA RAZARIO '.v MUSIC LATIRI

TU DEFECTO

ins CRf ALOaj nn FWJTP DLftWQUrMJE Of AJFHfOO RAMN7 '

J©

DID IT AGAIN (LO HECHO ESTA HECHO)

SHANIRA cPlC SONY MUSIC LAIIRj

PAPARAZZI

lAOY CiAUt 1 ' TKJ AMLI^4.K0WLftrt:'Cl^KHYIH4t'flTEWStXI*t i

IS)

DILE AL AMOR

JkVf NTURA I'HEMIUM LAIlN)

AMOR QUEDATE

JtNCARLDS iflUlLSEYfl

IS)

CflEERE

TEHCIHCIEIC iKASAf

[®

H-EMTIT

YO ME CONFIE

AHOHfS MAROUU 11 HUCIH)- ilMf-H

EMPIRE STATE OF MIND

JAT-Z . AllCl* «YS it--iii. Ntriil'tji

LLUEVE FOR DENTRO

lUIS (ONSI . 'i . ■

SENTIMIENTOS DE CARTON

i>utiO ■ ', .1 ■, ■ "

CIBjO azul. cielo nublaoo aka cielo nevado

PESADO ill' ■■■■ . 1

Bdiida BIlKOilo sons Its eigm No. I on
Beghml Hajon Aiptay X "Me StEta lodiMle
IT twins 4-1 00.1 ndon Hmi imnesiois,
M ZIN). Awtaig the ton r Dvc Keels, tie
song is t)» stonl-laslesl anini at No. 1 tlis
fear, ontf inlns the song i leiitacB,
MoaUt^ "Hat Wos," «Mdi toot kw.

^ TOP LATIN AIrBUHS^

A
w

sg St

■1 / 1

ARTIST

HUE Mi'iv.t OlSTRIBUTMQ LJLBtl)

KIaventura

QCS IRE LAST l«8UMALAni2atOHBrrWU)ClATr

MTIHOT
DEBUT

LARRY HERNANDEZ

tRVIW MUNCUUiCINWiaETATMDWAUiaUUU^

TONY DIZE

U Ml XU Ct U CAUf UraAttDl FW 7in)1 SCAIY lAISC iA1n

JENCARLOS

BUSCAME 1 "Ell .■niJ

MARCO ANTONIO SOLIS

JAAS DE MARCO ANTCMO SOUS fl^jW A lSi?!&lWlf ♦

ttaim JOAN SEBASTIAN
Milm naAaTOAicoMaNM£Afii«ta«Aiii^

EL TRONO DE MEXICO

HASIA Ml FIHAL ■ llii'.i i'jJJlS UMlt

ALEJANDRO SANZ

PARAISO EXPRESS lATINA 5ZZ5I9

EONITA jm
SOY .AIIIJ SS9J4 ^|

WISIN i YANDEL B

lA REVOLUCIOM A' 1/': HEIE OI396r,'UIAl£ * ^|

VICTOR MANUELLE Wit

TD MISMO ' : ' :;ilj> MUSIC LATIU UK

LOS RIELEROS DEL NORTE '»

EH VIVO PARA Tl FQMOVISA 3SA286UMLE *'

GILBERTO SANTA ROSA

1£ HfJOR :i Um« a lA IMnM HAf wise LAW imBT

TITO -EL BAMBINO-

a PATFKM m YC11JIM3?PLIWtlt»i lAlX lAJMI SMOAAi

.-IS

•

DON CHETO

EL KTME OE USTEOES E . A-lllO 683?

LARRY HERNANDEZ

16 NAftCO COdHlOOS ' 't l '^fOWMSA S:'003;i»At

ESPINOZA PAZ

(DROCAHTD PfRO 10 KTENTAMOS ASLEISA 7XC5LUAI

VARIOUS ARTISTS

RADRJEAITOS EL OUCO Oil AI«1W(ISA ;?41871M£

TIERRA CALI

HIIMTlCUIirKI, llrtTl ,. - * 'r«k-JllAritl.llI«((iy|DIAA

LOS TIGRES DEL NORTE H

lA CRANJA < 1'; . ": .

DAVID BISBAL S

MFAPARimu > ... niniJJSltAftE f

VARIOUS ARTISTS H

»H1H ■> COALAMUIKAMMtXKOM'J.M.J .tXIJSlAAi

LUIS FONSI

ruAMU DEL lAEllCO 'r.1 .: A. FAOt lAIWD »< iEi-LlAAi *

TERCER CIELO ■§

' .M

TITO "EL BAMBINO-
EL PATRON r;-i . 'i 1 liF.-iE

EL TIGRILLO PALMA

El REY OE LA AUSM • • . ! - : tlMLE

EL TRONO DE MEXICO

ALMAS GEMEUS .' Mi.: A i. lM luMlE

VICENTE FERNANDEZ

JUAN GABRIEL

nn UNUimi FAS AFUUa ■ ■ r.. 1.. ■ -1

LA ORIGINAL BANDA EL LIMON

DERECHO OE AHTICOEOAO. 1 '. . r , Ll.f

2«

HECTOR ACOSTA

MARISELA

ZD EAIIOS INMORTALES ■ ' 1 i

LUIS ENRIQUE

CICLOS ' .1 . :.'.1i. »

LUIS FONSI H

SSDPtRIATS(tPTilWlAlWSJCLJETI«0136ia«*l

LAURA PAUSINI S
PRIMAVERA ARTICIPAOA Z.ARSER LATlNA IttbiJ

OLGA TANON

I 13 IML^IC LATIN ♦

EL TRONO DE MEXICO

OESOE LA PATB.1A EN VIVO ' ' . INaBUMlE*

MARIACHI HERMANOS BARGIAS

CANTOS Y AlAHANZAS l;ha.A;, sS9V»JA ♦

3«

LA OUINTA ESTACION

SINFREHOS illlV MUSIC lAIlN IA9A7

MAKANO

6 SUPER HITS 1EP) MACHETE AM036UULE

EL COMPA CHUY

GENIE PELIGflOSA .UM MUSIC lATlN SATI9

JOSEPH FONSECA

AAWJm WCIIFIA , "J ..^ . . Tj,- -:M FAJJL LAIAC FClTuUHi

NELLY FURTADO

MIPLAN'.I " lir.r. . l FAl^ LATMOOIill&tMi

PS)

LOS TEMERARIOS

SERIE OlAMAJaE JO SUFVT EJOIOOOGA ^1347 EXUMU

LOS BUKIS

SiFMUlANANIL 3BSUPTR Eni1ISHI4MASSAI3BEUAU

INDIRA MONTES Y LAS FLORES M

LA ROSA UE GUADALUPE PLATINO IID47 ^|

DADDY YANKEE B

INiNTOUUJMtAaMITRFOFlK rjJITFl.MNJflEinaMAAi

PATRULLA 81 Mj
SERIEOIAAiAmE 30SUPERETtlT0SDISA72l3S6E]L1JI4£ ^|

TIERRA CALI

WI-JITVAI .. .. J( IA.M: IA1IWI<6J^IAIU

NOEL SCHAJRIS

UNONOiSUND '..1.' ir lATIN SBjaO

■

EGIONAL
EXICAN ALBUMS

IS"

sg if

ARTIST

TITLE MPH.IJ1 OlSIRIBUTING lABELl

Ql LARRY HERNANDEZ

HBfl lnAH>nsaaAlKNIlf1NUFl>IMA"[iroiAll

1 3

MARCO ANTONIO SOLIS

MAS Lll FJA^LU AhUniO SUliS - F(,.M.,- l .i.'l .i ILVI *

A
w

JOAN SEBASTIAN

PEGARITO Al CORAZOM MUSART 420B BAIROA

EL TRONO DE MEXICO

HASIA Ml FINAL IllSOVISA 3.SA3IS UMIE

■ft'

LOS RIELEROS DEL NORTE

EN VIVO PARAII lUri.'^V'Sa 3S4Z3GUMLE *'

DON CHETO

EL ATME OE USUOES '■: .UlNO &8JZ

LARRY HERNANDEZ

lENAflCOCOHRlDOS >.Y.IIIitTAICWVSAS7D03;UMU

ESPINOZA PAZ

YONOCAMIO FtR0U]BmNTAM0SASt.nfiAZ30aX1M£

VARIOUS ARTISTS

IWnO EJUIOS El DISJ:1J DEL AND 2001 OGA 7?41 SZ.mU

TIERRA CALI

^lALJIl taunnt 1l«ll ■ . V.'^.V. Wt LIHrHilUllAAJ

LOS TIGRES DEL NORTE

lACRANJA - III . H' , •

□

VARIOUS ARTISTS

SUrtN «l Cljtl lA HtUSKjl Ztr MLtKO , .'h k'Vllfl^UIJIl

EL TIGRILLO PALMA

El REY DE LA AUSR HIS I ,■ ; i., uMLE

EL TRONO DE MEXICO

ALMAS GEMEIAS ' i I .

VICENTE FERNANDEZ

HICtSlTD DE Tl *. ■ " ■ '. . .i'sZ

LA ORIGINAL BANDA EL LIMON

DERECHO DE ANIiGUEDAD " ' .i l-l. t^UMlt

EL TRONO DE MEXICO

QESOf LA PATRIA EN VIVO ' iii.%iUML£»

MARIACHI HERMANOS BARGIAS

CANTOS T ALABANZAS : aAW.lAS SS4VTNA

EL COMPA CHUY

GENTE PEtlGROSA . lUSlC LATIN SA7ig

LOS TEMERARIOS

SERJE OMMANTE: 30 SUPER EJITOS OeA 7213A7 EXLMU

LAST
WEEK
WEKS

OH cm

ARTIST

TITLE IMPRINT [liSTRIBUTING LABEL)

SSI

BIaventura

BBS THE LAIT |.| '.111 LI . AUN ZOBOa-SOIVY lUSCLAlNI

VICTOR MANUELLE

YO MISMO ■ .1 - 1 1 M F.UISIC LATIN

GILBERTO SANTA ROSA

LCFFEJOn DFGLECPIDLNLAMtllJAISSLillll^ FAtSCLAineKEZ

m
m

HECTOR ACOSTA

sMia»i< amm ' . ' . ' lAF^AHjziAiHiemiAAl

LUIS ENRIQUE

CICLOS : ' 1 . ■ F

OLGA TANON

1 13 . '11 11 MM M 1 L lATIN ♦

JOSEPH FONSECA

•AUNTY MtHAIi ' J .1 ' H. . 1 J. aFil .AIAi"! fft'.iMI MIF

GRUPO MANIA

SE ptDo LA u*m 1.1.1 n 1 ,.1. .Y.Y, juiixi. sff(Y wisk: latk

VARIOUS ARTISTS

30 TROPICALES DE AVER HOY Y SIEEBPEIE VINA 610

<£>

TITO RODRIGUEZ

* UAH A<i1l 1^1 MU.VL 11 miwIUAAUIAFAA 1 J(nW(MARI>

p.'j

VARIOUS ARTISTS

.FWMltrilAITIYiriliWJFllV FUR MnEMORMlBC IAIN

HEW

VARIOUS ARTISTS

SUPER BACHATA 20IB PLANET SOIC^SDFfY MUSIC LATTPI

M-nT1IT

XTREME

CHAPTER DOS MACHETE UMLE

VARIOUS ARTISTS

SUPER T S MEGA RETS MACHETE 0I3I4B/U1ILE

OMEGA

EL OUENOOEl FLOW .'I -i',.' ili'M^rriv lAISIC ULTBE

GILBERTO SANTA ROSA

a LAIMIDV K lA UlLA . ' . H .. .:i.> FAKIAMI

VARIOUS ARTISTS

■ WHL-Jl NMH B 1 : Vm ' 11 lUA OT mA I NAl mMBRttKUII

15
20

53
2

VARIOUS ARTISTS

JO BACHATAA POEAIWJAS I* ' ■ ^ .1 LI ICMaSflNV AAJSKI LAIIN
VARIOUS ARTISTS

LA THULlA DEL FYMA PAM PAM 1 .SA IV)OS&SO^ MUSK lATN

VARIOUS ARTISTS

FItSIA LATIHA EllSCUb 60S 37Z03 ^OW MUSJC lADN

30 at

3x So

ARTIST

TITLE ilMPRINT DISTRIBUTING LABELl

KM JENCARLOS

Uffm BUSCAIAE euLlSEYE 8914

ALEJANDRO SANZ

PAHAISU EAPHISS .M.ltiiK iLIlNA SZ2119

EDNITA

SOY SONY MUSIC LATIN SS934

DAVID BISBAL

ntMnytATRAlvllFiFA.IRFA UiiriA^EitUAiiAAF 4-<

LUIS FONSI

FBUWIISOaSU)a)LMFf)«iALS«JEICLJLTtCILML *■

TERCER CIELO

JUAN GABRIEL

FASLNVCKMS F«l AMFJOS Itlt'Jl NQ bl.-1-..-jlYlr FA^^ .AHH

MARISELA

20 EXITOS TNMOHTAIES IM 6614

LUIS FONSI

6 SUPER HITS (EP) 1 M.SRSAL lAfiC UUPC OiaOISLJllE

LAURA PAUSINI

PRIMAVERA ANIICIPADA iVAIiTIEH LAIINA 5T66Z7

LA OUINTA ESTACION

SIN FREKOS .. IN 44M7

NELLY FURTADO

MIPLAN'JI Ml:.'.'. 1 ' 'I ' 4. lA1N00133lftU)U

NOEL SCHAJRIS

UNONOESUNO 'l''' .1 :ATINSB390

RICARDO ARJONA

SIOPISO .'.i - 11! . iii 'i i''E<9

PAULINA RUBIO

BSUPEnHTTS'EPlir.r. il.ii '1 '. A: UOINO I3H8QSJJU

YURIDIA

NADA ES DE COLOR ROSA ' "l ' MUSIC LATIN 57437

VARIOUS ARTISTS

lOP lAIIHO V4 III" 11 ■ ' llilSOtfY MUSIC LAITN

ROCIO DURCAL

OOETO ■ 1 1 1 , i .'i h ' UNY MUSIC LATIN

TRIO LOS ANDINOS

ANIOLOGIA NAVIDENA 1 i M „ l C 746

sit

LUIS MIGUEL

HO CULPEl A lA NOCHL OJIB AEMUCS AMNER lATM SZl J1 A

^^Sg if ARTIST

£5 3S So TITLE IIMCHINT DISIRIttUTlNG LABELI

g% gWIBI TONY DIZE

WISIN & YANDEL

LA REVOLUCION .1 ' '.l.',! "E 't I' IL'yt.' UMl: •

TITO EL BAMBINO-

TITO -EL BAMBINO-
EL PATRON ii'E.Mf I'Sill.SI iiMlf

■iH MAKANO

■m|M E super rets [EPI MACHETE 4B00.16UMLE

DADDY YANKEE

TAIBFYI} H BAmDiAOAOIRAOF)-; lAFiTILMJOATF .incYFlAAi

MAKANO

IE AMO l'i.'l^'.U MACMEIE 4600JI UMLE

VARIOUS ARTISTS

LATIN URBAN AINOZ MACHETE 012319' UMLE

DON OMAR

IDDN LULIIFTE OlZSfiZ UMLE

FLEX

LAIVULUCNW FVHAANIIG STTLC LMI FLLLVTSA Ul'JI .'

vico c

BASILLA L ARlBBf AN B4806'tMt lELCVlSA

WISIN 8i YANDEL

EL DUO OE U( F«STOnA FRESH ) ) J&4 SONY AtUSIC LAITN

CALLE 13

LOS Ci AIRAS VKACU CONMOO lA'PITE IHUI SWF MU'A! lAFN

DJ PAYBACK GARCIA

ALMAS . •"" 1 1.'.

ALEXIS Sf FIDO

DOWN TO EARTH l.iNY MUSIC LATIN 43S6T

DJ NESTY

■AMI Y YJMS FYimtH UI mlt WBNM JFI MOflF 11 .'?7M u E

KINTO SOL

CARCEl DE SUENOS 'i RUS MACHETE DlZilZ UMLE

FRANCO EL GORILA

WELCOME TO IRE JUNCLf IVV'MACHEIT OI?B4VIAFltE

EDDY LOVER

IICOMFIA '. " " . 't-LUAWIWAlAAiaCiAIAriAWPllAAi

KINTO SOL

I LA SAMlflt NUNCA MUCflf VIHU^

bi Its nth wKh on the Chart, "Nf Carol
Huete A Tl" bHOflHs the ttwd Trapkil

ttiarl-topper tor Tito "D Bamtwio," stepping
2-1 with 2 miion Irstmr impresaons. He's
now tied with Daddy YankN for secmxknost
No. h by a male rtryttimk artist on the iisL
The leader b Don Omar, wtlh Ave.

^ATRON

DIZE DEBUTS AT NO. 1 ON RHYTHM

Under new label Piiia.Toiiy Dizc's new set "La Melodia de la Calle Up-
dated" lands atop Latin Rhythm Albunis (3.(K)0). Previous effort "U
Melodia de la Calle" bowed at No. 20 in the May 3. 2008. issue anc
.K-aked at No. 3 a week later. Despite the title. "Updated" is a brand-new
'I tfiat marks his departure from WY. the imprint of longtime coilabo
ralors Wisin it Yandel. Lead single "El Doctorado" climbs 11-5 on Latir
Rli)tlim Airplay (8.6 million in audience, up 22%). — Rauly Ramirez

46 I Go to www.billboard.biz for complete chart data

Data for we«k of DECEMBER 5, 2009

CHARTS LEGEND on Page

^OjjJ i ly. i.L I i itLlL'I I'

JAPAN

■ -HII:!.V:l.fM'.Mi|!!..l!.i.M

IS
:>

2k iMUMtSUOUIliVIIMiMDt lOMBKnW

NEW

MY GIRL :CD DVO LTD EDITION)

MEW

TKGBeUTION-FUUTSUHOnOWRU -

H'.E '

NEW

MY GIRL

ARAIM J lil'^HM

T>e QENBUnCM ■ RHUSU HO RUCHnU

tJl4,i.iVE' HAH

NEW

SAHARA

HAKUHOfJK* (CO DVD LTD EOmON)

KCW

DW WAV liACXET AjrCaWD LTD EOTIONI

% l\ ■ ' .

ONE WAV (JACKET 8|{CQ WD LTD EOmON)

W«J( -W BCNLQl BCTREME (CDOTI)

AY* «AM 11 4 t»MJI« ^.t.

ICHYO

TUEUU SJriY MUSIC

FRANCE

|SKP IKIP*rrE-U1(f) H0¥CHBOI It IDCr]

J AIUERAIS TELLEMENT
JIM HE "

NEW

STEREO LOVE

tomuto Hint FT mt jiguum play on

LADY MELODY

TOM FMBEPieWATDV U

•

I GOTTA FEELINQ

THI BLACK ErtS PUS t [ LP SCOPE

SEXY Ct-ICK

DAVID CJJFn* FT SKCiM ■ 1 . ^r.lH

EVACUATE THE OANCEPLOOR

CASCAD* ." :l i^.'.Lr'.: :;pi'»Airt

ON NEST PAS COUCHEI
COUECTIF IKTItSt AIRTUn

LES JUHO
AIM lOEUO UP

COME ON

JAW NWU BIANCO VNEORO

COMME DCS ENFANTS

cofun K nmiE eARcikv

BillbMrd

^UNITED KINGDOM

THIS
WEEK

(THE OfflCWL

U( CHUTS CD 1 WMNNH tl IfOB

NEW

YOU ARE NOT ALONE

MEET ME HAU=WAV

T-ir m»-i fyfn p(«s 'i'-^5CD''-f

NEW

WHATCHA SAY

JUOM DEHUUI ULUU hEIWTSiWWINER BROS

^ 4

HAPPY

FIQHT FOR THIS LOVE

cttfHTL coti "t:_-;ici

EVERYBQCV IN LOVE

JLS ! ■

TIKTOK

■

BAD nOMAMCE

■jffuji-j. . -L. . '.coenvneMiBKtK

t NEED YOU

M-flySJ • ■ ■■ T.,-: AWlQ.UMTV

;

BMTtin sptma-ftim

O CANADA

BILLBOARD CANADIAN HOT 100

§1

(maa BotiMHUCAiQ teBmat.im

BAD ROMANCE

TIK TOK

• iStU ■ : f.'C'S£V fiCA SOtlY UUSIC

SEXY CHICK

IiKViD i^Jim ft um GUUVMGW'tMl

flHEFLIES

OKLVIi ■>, ,11s*'. tEPUBLlCXirirt'EBSAt

n '-E '-ALTWAY

;OPtUI(IVERS*L

: . ■ MU«:

WHATCHA SAY

JUDRDEKULO aUtXi HEIGHTS mn^ER

EMPIRE STATE OF MIND

JAY-I * ILICIt ItETS F ir. Wm filHUf*

•

REPLAY

nw^i p,H-j-.ri.i'-.--fr*---i(?W6EW(«)i

PARTY tN THE U-S.A.

rMEDMCOHTmu HaVEMOIRaOl

PFLASTEH

)CM . ICH ' ■," ^CP

RUSSIAN ROULETTE

BODIES

nnHfiif wiiLiiiMF. lyiAii?,' VIRGIN

SECRETS

011En£PU6LiC '. . .l' ilIEBSCOPC

HEAVY CROSS

ALLES KANN BESSER WERDEN
lAWB «*«IOOO ■ ■!■ . u

1 WILL LOVE YOU MONDAY

juirunOHE ■■ . -1-

SEXY CHICK

0»V1U CUiril '1 AKDN ■. . ■ . ■,

PAPARAZZI

•

AUSTRALIA

<«lll«l PWVEMBfR}! imt

TIK TOK

«EW»":.. vj'.i-

DOWN

MEET ME HALFWAY

THE BUM EKO PUS INTEdSCOP*

5TAH3TRUKK

30H'3 -"OT: 'W. £C

THIS IS WHO 1 AM
VAMSSA *M0ROVI .1'.''

BAD ROMANCE

RUSSIAN ROULETTE

niHANlUt >' 1 I*U

SEXY CHICK

DAYKI DUETT* FT HON u JU Wf'JH

BKITNEY SPEAtS . . : J.ti

PARTY IN THE U.S.A

W'.FY CYRUt 1-11 l''iVHP i.-it^ffiSili.

O SPAIN

i §i (HWHIBSEN) NOVBlMRmOIS

§i

iPHOMUBUi MUM) MOVtNKR 1 1 mi

! 1
i i

(MM) NOVENCn U, BM

8ALVAHI

GUUNA NAXNIHI ; Vi' 1.1,.'

QUE NADIE

MAHIJEI CARfUtCD DUO COM MAIU VALE

1 1

HOJE

AMAiiA mill' '0.-:

lilA IL CIELO E-8EMPRE PtU-BU
OUlr f Eft^ERI SONY UUSIC

LOOKING FOR PARADISE

AujAiraoiAnn AucuimwwNEnKPi/:

RUA DA SAUDADE

RUA DA WXMJL CAM»tS Dt WY DOS SMT

LAHORE SI OOIA

Hoan scRv Musc

1 GOTTA FEEUNG

m BLAa Eno mas iierscope

ANA MOURA

UVA-IH ADS FADOS yEWURV

1 QOTTA FEEUNQ

THE BUC" ETtDKAS : -I I i « i. Ijtf

AYO TECHNOLOGY

AMALIA

T1 VORREI SOLLEVAHE

fUU CON eiULlANO UHCIORCI M/jJ"!

CRONICAS DE UNA LOCA

El UflRJO ^[M.ni'iH

THE BLACK EYED PEAS

TWEABINTfRSCOPt

BODIES

KALEM8A (WERGE - WERGE)

DAVID FONSECA

no»Hf »rLiAi*i - .. I- . .

BunUKA UM SISTEHA -BBRIC

BET1NEEH WAVES WSnCURY

LOBA-SHE WOLF
■nmusoM^ mjsic

LOBA

SKUin* , - i-J': LATIN

NEW

NORAH JONES
TMEfAUB.UE WIE

CELEBRATION

MADDNMA WARNEn f>nii:.

•

HALO

BEvnwi Ml ii: \:)Pi:i ;c.-.uwii;»

PAULO GONZO

PERIHi.' ..■.■•Ill

SENZA NUVOLE
AliltANO-U AMOROSO [PIC

ESCLAVO OE SUS BE80S

DAtm BilBAl '. ' [

MICHAEL SUBLE

rRA;i Lovi . -1 .

HESTO DELL IDEA
NUUC0CAin«<AJU4KH

RECUERDAME

U OUWT* ESIADOH SONT MUSIC

MICHAEL JACKSON

WCNAU MCiSON-t IMtt IE IT UJi.lPIC

^
w

NETHERLANDS

■

iMEtM CHARTS n-i TKrvEMtFR if) iW

H^U*SE

NO auiim uDtm

Times are changing

U' nECt

KON IK MAAR EVEN BIJ JE ZJIN

tHOWAS fltHfif .■JDQ •■K

het masker

wu 4 HMoit *"iisi i i:uMp^^■

JOHN MAYER

BAIILf S'UOItS ;>"ilMMBI»

ROBBI= WILLIAMS

REAUTT KUia nt MOBI STMC>f:r'^>>UI^VTi

Ik,

MICHAEL auBLE
CRAivirvE K- i-;-'n, -

MICHAEL JACKSON

MICHAEL JACKS0N3 THIS IS IT M . i F ; <-

UOM LEEUW

KDhOER! IJfT EEN ' '11'. c P '."l

ta for week of DECEMBER s, 2009

AUSTRIA

£%

(AlTSmilill IFH'

AtltlDMTOPUt HOVENnUim

i^-

BAD DOMANCE

noon S

wtm *iiiuMi» cmi«t.ia.viMii'N

NEW

RUSSIAN ROULETTE

niHKHM* .1 P nFI JAM

HEAVY CROSS
THE OOVIIP Ij^LJMPIA

PFLASTER

ICH ■ ICH : "V- -'ii'

, ROBBIE WILLIAMS

' fUUn muED TME WXO SnW CMrrSAU^WiGri

KIDDY CONTEST KIDS

KIDDY CDNTIIT VOL tS bU^-- UtJSIC

NORAH JONES
TM FALL BLUE ftOIE

NEW

ICH + ICH

6UTI NEtsc [>nwFsiu: p[;f

RAMMSTEIN

um iiT ruR ALU OA vMiiM.uhi'linsAL

For chart reprints call 646.654.4633

NORWAY

(VtmtNt UNO HOnWAT) NDVtMBER M. nO)

SOMETIMES

TDY SLEEPING WTTH A BROKEN HEAD

F4U&SIAN ROULETTE
RIHLtlNA ' '

BAD ROMANCE

umucA- ■

TIK TOK

KEIHA .■ ■'■It,- r

SISSEL OQ 000

SIRALAAIDt JW i'. .[^S^-

BJORN EID5VAG

DE BESIE ■ . ■■■ :, 1 .M

DONKEYBOV
CAUCHT IHALiri f.^,HUlH

. DUMDUM BOYS

' imiMJlSUN -.M.'il.'-Mfi

THEM CROOKED VULTURES

EUROPEAN
HOT 100 SINGLES

LAST
WEEK

(NIELSEN BILIIOAROI HOVEMIER It lOOB

1 GOTTA FEEUNG

THE BLAa ETIO PEAS WIERSCOPE

BO[>IES

ROBBIE WILIAKS CHn-^ALIS'VTR&^l

NEW

HAPPY

SEXY CHICK

DAVB OUHTA R. AXON GllM'^lR&n

MEET ME HALFWAY

THE BU:» EfED P^AS "■ ■■ ■ ■"'£

JAIUERAIS TELLEMENT

JEhA .[£ ■■.

LADY MELODY "~
TOM FMSBtGWAYAV

EVERYBODY IN LOVE
JLS EPIC

PFLASTER

ICH • ICH DOMESTIC POP

FIQHT FOR THIS LOVE
CHtRYl GDll POcirDOR

HEAVY CROSS
TMtfiOISVCOLUkNIA

TIK TOK

KESMA KASt UOHY.'RCA

PAPARAZZI

RELEASE ME

AGn i BEAT BLIC'AATW

SniTMEf SPUNI jrVE.'JLG
BAD ROMANCE

ixntM ■ - ■ ■ ■. ■

EVACUATE THE OANCEFLOOR
CASCADl ;

1 NEED YOU

H-OIMl >U AROUND THE WORUkVinV

NEW

LES JUMO
JUHO KUSAO

EMPIRE STATE OF MIND
JAM ♦ ALICIA BEYS I- NATIOH

EUF

to DIGITAL

SONGS SPOTLIGHT

1 1 III! 1 1 ^^^^^^m

IHIEISEO tOUNOtCAH

INTERNMiaHAll DfCfMBERS ItM

RUSSIAN ROULETTE

MEET ME HALFWAY

TW BLACK EYED PEAS (S'FRSCOPE

BAD ROMANCE

EMPIRE STATE OF MIND

BODIES

nOBBlE WILUAMI CNnTSALIS:V«GIII

HAPPY

lEOM LtWlB SYCD

SEXY BITCH

DAVID SUEITA FT WW CUU.'.'liTCim

JUMP ROPE

BLUE DCTOBER ^i'-l'.-.'-. VTTLM'M

1 GOTTA FEELING

TIC BLACK ErED HAS INTERSCOPE

PAPARAZZI

um Sm STTCMAM.KQIlHOfnrrilVE'KTEIGCtH

HIdiMl Jatbon's "You Are Not
iUoflc,*' whicti spent two melcs
No.lofiltieUXaa^dianir
I99S, reliirin lo the top. as a
(over by "X Fittor" fliulisly

[imWEtSBI

HAR«CT1MG RESEAflCm NOVEMSEn U lOfll

FIREFLIES

•

THE SPELL

100 OAGE

TKIMU HElMID FT MIDMIA MNIVD

MY MAMMA SAID

AOUA

MOUTHFUL OF WASPS

UiHMIfl 1.' .11"

SELVMORD
ItLYMOnO Itll.'lJi'^tJ.

DALTON

lYVE Tl B. .■■.[■■

THOMAS HELMIG
TOMMY HY '^i-il.'

HCW

STEFFEN BRANDT

BABY BLUE 1 1 uKV

MICHAEL JACKSON

MIChAlL JACHSOHS THiS 'S [T UjjitPiC

EURO "^^y-
DIGITALSONGS ^'^i

(NIElBf H SOUNOSCAH

iNTERNAriOMLl DeiEMBOIl. NN

MEET ME HALFWAY

rat BLACK EYED PUS iHItP.SCOPE

YOU ARE NOT ALONE

1 FAaofl fWAUsra itm svco

NEW

WHATCHA SAY

JASON OUnJlO «i.UJ^^^^ HU04t&VURNei BHIB.

BAD ROMANCE

\jspij.:i ■ ' ■~.<sm

HAPPY

lEONAlEWn 5YCD

TIK TOK

lElIU KAS2 IMNEY.'RCA

1 GOTTA FEELINQ

THE tLACl EYED P(A] IKTERSCOPE

FIGHT FOR THIS LOVE

CHFpyi r.n.r

RUSSIAN ROULETTE

RIKAHNA SRP'DH JAM

EVERYBODY IN LOVE

Jit EPIC

tnniEY tPEAM JtVL'AG

EMPIRE STATE OF MIND

JAM ' AUCIA BITl NOC NATION

1 NEED YOU

N-OUV A.^ AROUND THE WDflLD,<UWIV

SEXY BITCH

DAVID GliETTA FT AKM MU'VIRGW

DOWN

JV KW n 11 MM CAa^mC' IfABISM. REFiar

EUROPEAN
ALBUMS

iNIELtEM BniHARD) WVEHBER 11 2DD«

ROBBIE WILUAH8

HEAIITY IJIlEn THE VIDEO 5W [,H)<V.^il-.\<H;;f J

MICHAEL JACKSON

MICHAEL JAOSttrt mt II IT MJ^ EPIC

;

BON JOVI

IMt Ci.MtH 1 '

MICHAEL BUBLE

[HAZ! LC^E . ■■! ■ -'-.!

RAMMSTEIN

UfB( Hr 'LHAUt OA ■111-.'-' i.i'il-.;i|SJi,

THE BLACK EYED PEAS

STING

> ON A WWTEn HOHT CHERRVTBE&DG

JLS

JIS ■

FOO FIGHTERS

■.DEAtESI Mllt aO'VAElL^RCA

SNOW PATROL

JP Tn >lOl«i .".TICfiiPtlLYDOR

MUSE

THE RfSISTAMCE A4E HElll/M 3.'«AfUIEH

ROD STEWART

SOUIBDOK .

MADONNA

tELfHATlDN iV.t^.li--' a«(JS

• 14

DAVID GUETTA

OHt LOVi ■ " iiii..ir,

SOLDIERS
COMMB HOMi RHIHO

EUROPEAN

AIRPLAY

HOVEMBU U. IBM

1 GOTTA FEELINQ

IW BLACK EYES PtAS INIEflSCOPf

SEXY CHICK

QAVID eUEHA FT AAON GUVVIRGIN

MEET ME HALFWAY

THE BUCK EYED PEAS ll,--ssr HFf

RUSSIAN ROULETTE

PAPARAZZI

bCT 'JU '-^'U(f«HXKQ^RYTRa«i1SCCCn

J'AIMERAIS TELLeUEHT

JOULH MfilCJRV

BUUItS

<^DHBIE WllllAMS - nJ' l<; 'lMn jIN

EVACUTE THE OANCEFLOOR
CAicADA :■ . ■■ii .■ ■',

HOTEL ROOM SERVICE
PTTtim '.■■1 J.- t'li..' hiiv 'iii:i

HAPPY

LEDNA lEWII SVCD

WHEN LOVE TAKES OVER

PAV10 oufTn FT ma holmb o^jm vfi&im

SHE WOLF

IHAMIA . Ml;SIC LATIN

1 WANT TO KNOW WHAT LOVE IS

■URMM CAREY ISlAMO

EMPIRE STATE OF IHND
JAr I . ALICIA KEYS MIHOH

SWEET DREAMS

BEYDNCE ViJiilC WOmn,' COLUMBIA

Go to www.billboard.biz for complete chart data

ttMDOantGMna (tan MtfC. BWOmran nii-
amiBHiKtMMlbtt: nmvOTMDBgMBlc

nnGOT Hiram RMMq AS»n*i WW moos

WT uflMN wnnirrau i.w MhK oip

Sf SK. itftac Jve SCitCi^Kotf) Dm Hoc
Ria<J»nM iMv 3ES>G'Jrw Cw Use
CI LTnnai ftM«n nrvMd MCuta Sofife I U
BUOmw Mkx FlAMdt BMh. W-WH m »
ML I W m«milOM iSorwiwr RM Mac

«u. The m wws iiMMc unk uoc

MllKWnnMTV'VM ■£l>F<.SaiBBo«Ulan

Mr*: W,r>;.,rri,ijj'.<-.,i TMViW, ASW.f larT«

MDEADTeoM ", ;n-> tSDV'.fUMMcU:

-|C«iOiil8"l*«:*St. ,

■MV n W 150 CM MUc ntWng ASCJVlmnil
n LThoW K . Mumral MM - ; tM

LLC t£r«P.)>nhlr«[>3i>rtrUMnlfiDV.«it<o<<

WCxvnxin^ - ''.'-^uMiCiMFuwvti.

'.^ ' ' . ^AWmTaMPib

MBHilirn'<Sui|~Mv');'(-.llC *SCNMAi«Ml.
itSCAP^Bintm t*m. tSWm Apl Uac tv

KCAPifLHiaorGmi

lOMNOI |5iy««TV Soqi Ll£. m*tan« noM-
kns UC, eWSMn GanvOb dU UA Gaa
BMHiiai O G«i PUHWtt K MUaJM hbK rc .

KMm W UjX Qni. UCWMH FMMq Gnu
WH. ASCM>. WiwlMre PLOelwg Cm
MCoOr^rv "-^ """^ ■-

ajii£«fai

DmOW, flUT rVMU, Wt S
mOlIKIMU IWSM UK BMg iMiaKK.

_ _ . jKt^iWmj AMtBoiMaBiteFUi-

Lie. KCte.oaum fvmm] asdV'Tihti ppmum

aittrte.SESICCiradkWkiMMac SESU^
;i(nl Mac. ht. JtSCtftSnuu D). UC. ASCJVMma

am Pttnm cop . BUl. HLMM (CH 4S
■■nr MArg W Smgi LSI^ SOICAMima (fwi

MDA fl sun Use SE9C0 «u HM hit Ox I
UM Uc. H» BWkMtil MM Hc- m;.

nor UMIMK AtMBSongL MtaiHWli Mac.
fCAPSormOtltiMSI K.BMI]ESMscBWI«%

AXV'.krmMi MoK. UCJWSmi IMS Mnc.
KCAP.tto^ MoK. Mllnmil Mak - 2 SMfB.
BMK/MM.K1I»3G
■MK Mac. aMltcNi Mm.

■CM ^lu BMMm iQndo mak in . socweiH

:>» Sen SCCWIta H« PUMttu

SOCWOD loaned MaK nc. Ml. HICC 90

rirtUa niatitn HimuK ow Mm ciwi

■urmvxv Mac. *scM','iNTU t wn)

UCWUmU UflK-i Uo lie . JfiOViUOKm

TIC CMl iSoWl or Ukd GMF«m RM fMtcwUikm-

URTLMWrrHOUTirOU.l ''ji:MeHaicWeh«

« tdom. S A^GM <HpI Hw. he
tllMWClfllMKBWBIW'fcWC''

COM Munkn rU ({iiVaTV OBm MsK

WnUC.ASCVIlIX
OMBBI W ncnn M SIM 1 Mm. ASCtf.fw

Otm CnitflM. BHWrvbaMw FUlGmg Coir

CMnrniMM-fMinrGil tMSg^caMsK.

MiCWHtoMate Mm«()l

Hflic.K,«SW.(ttlcanAM McK ASUPl^Trm
SonKASCVMJra Combs M(K nSDn
»lWMCS);Kli»i^
GRMM (Sm a UnraL R. BUCukK Bmn] U
LCMBvt UIWIXO EM«>t»iMiK. SXtM^ Fo
n.rWMit.t SiW^uMfX ASWSwW

CMtM '. '

Omir Hm me IWimuNS sons) ilaMco line. BMi

T iOl Dog Mm. UC«PI ^rm 74

OCntCHOMMTKUCOKI .-J-Mr
00 rr icAt; .10 hecho est* kchoi

DOHT fOU KMOW KTW MLCM I LC'(ED rOJ

MEWMiWfl ■ <| '.'-Ctf'i It *1

ELDOCrORiOO ■■

DDESHTHEMIMrmWG fm- ■•txiim iSUfm

001 iPtm Fteo. BWMMi Cotmtoi CtM> BM«ii)
Mek n: BWWma trmMrUJii/trQC^

8Mr rtH'J I - ■"■

oorr nun em lir u ho more -n ■mi'vii'^
oorrnMosccuisETOME .'TOUHStnLiEu

i:mi Ftw. Hi.m' Hi:iii4

oorr STW <in«i» Uiu: i mw miUnt^ Mm:

OOmi iHuti McK Ono 1 B .LXV.IIM Uu:

ASCM'.<%«g Wrer FUM^lc. BM^«i«4*nsVc
UMHIf 1^ . BHOI ACM Hoc. M . ASCtn.
K/MtHIDDItl

OOCM TDEMim KiWtfi CenoAUvn Man
ASOV>.'Sat¥ATV cm. SOCWen* Hnti Mac.
SUDMSnrlTV' Ina LLC. JiSCWMsaninPtttMq.

00 TOU RBaMH <>^ Unc.
ASCM'.'SuVAFV l/«U£ ASCIf<i:c«t(«IUKnni
«SCM>,CM A(f I Mm. R . ^>SCtfV'J3r Sal UBt.
BWtWi Ftxa Mac (fMi JbM U»c fUWMs
M^aUnral R MW^IVSmiLLC
BMtUm Urn FUMatt OyO. (iiaw
OMT n LM 1% M SMlWwm. he. CI
' lire HWM torn On I4JK.BWQAI*
I W E>|>nm f^tkant. tm HLWI. MOD ?7.

AS»P,'9ule Bm M&c EMVHnwlitBlM FUUsMij

Cap.HMIl HU*flW.I»IH
aaHTKOMORnEi'.tfM^MtK C«n9A^

il*-IA*,l-J:iJiru rfl-DwlMBlBMtKFuasJinj

ix vre'5'>j.'W«J'S»3^M*c'nntiM::

BmcmnOFMBitUjifniMjsK n:

ASW.CM !^ Use ASCM'.'M SluMutfi n&Ctti-

Mm. SESU^J Soirii FUMmq UPf^Mw fWuc-

BBONmi iIWia (M MeK. Mb H a

BHUn UK tlWMra U SA . ASOV.CKOTW UjM.

ASW.fCPlLlw ASUP.'MMmCai) aSCWI.WM

HI 00^8

EBWncmcSim'ATV (tam Hdk FWWtig UC

ASCV.WbBdN Fwieii^ U Oc CV I J »
BCtlQBa IDBO AWn; ^OJn MEk FlMMq,

fSGUmKIUSKaOliUnn^MBa be

AECM>,U*(iU«.Sa)lI?
BnM ninto. ASCJW^tjMi MdcA ASCWUiw

he UCV'J KbipMec A.SC¥^tc£(UlDnFUt»
rl6A^yP■V^U«^*fi^'5CV1fcalH»•E<sti^^-
^lrt. *3:^.'.n»Ta Mfit :-7ciutoi\ aswpi

wiiricuiWiitwtfmew*iiiwHiuttrw

BMQiUpMHnehcJQUnURNMBc

BWlM M lie. BMM SaOMtd Mk W .
BWSmW SovUC. a«nich(iitfMv OtHtw 01
MMr &Mn. BWlK HMiMntinn lie.
«WMNra Erie SMtt tt. ASCtf Ao BiiUtsHM

fUfW UMic Gov. AfCtf^ 1119
BilSo^rtlVtoFlMiMtgCaiMiveMilMlvMi

"BtccsaHiEuas

'kFMt ASCAPlhwd UjMCDiim

_^ _.W.H1I»J

XK:a(MH*C<rMtUI«Unc.ASCAP.CU

MHiKta.ASClMI bmftaMfUfttm

tS^P MniMMaK DSCVM^ IM MM ASC'f ,0>
maUBC HSCAT.CAS FUW>q. M^'»IY9iV

in:. BUl It. HtOO»

flnm ofum iw isMD «

fUimii!M<FBhiO

ramOl US BO hUsckn^ ASOV.'Soh'ilV lire ILC
«fiCAP,Tni PUHtfvQ Mujm or laiwOmn EU'lM
NtftUC FMMBKMMdMKtc.BUflvr
GfTTiB Mr Ptauvg IE.. BH%ni Uotn FttteMig w

IT eBH6

wiieHy

(iHllftiawwiMBiclK eM*'™iii»ftli

c *SCAPi t*. K1D0 »

M Hoc. mshm amtn tec ewM Mm

Aiari 0 TIN Mm. ISCWi. xtMM CS
OH IT WTO W (The Cmm Hm* Utac EMCraqt
Mac CoTO*n BUWB HfiM Cos . ASCV'Nmni

MC- BM«MMi«n«l£fne*nnu re. <i£CVi

wsM mtoei

eoe H W : I M a^f 1 Mac K. ASCAP.VH H Ite Mac

SK«ft V:< FnactutL SOCMI, V«il C5 57

ooTnenrT'^MuK MtMeuagnMUMTC

QMCaiS A T1 iLn«ai Mm . K . ASCtPtW* PuaWin)

IMlLTT

M^UdcnKervJiTVSaiailiC MtmUsc

FWtfraBMi Hl.H1i»}t
NUB QOC Ptoc FUUn^ ASC>P,W Mac Corp.
ASCfMUt Mac FUKWft ASCAFVUiMnl MoK C»-
Kourt ASCtf.'lmtri U« uC HMM atxMDDD
WcBc R . Mitang Mac K . BMi. n/ffiM

HiaDB0.WI7

lUILIl.lllMSra.BM'SanaiaiMalK aw?)es
MKMnMnttCimUacCo* ASt:'f^%rQsCll

in . ASO^MMO 911 ASDfmv Mac
A5Wa»i*i<»nrwlfcw.MW:WBW«*w Mac

pLttenoQ ASCJV\kanC(rtDnMdMti llECM^Mmr

w»

HMSn Mr 1W m <i n rra u« UK SMng.

tvTabvftOHwvCan awwUMcCcm ASCAf^
'MU-KI006S
NMOiraiCMaKMMHMrc MUnmHUjSK
nwK\XC. ASCAP.Ovwi MjsKPtfWn^ SAM

c Haca SA « c V. SAW J i

HGUMM (Ch«pMr COM) niHtfni. BWvlfiira
M«E CMOmiWiAMBK IWWUm— Mac
MW*g I Mat. mSD rartM UC ({SAUm-

MmnalratmFlMMqCap.ByitaN bu

(UftiMneui.wMWT;

HEMraRGK niVlHi ISavKN \fm liC. ASCV.Cpt-

[ft rwr Mac ASUFl. moo 1CD
HOI OF A UH ICPM cut PUnWd BM

Ure <UMvi] C(ni . MCM0aiIi UA XSKl. MM

«i>rMni K eht<oil>r|HacPtfieMia.Sun

HR SOUL Sm Urti Mac. 'fiOV^ai J^ni
WK K . «SM>.«IM Sov Ud . MtM Sb<MN«
MalclK.8hll.ll.H1i»4S
— atcuriUacBMUa*

, _ c BMiCSM

Heic Ijnn.BMHdiI'mmdManMigcn*','.

i<tweucs»

MP TO av KNIT {r^tami lAac. BMnu Ban MeK
nc . BunMWw Fiomo EHWm I G» to t>t Mmi
Mac eMISMGLUnOwmeMUacBMSat
On UuK (meno. M. vau CS

MnDnrMncMaaiCKMFuww9A9cv4int

Sa M Itec ASCJiMM ilcri ttaic. He ASCtPUC
Usic.ASi:jr>SHWrtyn - -
NI«wUtMiJ£CV|C!
mnLUKMIBnKIMUrtlA

WtUMnJMac MSSouiKt. ,

wirM:it™.jr',*--.r.r »nsow»ivsowii-C

W^.V. ■ -' -'ijCaD.BMISBiatfjOM

>.v i< MCUthinHBC

I- ' iTtii.MMeHmuitr

HOW MH DU YOU WMUM GOT ;UtUK. K . ASCAP.fti
rvf Wm brrcen SIM Mac SMi^
.. -ngyijcsij

■ gWe.ASWPW

HUMfrMWrnaCinvDqUac ieCAr.Viiik&
Uac«GinWW.CS23

cuns. *sji>/sa>tm uw iic. ASCAp.tu d«[>i

DtaiiiacBMIteirulc. a*»12Soi(»liC MSH

lASOmiAplllb

MtaMM

to Sena UO. mt. 4. WM W 3B
Mac EhVlHBMOtNn]Ha(iK.MniiBMacCa

H« FUWm ASCJP\ KMH CS U
ICM1WIMnMM,-SavCiLnwrai n. BMi:iiui

tc . ASCAfiWai So*. A9::A^Ul«asl 1M

aSlC^ung Ow Sciv IK . ASCAMoMMc t«
«SCW««rat>T«tHtft4Mn)C(ip.eHi HI/MW.

F von OMl DBt IWn Bp Mac. MBt BtKMDoe

■jT.-. ■.■■i,r HV -( -AV'J -IC'**

9 mim wdnoeang v i wtNT tu td) i wwttou

Mac n. . EUtoitf Msc BM^onp 01 unvHl K

lOnnHteu'EiAac «tJf^ Fasti* Ua^
leCAf^tM iKM Mae K. ASCAP/jUnw ua Mac
EWSn'*TV'UN»r. BMSngMwni isctfMnwint
SOI MAC. *SCM>M OmBayO s MM SES«CfM
ftoiMac SESiCfbMOMMacGnuLJiSCiMffi
M« Cap »SW1 mOOKi PW »

I eOrm KBM fa4i urn Mae nW'Mtny MSK itc
MlB IkMe tNlOm IkiK BMMwVm AM

U ntMM JSCAP.Slal Ann MM. <eCAP>9a>ni

ftfiNwiftb nc iSAnftM>E(W(n,S«aMk
OUH-HtOOiBLlli
I MimO ID jOMfsm Mae aWSorvdlYScra UjC
aUM KhM Mat fWeraa BW'Ainri Bn MA

mtMBiBMicalMacin _

IJUnnilWNMi^BrtMac n- KiJPAjit
MMBltecASCtf^WaCup.ASCV.CU «vl Mac.
« ^SCWTrHBifhaMac ASCAf.KrwMat,
AS(UF>.MBiMrac<^ttsrn]«nRiaiiK ASPf^ HL

rU IINB ITini TM <ifii Mae Ik. A£CM?Vft
h>iMtfME.ASCW''J4*M« UCAf.'tarT.m>Stn)L

*sw: H-H'xn

lUMWWOOilwtulUEK wnnH»
IUIOIininUll)fWr>^Mtf»l) n BMlVirm«iM»c

m JIM iSovKTir Msw Mbc ASOtf.btnlsif MiZ
LiC ASCM>'Syf<«tVA[JtFbs«Mac EhilMnuU
Mac BWFxe flUK Uac. ASCAF.Bg Lnil B<cU Ml.

ni ODM M nte F\0iEtMI)IMna n M«f G«ai
EHlM Hile ILC aWtoap ttmyfWBMg K.
BMMmtrllmilnADbmgCati MWaJan

Uac K. WW aaOHDM MMC tt . MWMl

UacG>ixc«oiiASOiP,OYita»F\«MI«ASCAf'i
%WM.ma07S,W34
m aOOa IMk MB Fop Itanfi. «i>;>.Bi
tttaeK.ASOPfUebdgMBlMacK SMiTnr<ttri

tin ''.^IfJi'-; BWHiJbi^d fStjB MlMix fiMl

H_ =F-='

■PMSTiWlfvmTIIWfflfWf HRFl ^. l

MmuiENT CHICKS

IWHW* MAKE YOU ClOH TOUR FIIS -'. I '
>v ■ ■ ' - KiQ ASCATOlKlnl

IHMffI rOKKCW WMI LjM IS iSaniM Songs fUtst-

|«nnMsl:ASI>f^Hiaa>1

Mac ifiUfiCtfaAEMiKia SESWICS!

H(«TOMfiU klCBHilTM
B rm Mac Cop . ASCV^noi k Tht fW n
BFW-c S[S^t«n«ni5n*nSESiCWift>t|MnK

SfStWcri*^ "

CorffiMeK »
«

IMIOKWrVtoKiUiMCoc ^1^119 01 Un«^

hc.eMi Mi/«KHix;ji
* unu MOK cWHnrr THMi THAT

M»Sl»™ASl:*^^^.1l■ ,-
MO«SknA«)A(W'
Anmi. BWVn»f-liivi : -

Uw'lKE DYING lfAHi' \

AilU Mek KMSmo lU.. FftSi

mCVEPWDCIftW) :^ATUCnasMa:n«Mwq

ii: A^.fj-£,MEcF«KftmlSC<P:U«
IHU iTTk UuTe txu lAae BMtMuw Mac.
'<^atlV:\tAtr. re.ASCACCilcunUMJbi
Cinav St'Wna OmMl Mat ^ lA.
SGtt,Amii C(M VuH MSy* 'AnUeWr
BUM:rnakSa>CB.GUWHacCcf[i UCAT.ik
cnaSKASLI.NtVflMLIi?

)IAnHatiLL.C bm; J*

UK. :■) (ApN's tor MeiL BMWra-tamw piMs>«i]
Con MM OHKvdMtiHacfUtErpp MOW

Meir>M«H|H».l

OHKVdMtlHacfUtErpB MOW
: nOHM BU^B to Bl vn Uflc
HtHaftAVbaCnOtom.

UW AFin ni OOK iB^ IM Usie BWDd Win
u;>: MHAi'VuiadSKUMcASUPfiastRl
Mci- lurtUMKUecASCJinCSJS

UIOIOWlFOHPIWM»cSiAajPy»lwaOw^

u/>:^ii^> miftc«FWucmlfiC>f!mx(iH

K ^^ tAxa Ann. sm&Unna tats.
SESiOMFJh Sal i^xgi ASCVAW Mac Cop . ASCW ,

UMCOKOSMiSUrkl^ EMGnnUMiEMiai
BocMwod MfK K . BUOf CWn niMWB M>lf««
Ma« Piaataft ASUMXM MFUWafCaiiav.
ASCAP/idn Carte FuiwMB ASCVOBW Mac. ic.
ASCAF.U b Lu FUlIlM EWEH Mac. HC.
ASCAP.W Mm Uat QCAP1. HL m EG
UVELKECHBrwteQiaMM M^taU
Hw eMni»i*torai«K AMaaq dm, HAI-Bnt)
USKM.WU.CS40
tfW LMB m (SiniMrv Cnsi IM WiK ftMAiQ
ilSCAf>,«lyOia] GUI Uw WCtfOeraStrai uC
kSCATMiTtf Bm Sen. BlMWiM MS Nmmg
■"■F^HLWM.CS<3

TW Mil t IMNTID K iSin Tha Svqj. JlSOf^aa^
.ri-h [;r'.4it<Aii- *SdiSMwi»fctMtreFU)fef>rq

;:op fW.i.libt.. rrtM6K,»ll.WMCS47
MMOt M UC i.^'J^' <Jkac SOCWScmATV CMi
>;ii.i/4f*.rirh;4vnj K. SOCWCUiifni MsK rc

A-Ui'i 1, in-

ru:4:nruci<i. u>AVwtao«ni.BHi«wnHcr
W ewnRE OE II :ji ions Mac ncMing. icM II

MM FUMJiift ASCV.fM W Uac Ik .
ASCAF.enK SpaeMGMfUWiia'iSCAP.fa.rM
l.li!>: fSCV.ajScnBASCiifOvrrfa'SUac

awH.A*i.i -"mn;

HI aim TOOD H Tl '.OA Mac I^Mnqi MiRB

Wcizt ilC HMiirj

ASW1J9

[>il>ifanrsASC

MHLIOM DaiAn Bia :i«xaftDaMMB.ASCAP>(M«pi|
I. " Ann. SEM:>Ut>«UlUHv

styj^syff. j-McM, hc , SESCSan Chi uac
fcTvaMfSMGi *«Mw%TtMMacnc*anj.

IMEir n ilM iMmf UkI Mae BWW UiKf
r\fitnrq nc. BUWrra-banrc ruMrin Coc
BUVnrqCnnrnkASCWIMIAacCav UCIP<lw

■aOTOUimrMnatemPliiknraCcq.
BMIMHmmU Uae BU WHnuuTlSfUMtma
MHln Dm soqi saAcfW^aii Uac

iftitp'it^i. KmoKfa. tun MU. CS I HiU 14
•nneOIW K KOICiiMm^mrtMi FUiMv
Znv !M.A^WoMlilMMMilK..SOCA)ian«
W£KK SOCM«b»I)(HlS0CAHflM
SDCANUMtbI MfiK - 2 hfK LLC ASCWIIMUW-
(MMctov LU. <a>f>tanai Son IB. vflSUw-
a Uac Catoaen A.%ir^hMivt Wath hh»»

l.lM«WinM«

WVUnniMfDCD JM«M Uac ; Sera,

iisrwa raCAP,CMi twwt s
VkunCe.llC iSCiMaau
' . \Xtfai<priUB>ehc.

HCOHOnOaMUOHiLiMfSlMrj:

«CAP.fCr [Wjpntu S A « C V.Kf FU**xv fcCW,

S£SW:^<AIVSara LLC SESACDaMa FUtaliv.
SSlC^tOn Uac RMM ASCAF.^MV DOOE.
■■ X.ASCtflOiS

KlUi«n|LiC.A5
■R«ICIRIM%FU

MilORBiiMac En
iVMnj(.lie GHUMctfU
*SCAP.WrWr( MM »SC*r'. t,Wl. W 16

JoMri ASCrn, HMCMTltni 38

OK (Cbmn UatftUWffa 5(54CUMnii \tm
SeSIC'SiMaarUatsl.K.SIS'CUMMae
fMrnaaCwri MiK BMi. rtiMM R»4

OH NO UnO>l 0«ni 5E54CM3 MeK F^jBMiwii
tSnv^ODn Mac ASUPplMaal Mm KKB
Sons ASCAPOmsI Mac- ZlneUC ISDifv.
lL'«BU.BeHBS

0 ifn DO IT i5« K«r nMma Asc«>> «e*H (3

ONI IIK iSotnafUr IB. jSuP'Mkii 9lv

^'J-f UMJfl Stfff. eUOSS Ot»M. ASCAP.Hl)

[jmnMf.r ^-rif ' fi j Mr . ■ i

OLTTSIDE MY MWWW .Vt ifa>njl]MuttftC
T>.iv ■ J . li^iCAsftiMfii: re ayttM
•iii MuiUe <£CVSMftcS[iK9.,JiSCAr,M.Coai
ASC<fl,«.aZ9
OvnnC HDTHIL tSerq 01 Csi. nc . 4SCAF.em
■' eASWPlCStO

PHM MUr Uiic .iSCtftM Ml Mac. IK .
UCVtW* « tU tUMm IMaiMi l\Mam.

nwrrwTKEus*

■ ■ . iMtHMIOOH
TMtFKlmTO* iTAiL 'it. *oc »«. ASCW-fSj-gs
::'J,1u>iiWi'tUaceiUMnitos

. . . oxil Mac he . BM I HLWL m 9
r^nofl you . .nwot Uele BUIAtf^ F^Odiflg

nCTTT MNMiM SiAAUelina ASCAf<.Unmil Usi:
CotDMoi ASC^fiUUttSanmUacBUMtfinn
Mac ASCAi^eii nil Mac. R. wcaPiMb PnncM
tUiUMIi ASOn hlAMM. FBH n

mriy Mai itoMii Mac ASCV^ iieri Mac
he ASCU^SmirATV UC lXU>,ManMril

IP (UrMM MM - Z UC . ASCPrftR

: W!leU&*$cfVASC<n,Mjya4 WW
nCIBWM iM OaMni Uac R. MtM Uatai

SAikC't NSiirs
n UBHT iCnuun Udcwi Mae 4SCimait uac

DEnErfbaiireuMcAi. __ ___ .

ASCtf , W Ip4 MM R . ASCAM sum H
ASCtf,'i>neu> Mac K . eiiftW^ Sm UC
BHb'ini Mk UMav 4SCW«»|Min>t.
ASCWAMIM 301 Mae JeCAf.UdDbMrttMk
ntt•Mg.R.ASCAf^Ft/MM.H1D091.>«H1D

SonaeM
ASCWM

ASCM-fli)aaMat.K.ASCW l«j1WMH»l6i
naur MMtwi FlMn Mac: MSoiirOlTV Scrgi lie,
FUMi« BMilit kllii Fotti Mac. BIMl
HunMAu Mae he. BMC«B Moa HM« Mae

tSCfPJSaiim 1M! UC ASC«>,'Jecn OioiutM
BMSMiqi HMtt UM. BMVmt Uac. N . BMT.<t I
E)(ksM PJttfn;. AECAP.Unaal MM Cmxmn
ASCV

LNLMM.NMI

w THn lom lat .ip* MoK <H- iisc«><ura bm

•Am. ASCAF.nm Qnrc H( n«Hm Ik. BMfM
BUcMDdMaciK.MtoiO IteMOMM
Mm RM9til A$CAn'4n«ti liUK Uj: BMOinMl

' BMl,«,tfl0e»IW36

_. EfUMnlUac-ZlMtUC.

A5CW>,ftn h Ihe 6mn) Fuma ASOmut WTO-

Mae Ic. ASCAPl. lUNBU. HlOOm FBHtt

I linOMMIUc. IC M NW- CS s

MWi Be* Mak. MWmrtNaimRiiahne
Cop.BMCWHKttiWutMf— — - —
Mac. BWfl Mac AMiV. «

Hiin6e;Fwt4

: r.f. (M Cm Otmrd A»

Ur A COMMAND

im HET (I tint TOU) i t LiH i^oiiaw. ASCMMirtAnii
Mac orvmii. <w.x^'9 urn Sua. BWWra-
ImW FU*snn C<Tt> . BUtUI Uac BUi K.'NW

aw nwnW rngni Ml Mm ftjMvra,
ASCtf M MM Cttp. ASCWJaaatHmaiftiiM-
Un BIMknrilaMM PimNM Cn. eUUt IMI

ucBwgi»t^Mw^DBigMiafa»ii°**

a:iic,a .

ASCV,lm«» Mm OlDMIUn. lGC4fV«V la FU>-
ieiwiASOf

UHjmm.mnm

SMMlJIvea EetviCcWa: rctMlSavlTVCto

[ttUatPlUHMij ll£. ASCJPl U 21
v6lllIMrSMaUMn<M«vM

ta nOMPI |l lit Em INOe Mae ASaP>0« Clrr
DmIfcM: BH<?4t2aia>UC BUftarnm. BMMv
owMFDrana K- EMSMBOtUiiMHl. rc.

«rr CMn iSiKKi toaM & Co. R. ASCMMoB
Sun hm* lUfln« ASCW^SnwAlvwnni.
i^i^Mi IWUtIm R ASOtfv^iytfv Sov UC
BUftaScin AMtaHUliBvvRltec
BMCWu v'Tirt M>Sl7 ;T3*

IK MU (The Civrri 4i« Mk BMnUKrwUsc

'iS&U>,(MI«tUiac tr MCAT.fAm* UjntiK
Cltiav 1i L^Wm Onal Miac Snn SA .
SG<£,>lr« Cms UAcMOriris S(r«L
MScivATVUtMi eMUfiMmOni ASCAP.fa-
cttmSUSLt >t.<WIAHTCO(fl
MMirTHtdWrLBKMicQiliUac JM)W(

niiaiMm.9unmiMMUst EHCvniMK
MUariKUu: ^.Xtp U
W EVmCHS ll%a Mud . IMftt DM a(T<^

WQUmNi&A'AIVMcKn «SC4f»w»IVCiKH

lAw F^«ttfng UC ASaP) lT 39
IHMIUfVM (SiraAn MM UCWWlMlitac

ASCtf ,^UaK ASCMBfllD -

WMraiainMcy Mae AS

ocnMata,

ASCW^IMCOMHMFUMMV ASC4PmUac
Cap AS>f^f«»gIluSav>« 4SCtfl.llMU

01 MkSmM EMBtai ITh BMi Mnc BM' JTX
Une ff*UacUn«n Mac Onm. «SC>P.^M»m
h»itni iSCtf 1MChnsrMKCiMLASC<f|.

tmiaTfi.fai Otia Uiac AS&W>,U»*a Mm
DaCEMOL ASCW^'U toi SeM. ASCAPiOl Jlpil Mae
h: AS:Af>.mn[i>«ASC>P)'Bi4e

MMMWr COM aCTME MM QM MM.
itSCAP,ctM a Old Mae ASCVTamTUMae
ASDV,ScrvAr/&raBUC KOMMMlMfn
l)nQWi <a:MILHI.fl»1|1

saiiwr I u lUt Mae tsotfiOi W Mac R
aSCa;^M<mc R. ASC^WMmv Mm ErrMni
k'Oe.Xxm so (cd- KUntMaM. M<i«u MM W

mFiMEMracf ^•s'^'^ntMMCaT!Wr.
W ■ - ■ ^v'.'.-^tUMyMaeMt.H.

nrToooTum ' " , cMiuy
fPoruGHT > " iiSCWW Mac
■ JJ" \N M S&re KroTOn.
IMUIhUac
■ ...y--) «jiWMma067

STAWG N L.aV[ >J^.A>Mn« Use

sfiiu ' "HytunnUM.

^.1 ■ ■ ■ . ^ lAmm M/r.

limsSJIA. ,' I I - 'XIVtcCap.BUT'w

: ■ y, ^-. .' ^i-> Gdmh BNHM WW! U£.

BM'M BiKkiMd lAM R. BWUlf^

BHAbM Mm FSflttMiR. BHh lUHM WH 13
Wnc llriwHi Mk - Cm. BWilpiHHN Mac.

W Wn iPaimi IM Fu£ttn IfiOn I1 1 a
IHW n OUT f2IS Mm ^isms XSCiMW lAac

On . a ita MUM 9ti AEC4P,. MM

ma?

. lamnASC

IK . ASOV/Jnpf Use BHMBi
BMbp n« <Mai- ASC<«^«TV UiK W.
E«afcoliMk SH A StSACOl Fca Uac
SESMjlMa JV sou: IWIMioDngR £4C|. H
mOOUIWSS

IE WO Aram Uac CanoMn rsij II U

nwrSMOWCOUNTRTiOISRaL .

•luiuo.i- .M-i.t..j;w.--Muc.By»aiJt

Mac ASCtf 'HUa t Uac ASCVi. tOnU CS ?1
TMl ■ A BK iScmi Dl Corlutta Uae ASCtfW
Ai£Dirail*|niUM R.iCCAfMMi

Gn»UM.ASCVAtMM.ASCM^ rLCS44
TIMOr IMir milAm M BOM * <tea

SEMCrfM FmUac SESCUlB J« ni

Dam StS«6b: N rad tWlnnM U C.
liSd^>Hmq OMSovM. ASC4PiU>Mnj« Mm 1
onicn ASCV'Tti FiMM) Um GnuL MHurta
Drrnf BM! mlWM fWS6
TW It IT -^^L BAAVorraMrtMK PjUsMg

TWIiB Jj>r.iii.\o: mWS

TMON n M TMI BM XM .^1 Uac. nc. ASCt/>.a

BiecoMai:. tSCV'Sir^ OTF^ff lu. ASCV.\Mtl

ASCAP.'JCfC Mac FuttWij <£CAP.v« Mac Lm

BUfUMS) AM Mini ASCtf ,tU S)
K,BWIUtaBwMaenii HI ttHTt
11 WDOMitaMBMrftMMqUC BHCnnO

IK TDK O^am Mu. eiAWat Gb uv K.

GUScnt [)■ 'lUi Uo: RxMni Anata R.

nWKn Unn niMnrq ASCAf>«Kni Mm FWia
. ASCAT UK9 BM BMI HiOl 5
TtW—B CBBWMOIBBWwMUfg.

SESACAOD. BWScrciDllMmnl R. EMfttnM

Hm SISAUAk Ron HM EMTtM Ito UM U

BWH/mLCS32

mnr itu Fm Mae si&ioMUi ihi CKtu M

SEStC^ Fa ttx BMOtmr^ Mai; UC BUfM

towCQp|i^BMlCS2i
na iVHioituU Mae MUr DiB MM. BUMp

Uae MBwiar a>». BWft« Mac. R. Hw

OM.BMriCSSHiai33
1MVT (Sta «Ui ASCV.UMd Mm - Ua Si^

*SCAP.OmMtiPQ«mm.iK tMDwnuUk

ASCAP|.HUMHntH41

IKIVm iSMinw SoaOL ilSCAR«M Jmi C»n
Uac AScr^^incranMpnsan BMICSI4.I

Turnoilii^^'ainUu-. •fctr'.aiJwiMu.w

J.9:^.ifiU«) Plflr/iti) -M VCuaMMae R.

»s::Ari t. tBhts

SM'SovAlVSavi UC OHltlla FtaMUra.

nK.45C*P|LI40

Hioouin

n DBiem [FWk i«i qmim K

IMM IIHtlm UxrtHi, Mftii Mae R . BUM)
Mk< Mae BU'Sow CI WnjMp ftole eUVta F
U»-. mtFjirtOMMfic BMVJ ADrMimn El

K-C5 '7

1W mflTEN nuwac lM«vi Xfnw Mm
ASCAP.eU W Mcc R ASCAn ^ HI OD 40

<iSCimM«iHMd

ASCJV.amM 3>1 UMASGMfnUaaMt.
AS:AP,KSW«sl*ae«&iP^ ' ' ~
Hra Con . BU^tapHrUTta hi

ji..ijjM»iia

UPMIitt'.*AaraI#TiMvcFWtfvBC9V BMI.HQ

UC aomOOT lUrta S«M ASCH^$«ei or Cw*
koi Mr ASCiF^Mac a WhBmpi ASCAPMcNl

BMCdR la a Ml PiMSinj M H1

WM «. BUM CU J|W Mae R. UCAPXnr i
MM. 'SCN^Wqni Bwti Mm FW«a« ISCW
Um Cop . ASCWJMH Hnia> FtitfxMR BHV
B^roinlUMnjCaii nWSO

MBi nnc ummq JisctfstM Apri tha

K.ASUFllMOBFUHMgCiMmR ASCN>)
Pncice SMItai S [unciiMa. M'JirgBli BifR

HMieDiH.ti.ms2

n A3CW,fWtDMHmQn|i>SC«'WIU

. - >t,v«HHiDa4»IIHB
W K STUTV MOBBir iVaiabfataiftjMng
-lUtMpR.BUIWMac

niiccMETorwFinuHi imccnsMi^Msic

Wt WtWMI BOHN TO FDU/Mr .'.I^McU l«^CaRi I
.1 . .1 ■ 1 ; .i ':7 Ji ^oi jw ftOfcflcg
'.:i:'.-s..«'.r, III,-. „c >&cw,'4acm3he lAM
'&af; H,V»EM

" * mUm.B»Scr*WV!

<aeAXW>,'Sen|MIVli
m Sow lit. ntSiWiu Mm C«p
(SCPOHm DHMW. BWtWVUNC K. AM
al«MBMwn«H1in4
WW M IMNliM FBil ifiitoi UM4* HM

ASQ^fHHfi
BWaijajT««W Mac; BWlflw TIM ftw teat
MrSaosOrUMU R.nftUagiMkrAteckt
ifiCtfliUMtfHtnc CcnoMn ASCV^M
MM BtMn Mac. R. BHi HWU H100K

■Nnur oft nr«HBu» i>iM«*« r
scsu>taM 01 inistycsonii a ca
s$ic«pu ukOdwlSESaci a4i

MmUM|S<M«IVtw(\(wnnC«n(av.nM
Oug FMM*« MTMrt Mae WCaM Ma

1 wrAp'ScnuWla

WHTDOMTM JU

TlMNCt

, I

'-' fUifelvQ AmsttL R.
v>>Pin.csH;iftO0SO
witinibux i>iArKAnei6aiiiwrv(amii|iH
K . .-^rfTiM MM. ASCAPMlUi
: MiilUj;&ftlbae.RI '
^ n.BMJMrayMm.
tASCVl.tlMlllCSS6

nvreMTU FartaMW«t.ASCW.imMmCii
ASCV.'Ma 101 fUMMoOnii. BW120I44 UM
BUOM) Mc Mac. BU4bn»bnMM FUWiq

Cnu 91A*.'t5PLU6r«f0Bn»1IIHlAS&iP/»BIK
■.■:^!T';-'r^ »»■ k^CVJ.WMfeMiS

YDMECONIIE u;lLCBMllI

TOU BfUWC WITH Ml ^AlVlar

LftmSMMaeS^
<^g S£SICC&.BI/nNI.H

48 Go to www.billboard.biz for complete chart data

Data for week of DECEMBER 5, 2009 CHARTS LEGEND on Page

EXECUTIVE

mRNTABLi

Send submissions to: exec ablllboard.com

ECORO COMPANIES: Universal Music Group Intematlonal
>points Andrew Kronfeld executive VP of international mar-
tting, effective in early 2010. He is GM of Universal Motown
frcords in New York.

JBLISHING: EMI Music Publishing North America names
ch Christina senior VP of creative and Leotis Clyburn
mior director of creative. Christina was VP of A&R at
>ny/ATV Publishing, and Clyburn was creative director at
/T Publishing.

BM) names Peter Ripley director of online communica-
^ns and marketing. He was a Web consultant/project man-
ler for the company's network of Web sites.

•

BBOOKS

RIPLEr

ELATED FIELDS: Australia's Film. Television and Radio
:hool names Michael Smellie chairman for a three-year
rm. He was president of media devetopment for the Asia Pa-
ic region at German media company Bertelsmann.
Marc Shaiman has been named music director for the 82nd
*.ademy Awards. He has worked on the Oscar show on three
evious occasions and has been n(Mninated for best origirul
ore on numerous films.

AECG, a division of Opus 1 Music Library, appoints Charley
ooks VP of marketing. She was West Coast representative
career development and industry relations at McNally
nith College of Music.

-Edited by Mitchell Peters

:5(X)nwORl«>

:tors band together for charity

eg Grunberg plays a police detective on NBC's "Heroes."
t for the actor, his real hero is his 1 i-year-old epileptic son.
"My son is without question my hero, because he's dealing
th il everyday." says Grunberg, who's determined to move
ilepsy research forward.

To accomplish this goal, he rallied a "supergroup" of mu-
ally inclined actors to start Band From TV. whose lineup in-
ides self-tauglit drummer Grunberg. guitarists James Denton
>esperate Housewives") and Adrian Pasdar ("Heroes"), fid-
* player Jesse Spencer {"House") and singer Bob Guiney
("The Bachelor"). All the proceeds
that the group earns from albums,
merch and concerts — where it plays
rock covers ranging from Bruce
Springsteen to the Killers — are do-
nated to such charities as the Fender
Music Foundation, the National
Coalition Again.st Domestic Vio-
nI^BB^^^B lence. Save the Children and the Pe-
diatric Epilepsy Project.

"We're not fooling ourselves by
nking people arc coming out just for the music." Grunberg
s. "We are actors, but we don't take ourselves too seriously."
When Grunberg founded the project three years ago. he
mgh it would only last for a couple of shows. But "the of-
s keep pouring in." he says. "We won't play for under
)O.Ofl<) now. because we need to make a dent." So far. Band
mi TV has raised more than $2 million.
Last October, the group released the CD/DVD set " Hoggin'
the Covers," which reached No. 28 on Billboard's Top in-
X'lident Albums chart and No. 10 on Top Heat.seekers Al-
ms. It has sold 2.000 copies in the United States, according
Sielsen SoundScan. — Sandy Gordon

2009 SESAC NASHVILLE MUSIC AWARDS

The SESAC Nashville Music Awards, held Nov. 9 at the performing rights organization's head-
quarters in Nashville, honored Monty Powell with the songwriter of the year award and named
"Sweet Thing"— a No. 1 hit Powell penned for Keith Urban— song of the year. Powell earned
songwriter of the year accolades on the strength of "Sweet Thing" and his other No. 1 for Urban.
"Kiss a Girl." Eden Valley Music and Universal Tunes, the publishing companies for Powell, were
named country publishers of the year. One of the evening's highlights was a performance by
Universal South artist Joe Nichols, photos: courtesy of ed rode

Sdannan Tipton-Neese df>d

Ti nrr i. ,. , Tunes VP of ■ I /9
- KL-iU harls ^. Monty .,r ■ president Pal Hlgdon,

SESAC pte-:,\obni,COO Pat ColUns .md VP o( af(>1>:.'i lA.oliSTior relations Travor Cat*. ,

Antttony Smith picks up an award for his song "I Want My Life Back" as

recordea by Bucky Covington From left: SESAC director ot writer/ SESAC director of writer/publisher relation-. Amy Both Hal« (certer) ar»d

publisher relations Shannan TIpton-NMse. GraiyJ Poobdh Publishing pres- associate VP of wfiior/pubiish/'r relations Tim Fink (f,T ngni) present

ident Gtl Grand. SESAC director of wnter/publisher relations John Mulllns, Amencaru sor^writers Savannah. Dtutin and Kevin Wekh (from left) a

Smith and SESAC associate VP of writer/publisher relations Tim Fink performance award for their work on Micky & the Motorcars' album "Naive "

Hand Crifflth '

takes the stjge.

Dicks up his I - 'A No ) h)t for Jimmy Wsyf

From left: SE£A:" - - ■ 'pof: i^hr' relat)Ons John '

y ' Am<-rn.rt p..: Finch.tf"SAC dir.. .[._- of

Shannan Tiptor>-Ne«s«- jc f .n^v r d SES-^^C associate VP of
Tim Fink

DECEMBER 5. 2009

V billboard bi;

Cni

EDITED BY KRISHNA TUt^

2009 BMI COUNTRY AWa.

INSIDE TRACK

SAADiQ PREPS NEW SET

Raphael Saadiq contends that he hasn't started work-
ing on the follow-up to his 2008 album. "The Way I
See It." but In the next breath he acknowledges that
"I've recorded some things. I've got a couple of things
I tike."

Look for him to return to his home studio in Janu-
ary to start working in earnest on the set. and Saadiq
says fans can expect it to follow the old-school-fueled
path the former Tony! Toni! Tone! leader has been fol-
lowing since his 2002 solo debut, "Instant Vintage."

"There will be more uptempos," Saadiq says, "but
there'll be some '60s and some '70s and some soulful
kind of funk, kind of rock ... I love playing with all dif-
ferent types of music, but I've had more fun this year
playing music than I've had in my whole life, so I think
I want to play in that arena again a little bit. But I want
to raise the bar a whole lot. too."

While fans wait for that next album they can sam-
ple some other Saadiq work that's currently available.
He collaborated on a pair of songs on Ledisi's latest
album, "Turn Me Loose." and co-wrote and produced
Mary J. Blige's "I Can See in Color" for the film "'Pre-
cious: Based on the Novel Push by Sapphire." Saadiq
is also executive producer of a new sitcom. "Love That
Girl." and is developing videogames with his com-
pany IIIFonic.

UrtMn .1. ■ Nicole Kidman

with Kris ^r^c U&a Kristofferson

Kito KiMoWwioii (center) gives a -i

thumbs up while recefvln^ a standing I

ovation alongside producer Don >ttmg |
and Kristofferson s wife, Lisa.

The 57tln annual BMI Country A^vards, held Nt
10 at BMi's Music Row offices, celebrated the wr
ers and publishers of the past year's 50 mo;
performed country songs from the BMI rep*
toire. The ceremony honored Kris Kristofferson
BM I Icon: named Taylor Swift's "Love Story" soi
of the year, Bobby Pinson songwriter of the ye
and Sony/ATV Music Publishing publisher of t
year, and saluted Brooks & Dunn with the Pre
dent's Award. A highlight of the evening wa;
tribute to Kristofferson that featured perfort
ances by Patty Griffin, Vince Gill and Willie Neisc

I PHOTOS. COURTESY OF JOHN RUSSELL (eicept s^t^ere noli

From led Ronnt* Dunn. BMi VP of writer/publtshef
reistiois Jody Wllliami and oresident/CEO M
Bryant ar'a Kix Brooks :'hoio cojotes-- op (>s-.ro\ hooe

SO I BILLBOARD I DECEMBER S, 2009

Cni

ANNOUNCING THE

Ij'llK-^'l'i-i

00,000 SPINS

lah/ Usher Feat. Ludacris & Lil Jon/LaFace/JLG
ralevard of Broken Dreams/Green Day/Reprise

00,000 SPINS

le Middle/Jimmy Eal World/Dreamworks

00,000 SPINS

DtNCold/Kaly Perry/Capitol

00,000 SPINS

lu Belong With Me/Taylor Swill/Big Machine
) What/imk/LaFace/JLG

100,000 SPINS

se Somebody/ Kings of Leon/RCA/RMG

ealize/Colble Caillal/Universal Republic

jr Song/Taylor Swifl/BIg Machine/Universal Republic

)«e Remains the Same/ /Interscope

alo/ i -/Music World/Columbia

rst Time/Lllehouse/Gellen/lnterscope

!00,000 SPINS

hen You're Gone/Avril Laviqne/RCA/RMG

lycho/ Puddle of Mudd/Flawless/Geffen/lnterscope

) Surprise/Oaughtry/19/RCA/RMG

ive Don't Live Here/Lady Aniebellum/Capilol Nashville

e Burning/ Sean Kingston/Beluga Heights/Epic

iwn/Jay Sean Feat. Lil Wayne/Cash Money/Universal Republic

00,000 SPINS

hatcha Say/ Jason Derulo/Beluga Heights/Warner Bros.

etter (Calling You Daddy)/Twista Feat. Erika Slitiuoii/Get Money Gang/Capitol

elcome to the Future/ Brad Paisley/ Arista Nashville

row It in the Bag/ Fabolcus Feat. The-Oream/Desert Storm/Def Jam/IDJMG

e Day That Never Comes/ Metallica/Warner Bros.

/eet Dreams/ Beyonce/Music World/Columbia

n This Toviin/Jay-Z, Rlhanna & Kanye West/Roc Nation

rty in the U.S.A./ MIley Cyrus/Hollywood

parazzi/' rv '^aGa/Streamline/KonLive/Cherrytree/lnterscope

ly You Can Love Me This Way/ Keith Urban/Capitol Nashville

igic/ /StarTrak/lnterscope

ve Your Love the Most/ Eric Church/Capitol Nashville

ttin' You Home (The Black Dress Song)/ ins Yaung/RCA

Ilin' for You/ /Universal Republic

)ser to Love/Mat Kearne /Aware/Columbia

lerican Ride/Toby Keith/Show Dog Nashville

0,000 SPINS

ti're Going Down/Sick Puppies/RMR/Virgin/Capitol
ilskey Hangover/ Godsmack/Universal Republic
isted/ Gucci Mane Feat. Plies/Asylum/Warner Bros.
!S/ Brown Band/Home Grovun/Atlantic/Bigger Picture
B Fixer/Pearl Jam/Monkeywrench
e Time/Justin Bieber/lsland/IDJMG
et Me Hallwiay/ Black Eyed Peas/ Interscope
■s/ Chevcllo/Epic

ma Star (Everywhere We Are)/ Jeremih/MIck Schultz/Def Jam/IDJMG
Alive/Kenny Chesney with Dave Matthews/BNA
ever/ "'rn^'^ Kanye West. Lil Wayne & Eminem/Harvey Mason/
Zone 4/Streamllne/lnterscop
1/ /Capilol Nashville

iwboy Casanova/ Carrie Underwood/19/Arista Nashville
eck My Brain/ Alice in Chains/ Virgin/Capitol
nlire/Craig Morgan/BNA
eady Gone/ Kelly Clarkson/19/RCA/RMG
I Ask For Anymore/ Trace Adkins/Capitol Nashville

Cni

lERCE' VS. TEARLESS': Beyonce, Swift Capture Most Graritoy Nods

SftsS I { —

illbf

.1 1.

LIGE

he Queen Returns With
n Album, A New Line
f Shades And A
reclous' Soundtracic

-F

— HEAT -

SUSAN BOYLE
LADY GAGA "
ADAM LAMBERT
LADY
ANTEBELLUM

r '

CRISIS MANAGEMENT

WILL CHRIS
BROWN'S PR
APPROACH
WIN?

PLENTY OF SUGAR

SPOON'S TOURNEY
FROM 'UNDERDOG'
TO TOP DOG

CAPITOL
NASHVILLE
CHIEF ON
SALES REVIVAL

TURN UP THE TV

[S COSTELLO
MAKES A
'SPECTACLE'
OF HIMSELF

DECEMBER 12. 2009

www.billboard.com
www.billboard.biz

US$6.99 CAN $8 99 UKtSSO

No, seriously,
Tmat

First Entertainment.

Yeah, I know

it's Saturday:'

FIRSTENTERTAINMENT
ZZZ CREDITUNION

An Alternative Way to Bankj^

Everyone welcome!

First Entertainment Credit Union is proud to
announce the opening of our newest branch
located at 4067 Laurel Canyon Blvd. near
Ventura Blvd. in Studio City. Our members are all
folks just like you - entertainment industry people
with, you know... important stuff to do. Stop by
soon - the java's on us, the patio is always open,
and full-service banking convenience surrounds you.

We now have 9 convenient locations in the
Greater LA area to serve you. All branches ore
open Monday - Thursday 8:30 am to 5:00 pm and
Friday 8:30 am to 6:00 pm and online 24/7. Plus,
our Studio City Branch is also open on Saturday
9:00 am to 2:00 pm. We hope to see you soon.

If you're reading this ad, you're eligible to join. 888.800.3328 *, www.firstent.org

Cni

■

BilllK>«rd

ON THE CHARTS

k ALBUMS

PAGI ARTIST , :

THE BILLBOARD 200

SUSAN BOTLf /

1 ■ ..,--[ii.:<"ejwi

TOP INDEPENDENT

JASON ALOEM/

Aim lyitv

TOP DIGITAL

LAOTOAO*/

n« MW MCMIBt list

TOP HOLIDAV

AMOftCA wcau /

HEATSEEKERS ALBUMS

BLAK ROC

TOP COUNTRY

lAT LOR SWIFT/

TOP BLUEGRASS

SIEVt MAFITIN r

TOP RWHIP-HOP

RIHAhMA

TOP CHRISTIAN

tASTNG CRDWNS

TOP GOSPEL

BEflE 1 CECE WtAUS ■

TOP DANCE'ELECTRONIC

LAOr jAGA

TOP TRADITIONAL JAZZ

MKHAEl BUBIE

OP CONTEMPORARY JAZZ

CHKIS Honi

)P TRADmONAL CLASSICAL

THE PHJtSTS

X> CLASSICAL CROSSOVER

ANnniA SOCELLI

TOP WORLD

rHE IRISH TENORS

TOP LATIN

WISIN S TANOa

h SONGS

PUCE iUmST TITU

THE BILLBOARD HOT 100

JAY ! AUUA RETS /

HOT 100 AIRPLAY

JAY Z - .VLICIA (.EfS ■

HOT DIGITAL SONGS

im:: •Mi.

HEATSEEKERS SONGS

oiii'm nail;

MAINSTREAM TOP 40

JASON DERULO/

ADULT CONTEMPORARY

TAYLOR SWT/
'TL LiiL<.HGlM1HliE

ADULT TOP 40

ROCK SONGS

THRnEMirSBIIKC/

ACTIVE ROCK

■

THREE OATS QMCE /

HERITAGE ROCK

ALICE m CHAINS

HOT COUNTRY SONGS

LAtlY ^.NTEHLLUM <

UUNSTREAM RaBMP440P

JAY 7 < ALICIA KEYS/

RHYTHMIC

JAY-f > AUCW lEYS/

ADULT RSB

mxmu./

mmtms

HOT RAP SONGS

-lOT RtB HIP-HOP SONGS

USHtR

CHRISTIAN SONGS

TOBTMAC

OT CHRISTIAN AC SONGS

CASTING CROWNS

CHRIS

-IAN CHR

KUTLfSS

HOT GOSPEL SONGS

FREO HAMMOMO FEATUfllNQ JOHN t lEE /

•10T DANCE CLUB SONGS

DEPfCHE MODE /

HOT DANCE AIRPLAY

DAVID GUETTA EEATUftlNG AKON /

SMOOTH JAZZ SONGS

PHEH WHHE .

HOT LATIN SONGS

AlEJANDRO SAUl f UTUMNB AUCIA KIVS

HOT MASTER RINGTONES

JAY-Z + AUUAKETS/
£NMfl£ SIAII Of HAD

kiS WEEK ON .biz

«mfT/mE

TOP POP CATALOG

CAsnmcMnm/

TOP MUSIC VIDEO SALES

BETDNCE/

lAH WJRS MMIIMttPWOMAUICE

HOT VIDEOCLIPS

nVUMIMFT/

TOP DVD SALES

SDUinBl

CONTENTS

UPFHONT

5 SECOND TIME

AROUND Grammy 17

nomination

special sees

viewership slip.
8 Digital

Entertainment

10 Latin 20

11 Global

14 On The Road
16 Q&A: Mike
Dungan

ON THE COVER; Mary 1 Blige 23
DlT0t09r4pti by Anthony Mjindlvr

23 *5 ^

FEAT 11 RES

STRENGTH OF
CHARACTER

Mary J. Blige returns v^ith her ninth
Studio album and branches out into
movies, branding and charity work.

TRANSFORMED

Jive Records stars R. Kelly and Britney
Spears have survived PR nightmares.
Can Chris Brown's publicity campaign
take him back to the top?

EMERGING MARKET""

How Spoon got signed, was dropped,
went indie, synched up with Jaguar,
hung out in the OC, kept its cred and
still managed to sell albums.

MUSIC

25 DINO-MITE! Motion City
Soundtrack gets ready
to roar on its major-
label debut.

27 5 Questions; Elvis
Costello

28 Reviews

30 Happening Now

IN FA EHV

issrE

4 Opinion

32 Marketplace

33 Over The Counter

33 Market Watch

34 Charts

49 Executive Turntable.
BaCkbeat, Inside Track

OF BILLBOAn

Online

.COMEXCLUSIVES

On Billtx)ard.com you can
listen to the hottest holiday
albums— for free— including
five of the top-selling titles
ever. And get ready for our
year- and decade-end
coverage, including a list of
all the No. 1 songs and chart-
toppirtg albums of the '00$.

Events

MUSIC AND MONEY

Join members of the
music, legal and financial
communities March 4 at
the St. Regis in New York
to explore challenges and
key opportunities shaping
the future of the music
business. More: billboard
musicandmoney.com.

LATIN MUSIC

Ttie Billboard Latin Music
Conferences Awards will
take place April 26-29 in
Puerto Rico at the Conrad
San Juan, Condado Plaza.
Don't miss the most
important Latin music
industry event. More: bill
boardlatinconference.com.

DECEMBER 12. 2009 I www.blltboafd.biz | 3

. OPINION

EDITORIALS . COMMENTARY , LETTERS

Starting Over

Labels Should Pay More Heed To Release Windows
And Other Product Innovations

BilllK>«rd

BMTOKIAL

DEPUTY EDITOP: Loula H«i fMrfSi-AKB
SEMKM EMTOW: Ann DenUm IJi ^75 329?
SPECIAL FEATURES EWTOft: Thom t>uff» ■ !■ ■ T
INTERNATIONAL BUREAU CHIEF: Mat
MUSIC FOITOO Cortn*y HtnDng
BILLBOARD Bi; EDITOR ChHt M. Walih <
EXECUTIVE DIRECTOR OF CONTENT AND
PROGRAMMING FOR LATIN MUSIC
EXECUTIVE DIRECTOR OF CONTENT AND
PROGRAMMING FOR TOURING AND LIVt ENTERTAINMENT:

LMm CotM r

'idViv>ll>l6a

» (De^wrt KIS-771-1342
SENIOR CORRESPONDENTS Ed ChriiUnMi M M fAS-6S4-472$.
C«ll M)leh»ll ■ ■ Tom Fw^on 'P-Lxjly r.i'.,tiji Ediori Ci1i-Jj.?0'-42(

SENIOR EDITORIAL ANALYST: Gtonn PaoplM •'.■'.< ,< 1 - -t.

CORRESPONDENTS: Ar>la a«t-Vahuda ' HnctttlPMmn
INTERNATIONAL: Lm irandl* . i WolfBont) Sp^r Bo
GLOBAL NEWS EDITOR- Andr« PMn« ■ I I " 1.' -i -

COPY CHIEF: Cliri» Wood*

COPY EDITOR: Chrllt* Tlm«

A&SOCIATE EDITOR. SPECIAL FEATURES: Iwt* NW 6d6-65'I-d709

CONTRIBUTORS Jim BMMnuit. Larry BbRMoMd, JuKmu KmnlMip, KmtI Kmoa.

BY MARK MULLIGAN

As the first decade of the 21sl century
draws to a close, it's becoming increas-
ingly apparent that fundamental
changes are needed to pull the record-
ing industry into the digital age.

Subscription services have fallen
short of the finish line and look increas-
ingly irrelevant in the context of Spotify.
The 99-cent download model was a use-
ful transition technology but it clearly
isn't enough to offset the impact of the
CD's prolonged demise. And ad-sup-
porled and subsidized models all have
a long way to go.

The problem isn't a shortage of busi-
ness models. Rather, the underlying
product itself needs work. We've had
business model innovation. Now is the
time for a phase of product innovation.

The immense challenge is to per-
suade consumers that music is worth
paying for again. The scarcity that was
a key factor in the value of music disap-
peared with the rise of Napster. Content
scarcity can never be truly regained, so
value must be re-established with the
scarcity of convenient, compelling serv-
ices operating within three broad music
release windows:

1. Preview: Right at the lop of the re-
lease cycle, this is the window in which
the latest releases should be first
"aired." The only consumers who
should have access to this window
should be those who pay for premium
music products, such as those that
package music with additional content
and greater levels of interactivity.

2. Mainstream pay: This is the current
mainstream release window. We sug-
gest that it remain the home of CDs.
CDs wilt soon be obsolete as a mass-
market product, and relegating them to
the second tier of release priority will
prove a useful tactic for grandfathering
the product.

3. Free, ad-supported services: This
last window is a full month-and-a-half
after the first, which strikes the right
balance between communicating clear
premium value to the top tier and en-
suring that free services aren't hope-
lessly outdated.

But we believe that even more needs
to be done. What's required is a radical
overhaul of the core music product.
Though formats have changed, the pri-
mary product (i.e., a collection of songs)
has remained largely unchanged
through the years. We propose that the

Fuliire music
produet.s nved io
l)l(Mi(l inl<Ta('tivi(y.
multhiKHlia,
inultipiatforni
coiivonieiiccand
social nctworkinjj;
riinclions to (*rcaU*
something
totally new.

straitjacket of the album format can now
be shaken off and replaced by a steady
stream of creative output as part of a
continual artist-fan relationship.

So where would all the extra content
come from.^ Much of it is already here.
Artists have been creating a much wider
range of creative assets for some time,
including backstage footage, covers,
remixes and mobile apps. We argue that
this content should no longer be seen
as a way of selling albums and gigs, but
rather as an end in itself.

This is an MTV moment in the dig-
ital age for the record labels. It was
only after MTV had established itself
as a successful business that labels re-

alized music videos were a valuable
commodity in their own right rather
than just a promotional toot to be given
away for free. Now it is time for them
to learn the same lessons about value-
added content.

The fan experience is also in need of
extensive innovation. We believe thai
future music products will need to adopt
a platform-agnostic world view that en-
compasses powerful and social interac-
tivity to empower consumers to create
their own unique experiences.

It's time to build music products
around consumer needs, not business
needs, That might sound like a tmism .
but so much of current digital music in-
novation falls short of this crucially im-
portant value. Interactivity is going to
be key to successful music product in-
novation, including empowering con-
sumers to make the listening experience
their own and to bring their connected
friends into that unique experience. A
touch-screen nelbook would be the per-
fect form factor for such a product.

Future music products need to blend
interactivity, multimedia, multiplat-
form convenience and social network-
ing functions to create something
totally new. The vision here is of a prod-
uct that essentially behaves like a mut-
tiplatform app and facilitates multiple
levels of interactivity.

It would deliver music of course, but
also dynamic additional content: live
chat with fans and bands, games, videos,
concert simulcasts, the ability to remix
tracks — basically everything that's rel-
evant to the listening experience.

I could go on, but you can see where
I'm heading. Tomorrow's music prod-
ucts need to be unrecognizable to be
relevant in the post-Media Meltdown
age. Done right, product innovation
could be the music industry's ticket out
of the 21st-century meltdown in which
it finds itself.

Marfc Mulligan is a VP and research
director at Forrester Research in London.
This piece is adapted from a Forrester
report titled 'Music Release Windows:
The Product Innovation That the Music
Business Can't Do Without.'

BiLLBOARD.COM EDITOR: JEUICA LETKeMANN i i: ■
BILLBOARD.COM NEWS EDITOR: David J. Prlnca- I- -
B«±BOAnD.COM ASSOCIATE EDITORS: M«M Connodon f-

WRITE US ■ Share your feedback witti Billt>oard readers
around the world Send corrospondencG to letters' a'blllboard.com

Include name, title, address and phone r^umt>er for verification

SUBSCRIBE . Go to billboard.biz/iubscribe or call
800-658-8372 (U.S. toll free) or 847-559-7531 (International).

n*v t— MKM. An uibmiiMm pLiMltrwd (h^ii Mcoma tna
^ iTud own Ch* copyrigM m wncM of Ml. •M DuMUIUn.

-X

Gr»g Gnbomv

CHARTS < RESEARCH
DIRECTOR Of CHARTS: SJLVIO PIETROLUOMO
ASSOCIATE DIRECTOR OF CHARTS: RadflMt CMTf*

SENIOR CHART MANAGERS: K«IUi CaulHvM : BilltMMrd 200 Cul Corr^uiions. On

I ■ ii l-r'-.T'-Jwil, inlernel PopCiea»00. SoufViHaCta. LA)

WmI* JaiMn -III ■ .I-' Country, Go«D«l. NMhvi 1 1»]

CHART MANAGERS Bob AHtn Cvj-icOfr NMh>.|lle> ItaphMl Otatf tflUm. H*a/H«-
I- II . : Gonlon Murray (Com*dy D*x«/€lecln}n>c, Jazz. N«w Ag«. Rinflion

ri' Silvio PiMrolwongo < Thr roj-ci Ho! XJO, O^tal Son^t) tart tar

if'- Cary TruM < Mfl BMt. HMt!«««i«rS SOngs Mi

■i ' r ■ ■ Ala« Vltoulli I - . iin Vid»0)

INTERIM CHART MANAGER: Bauly Ramlrvi
CHART PRODUCTION MANAGER; MtchMl CuMOfl
ASSOCIATE CHART PRODUCTION MANAGER: Alai VttowBt
BILLBOARD RESEARCH MANAGER: Gordon Mwrr«ir ■. J(.-6S4-46U

DIGITAL

VICE PRESIDENT, DIGITAL: JOSHUA iNOAOrF
DIRECTOR. MARKET DEVELOPMENT: Eric Ward
MANAGER. MARKET DEVELOPMENT: Juftin Hwnia

ADVf OTISIHfl SAl f S
VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER; JEREMY L£VINE G4&-<,SA 4^2^
NATIONAL SALES DIRECTOR/DIGITAL K CONSUMER Oarall SantMT 6-te 654 4616
DIRECTOR BUSINESS DEVELOPMENT t EAST COAST SALES. Pf»NT: ChrtNaplMr RoU** 64
EAST COAST SALES DIRECTORS, DIGITAL. AMOIte AmaW > ^' ' 'I -XnaB
DWECTOR. SPECIAL PEATUfiES ft WEST COAST SALES: AkI KMtako ?JS S2i-2299
MIDWEST SALES DIRECTOR, DIGITAL Alana Schllftia v . ^.■ ■',',1
WEST COAST SALES DIRECTOR. DIGITAL- Cuay Dannatiy i -.. i -..'h-TliT
NASHVILLE Laa Ann Photogto - 1 ^76 79j: i Ut^^) Cynthla HtiMK 615- J&2-0265 <Tou
ADVERTISING DIRECTOR DETROIT: KaUw Varso ,'4^ t>U7^i(.U
ADVERTISING D«nECTOP EUROPEAJ.K." FwdtHC FWWCd Oil W-rOT-AMVeOTS
INSIDC ACCOUNT REP: Ja« Safratta ^>Ji f=i4-4fa97
MANAGING DIRECTOR/LATIN: Oana SffliHi 473-746-2530
LATIN AMERICA/MIAMI: MMda OHval ^:5^>&4-757a Fdx. 305-664-3227
ASIA-PACIFIC/AUSTBALIA Linda Matkll ■ ■J440 TTT7. Fw 612-9440-778B

JAPAN AW K*(»ak«

MANAGER OF SALES ANALYTICS: MIrfW Oomw 64^.654-4695
ADVERTISING COOROtNATOR; Ataundra Harti646-&S4<SSSI
MARKETING

SENIOR MARKETING DIRECTOR: ULA CERSOM 646-654-4629
EVENT MARKETING MANAGCR: Nlcott Carbm 646-6S4-46I4
SENIOR MARKETING MANAGER. Jama> CraM 646-654-5489
MARKETING MANAGER: Karri Bargnun ' -1' t '
SALES/MARKETIMG ART DIRECTOR Maltua Subatch
SALES/MARKETING DESIGN MANAGER: Kbn Gracing

*U01I.N(.I HAttKETINQ
AUDIENCE MARKETING DIRECTOR: NEIL EISENaERO
ASSOCIATE AUDIENCE MARKETING DIRECTOR Und* LM

SUBSCRIPTIONS. p.1.^jH_"ji. .- I. ■!--.-,■ ■■ ii9--'%V [

B' cnji) Of nbb^K]

J-iCENSlNG. EVENTS ■ REPRINTS
VICE PRESIDENT, BUSINESS DEVELOPMENT A LICENSING ANDREW MIN iJrf»vrTW>@r
EXECUTIVE DIRECTOR, CONFERENCES « SPf CIAL EVENTS MICHfiLS JACANOM
SPONSORSHIP/BUSINESS DEVELOPMENT MANAGCR Cabala H^iMi i -i., t,:yl'44.4«
SPONSORSHIP SALES MANAGERS: Matthaw CMna < . t L 4 L v Kim CrtmUH 646-*
SPECIAL EVENTS DIRECTOR: MarsarM O-Sfiu
SPECIAL EVENTS MANAGER: Uta DUKntonlo
EVENT CLIENT SERVICES MANAGER. C
DIRECTOR. LICENSING « CUSTOM MEDIA:
MANAGER. MTERNATIONAL UCENSINC 4 SAUS >
MAGAZINE REPRINTS: Argta VwiGerdar - :-biL:0-J^L -S4LO £>:

PPOfJUCTIOS
PRODUCTION DIRECTOR TBRRINCS C SANDERS
ASSOCIATE PRODUCTION DIRECTOR: AMholry T. StaBlnvi
ASSOOATE PRODUCTION MANAGER Ro«9ar LaonM4

L DIRECTOR: BARBARA CRIENIM6ER 646 6S4'467S
HUMAN RESOURCES DIRECTOR: BILL FINTON
LEGAL COUNSEL: MARK MILLER
DISTRIBUTION DIRECTOR: Low Brs4fAtld

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER: Dan* PMTB •^46
VICE PRESIDENT. MANUFACTURING AND DISTRIBUTION: JannHar Orago
VICE PRESIDENT. AUDIENCE MARKETING: JM

NIWVORK: '?0^<^^!
Unv, Vf^. N.V lOOOi

Pix>o* 646*54.4500
Edil Fax 646-654-4681
Adsr fan 646-654-4799

IjONDON: Endeavour
189 Shaf leitw A« ,
London WC2H BIJ.
Ptione on-44-207-42(
Fax 0n-A4.3O7-43O-«

MAHk Kll Cr«^n Blvcl,
5u.t» 466 K»y B^«yn«. FL
13149 Phona. IQ«-i61-S279
Fax S05-36V5299

SENIOR VICE PRESIDENT. THE EMTERTAINMEMT GROUR

nielsen

ftntr. SCMOR VKE PRESIDENT. HUMAN RESC
lal AHCMC SenOR VICE PRESIDENT. BRAM3 MEDIA; Andr
BUbaa; SEMOR VICE PRESIDENT. MEDIA A ENTERTAINMENT: -

Nirlsen Buvnns Mfdia Byma: SENKJR vice president, finance: Siowta Ooo^: SEr

VKE PRESmCNT RETAIL: Dwid LoKhrw, SFNIOR VtCC PRCS
CONTENT: ScMI HcKafOia; SENIOR VICE PRESIDENT. BLHLDINC A OESIGM: Jo* Randall; £
Via PMESnCNT. CENTTIAL SERVICES: Mary Kay Suttak, CHIEF OPERATMC OFFKIER.
ENTCRTAtNMCNT: Hoaaard AppsKMum; VICE PRESIDENT. MAMJFACTURING « DISTRIBU

JWMMr Gragei VICE PRESIDENT LICENSING: Andra* HIn; VICE PRESIDENT. CLIENT HAI

■y: VICE PRESIDENT AUDIENCE MARKETING Joanne Whanlley

4 I BILLBOARD I DECEMBER 12, 2009

THE

TEST
lEWS
ROM

IT. .

MYSPACE
lUSIC'SU.K.
AUNCH

ore than a year
ter its U.S. rollout,
ySpace Music has
ode Its long-
waited bow in the
nited Kingdom. As
ith the U.S. service,
le platform offers
.K. users free and
tlimited ad-
ipported, full-
ngth audio and
usic video
reaming and
tlimited free
aylisting. U.K. users
ill also have the
3tion to download,
ream and
;rsonatize their
usic content using
<e MyMusic
anagement system,
. well as purchase
gital rights
anagement-free
P3 music down-
ads on iTunes.

SPOTIFY
CORES KEYS
REVIEW

icia Keys will unveil
■r upcoming album,
he Element of
eedom." on music
reaming service
)otify in Europe,
le week ahead of its
ficial release. The
oum drops Dec. 14
the United
ngdom and Europe
id the following day
the United States.
>ginning at 12 p.m.

Dec. 7. Spotify
ers across Europe
II be able to
clusively stream
e full album.

> RADIO
IRMS JOIN
XRGETSPOT

ur new radio
mpanies will
ntribute inventory
TargetSpot. the
gest online radio
network. The radio
mpanies— Tribune
oadcasting. Emmis
dio, Lincoln
lancial Media and
3CHoldings-
:rease TargetSpot's ^
jnthly reach from
to more than 17
llion listeners,
dio broadcasters
i looking to Target-
otto help cultivate
jcrative revenue
earn that could
set significant
/enue declines.

HELP WANTED

CMA seeks successor
to Genovese

WALK. DON'T RUN

Time to tweak digital
music biz models

SELF HELP

More L.itin artists
invest in their careers

ON THE 'FLY'

Ticketfly adds social
dimension to tix

UP THE COUNTRY

A chat with Capitol
Nashville's Mike Dungan

ri\VAlll»KJ BY ANN DONAHUE and MITCHELL PETERS

Second Time Around

Grammy Nomination Special Sees Viewership Slip

For the second year, llie Grammy Awards bet on a
splashy TV show to draw attention and viewers. And
for the second year, the results failed to set its time
slot on fire.

Still, the Recording Academy deemed the evening
a success, emphasizing that "Grammy Nominations
Concert Live!! — Countdown to Music's Biggest Night"
provided nominees and performers with a welcome
platform to reach a prime-time audience,

TJie Dec. 2 Grammy nomination special, which took
place at Los Angeles' Club Nokia, pulled in 6.3 mil-
lion viewers, down from the 7 million who watched
last year's special, according to Nielsen.

The CBS telecast finished fourth in its 9 p.m. lime
slot behind Fox's "Glee." N BC's " Law & Order; SVU"
and ABC's "Modern Family." But
Recording Academy pn
dcnt/CEO Neil Portnow
downplayed the impor-
tance of the show's
ratings.

"What we've
done here is given
access to literally
many millions of
people to gel in-
volved as we roll

out the nominations, to participate, get them in the mode
of the kickoffweek for the Grammy season," Portnow
says. "So from that standpoint, it continues to be a re-
sounding success. 1 1 certainly is viewed upon by us and
the network as a terrific promotional tool for the actual
show in lanuary. That's the reason we're doing this."

Might the middling ratings affect the nomination
special's future? "No. I don't think so," Portnow says.
"We're committed and the network is committed . . .
When you're in such an early stage in something like
this, it takes a while until you hit the stride, in terms of
where you think something like this lives."

The show packed plenty of star power, featuring per-
formances by the Black Eyed Peas. Sugarland and
Maxwell, as well as the national TV debut of Nick )onas

& the Administration, LL Cool | hosted the show, which
also included presenters Linkin Park, Kat)- Perry. TPain.
Dwight Yoakam. Smokey Robinson and Ringo Starr.

Completing a trifecla of the big three categories.
Beyoncc topped the nominations with 10 nods, in-
cludingalbumoftheycar for''1 Am . , . Sasha Fierce."
record of the year for "Halo" and song of the year for
"Single Ladies (Put a Ring on It)."

Taylor Swift also received nominations in the lop
three categories: album of the year for "Fearless" and
record and song of the year, alongside co-writer Liz
Rose, for "You Belong With Me" en route to a total of
eight nominations. Tlie Black Eyed Peas. Maxwell and
Kanye West each received six nods.

Prior to the awards, insiders suggested that Whitney
Houston might be in the race for some of the top cate-
gories after " I Look to You' returned her to the Billboard
200 in grand style. Tlic album was her fourth No. 1 on
the chart and first since the Hons Ion -fueled Tlie Body-
guard" soundtrack spent 20 weeks at No. 1 in 1993. but
the singer was shut out of the nominations.

Although West snared six nods for "ROKs and Heart-
break," his antics at this year's MTV Video Music
Awards (when he disrupted Swift's acceptance speech
for best female ^-ideo) may have hurt his vote tallies, as
he wasn't nominated in any of the big three categories.

In addition to Beyonce's "Fierce" and Swift's "Fear-
less." the other album of the year nominees arc the
Black Eyed Peas' "The E.N.D.." Lady Gaga's Tlie Fame"
and Dave Matthews Band's "Big Whiskey and the
GrooGrux King."

Apart from Beyonce and Swift, the record of the
year category is rounded out by the Black Eyed Peas'
"I Gotta Feeling." Kings of Leon's "Use Somebody"
and Lady Gaga's "Poker Face."

Song of the year nominees are " Poker Face" by song-
writers Lady Gaga and RedOne: "Pretty Wings" by Hod
David and Musze; "Single Ladies (Put a Ring on It)"
byThaddis Harrell, Beyonce, Terius Nash and Christo-
pher Stewart: "Use Somebody" by Caleb. )ared,
Matthew and Nathan Followill; and "You Belong With
Me" by Rose and Swift.

The song nominees seemed to correlate with chart

Kiicccss in 2009: all of them rcacbrd the top 40 of the
Billboard Hot 100. and four of them peaked in the top
four of the chart.

Kings of Leon drummer Nathan Followill said the
band was thrilled to receive seven nominations in two
years for its album "Only by the Night," adding that
the group doesn't anticipate touring any more for the
set "unless wc win four Grammys this year, then we'll
beback."

For more coverage of the Grammy nomination special,

go lo Billboard.com.

DECEMBER 12, 2009 I www.billboard.biz I 5

>>>SWIFT LINKS
WITH COMCAST
FOR VOD DEAL

In another sign of its
commitment to building
content strength,
Comcast has unveiled
an exclusive video-on-
demand partnership
with Taylor Swift.
Comcast says the deal
will give its customers
the first and only
dedicated VOD content
collection for Swift
fans, including such
music videos as "You
Belong With Me" and
"Love Story." behind-
the-scenes clips and
special programming,
such as a recent
"Saturday Night Live"
episode she hosted.

> LAMBERT
AXED FROM MORE
ABC SHOWS

Two more of Adam
Lambert's scheduled
performances on ABC
have been canceled.
Lambert spread word of
the cancellations Dec. 2
on Twitter. "Yes, sadly
friends, ABC has
canceled my
appearances on Kimmel
and NYE. ;( don't blame
them. It's the FCC heat."
he wrote. The "American
Idol" runner-up had
been booked to perform
Dec. 17 on "Jimmy
Kimmel Live!" and was
allegedly set to perform
on the network's annual
"New Year's Rockin'
Eve" special, which, like
the American Music
Avtrards, is helmed by
Dick Clark Productions.

THEWHO
CONFIRMED FOR
SUPER BOWL

The Who will perform
during the Super Bowl
halftime show Feb. 7 in
Miami. The NFL unveiled
the news during a
Thanksgiving Day game
between the Oakland
Raiders and Dallas
Cowboys. Bruce
Springsteen S the E
Street Band, Tom Petty
& the Heartbreakers,
Prince and the Rolling
Stones have played the
halftime show in recent
years.

Compiled by Chris M.
Walsh. Reporting by
Katy Bachman, Monica
Herrera. Richard Smirke.
Georg Szalal and Chris
M. Walsh.

BY KEN TUCKER and WADE JESSEN

NEW BLOOD

The CMA Launches Search After CEO Resigns

The top administrative post at the
County Music Assn. has always been
filled from within the organization.
But as the CMA embarks on a search
to replace CEO Tammy Genovese,
that Is expected to change.

"The board has been around for SO
years and we have never gone out-
side, or felt compelled to go outside,
of the organization to find leader-
ship," says Randy Goodman, chair-
man of the CMA board and president
of Lyric Street Records. "We have an
opportunity now to look globally if
we wish."

Genovese, who announced her res-
ignation Dec. 2, had headed the CMA
since 2007 and was a 24-year veteran
of the organization. She was only the
fourth chief administrator in the
CMA's history, succeeding Ed Ben-
son, who was executive director for
14 years. Jo Walker-Meador, the
CMA's pioneering second executive
director, led the organization from
1962 to 1991 and took over administra-
tion of the CMA from former WSM ex-
ecutive Harry Stone.

"Jo Walker-Meador and Ed Benson
taught me that success is built on hard
work, passion and integrity," Geno-
vese said in a statement, which didn't
provide a reason for her departure.
She couldn't be reached for comment.

Goodman says there isn't a time-
table for finding Genovese's replace-
ment. "If we're going to do an expan-
sive search, then putting a time limit
on it would defeat the purpose." he
says. "We've got competent volun-
teer leadership [on the board] and
we've got really strong senior staff at
the CMA. The organization will con-
tinue to function, will continue to
move ahead, will continue to do the
business of CMA."

Under Genovese's watch, the
CMA Music Festival enjoyed record-
high attendance this year, while the
Nov. 11 CMA Awards telecast on ABC
garnered the show's best ratings
since 2005.

Although country music sales have
been unusually robust in 2009 (see
Q&A, page 16), they come amid a con-
tinued plunge In overall U.S. sales of

recorded music. As part of the effort
to seek new opportunities for country
artists, the CMA conducted a study
of the country consumer market last
year and hired communications com-
pany MS&L in September to be its ex-
clusive sales, marketing and brand-
ing partner.

As for what qualities the CMA Is look-
ing for in Genovese's successor, Good-
man says that hasn't been decided,

"At this level it's not about tasking
someone, it's not about tactical
things," he says, "At this level it's more
about strategic thinking and some-
body who can be a broad global stu-
dent of all aspects of the media world
so that as an organization that is here
to promote country music, particu-

larly in a time of great crisis and tu
moil, that we've got someone wt"
can help engage us as we move th
along as well."

Steve Moore, chairman-elect of tl
CMA board and senior VP of AE
Live, will serve as interim director du
Ing the transition. While Genove;
held the title of CEO, the CMA's a
nouncement of her departure said
was conducting a search for a ne
"executive director."

Why the change in title? "It's pu
semantics and has nothing to c
with where we end up landing
Goodman says, adding with a laug
"The next person may be catli
'president' and they may be calU
'czar' Hell, I don't know."

LEGAL MATTERS

WHAT THE ANTI-COUNTERFEITING TRADE
Igjll^ AGREEMENT IS-AND ISN'T

N SHEFFNER

It sounds .scary — very scarj'.

The blogospherc has been
abuzz about an mlcrnalional
cabal of corporate and govem-
menl interests plotting in secret
to eliminate freedom on the In-
ternet and impose draconian
new penalties against illegal use
ofcopyrighted content, all under
the guise of negotiating an in-
nocuous-sounding "Anti-Coun-
terfeiting Trade Agreement. "

If the ACTA becomes law.
warns Cory Doctorow. copy-
right reform activist and edi-
tor of the popular lech blog
Being Boing. "it will be impos-
sible to run a service like Flickr
or YouTube or Blogger." In
fact, reliable copyright critic
Techdirt claims that the ACTA
would radically change U.S.
law by eliminating the "safe
harbor" provisions provided
by the Digital Millennium
Copyright Act (DMCA).

It all sounds frightening.
And it would be if it were true —
but it's not.

So what exactly is the ACTA'
First, it's important to keep in
mind that, as of now, there isn't
an ACTA. There have been
ideas, proposals, drafts and lots
of meetings, but as of yet no
actual agreement, instead,
major industrialized nations —
including the United Stales,
the European Union (EU).
japan. South Korea, Australia
and Canada — are negotiating
a pact to strengthen global en-
forcement of inlcltcttual prop-
erty rights. Tlie talks may drag
on for another year or more,
and then the signatory nations
will have to take whatever steps
are required under their own
domestic laws to implement
its provisions.

Under U.S. law. the ACTA
would be an "executive agree-
ment." not a treaty. That means
it would achieve the force of
law without the constitutional
requirement of ratification by
a two-thirds majority vote in
the Senate. But because it's

only an executive agreement,
the ACTA can't alter existing
U.S. statutory law. including,
for example, the Copyright Act
or the DMCA.

ACTA critics have two basic
complaints. First, they say the
negotiation process is being
conducted in secret, which pre-
vents the public from making
its views known and counter-
ing perceived corporate influ-
ence over the outcome. It's true
that ACTA negotiations don't
take place in public. But, like it
or not. that's simply the norm
for international trade talks.

And in fact the Office of the
U.S. Trade Representative has.
subject to nondisclosure agree-
ments, briefed a wide variety of
interested parties on the ongo-
ing negotiations. Corporate
copyright interests including
the RIAA and Motion Picture
Assn. of America take part, but
so do skeptics of copyright en-
forcement, including represen-
tatives from Go<^le. eBay, the

Consumer Electronics Assn.
and the Center for Democracy
and Technology.

The other major complaint
focuses on substance. ACTA
critics charge that the agree-
ment would impose a manda-
tory government-enforced,
French-style "three strikes'
regime that would force Inter-
net .service providers to kick off
users caught downloading
songs, movies or TV shows.
While many labels and studio
executives favor such a law, the
ACTA isn't going to give them
what they want because, again,
it's only an exeaitive agreement
that can't change U.S. law.

It's also worth noting that
the DMCA already requires
that ISPs must ""terminatle] re-
peat infringers" in "appropri-
ate circumstances" in order to
be covered by safe harbor pro-
lections from infringement
claims. ISPs have interpreted
that provision to require a court
determination of infringe-
ment, so, in practice, termina-
tions of subscribers by ISPs
have been minimal.

So if the ACTA won't — and
can't — change U.S. law, what's
the poinl?The purpose of such
an agreement is to apply a
"standard set of terms and best
practices" to copyright enforce-
ment rules in the world's lead-

ing economies, says Chris I
rael, who served as the U.S. (
ordinator for internation
intellectual property enfort
menl in the administration
former President George "
Bush and now advises maj
copyright owners on interr
tional trade issues.

Such practices, according
a leaked EU memo summar
ing the talks, include granli
ISPs safe harbor from infrinj
menl claims based on wror
doing by their users, as long
the ISPs take reasonable ste
tocombat piracy — exactly wl
U.S. law already requires.

The ACTA won't end o
line piracy. But its goal
more rigorous enforcemc
of copyright protections is
profound importance to t
recording industry and ont
should support.

Ben Shejfner is a copyright
atlorney who has represente
movie studios. TV networks
and record labels. Sheffner
currently works as an attorf
in the NBC Universal
Television Group, which is
20% owned by Vivendi, the
parent of Universal Music
Croup, He is the author of I
Copyrights flj Campaigns bl
(copyrighlsandcampaigns.
blogspot.com).

6 I BILLBOARD I DECEMBER 12, 2009

Specialized Wealth Management for the Music Industry

SunTrust

Royalty and Catalog Lending Financial Planning Retirement Planning Investment AAanagement Live Solid. Bank Solid."

rtties and Insmnce Products and Services: Are not FDtC or any other Govemmenl Agency Insured • Are not Bank Guaranteed ■ May Lose Value

ias Carroll is Senior Vice President SunTrust Investment Services, Inc . and Managing Director of SunTrust s Sports and Enlertalnment Specialty Group

"rust Sports and Entertainment Specialty Group is a marketing name used by SunTrust Banks, Inc . and ttw folhawing affiliates: Bankirra and trust products and services are provided tjy SunTrust Bank, Securities, brokerage
;es. Insurance (inctuding annuities and cortain Irfo insurance products) and other investment products and son/ices are olTorod by SunTrust Invostmont Services. Inc., an SEC-reglstored investment adviser and broker/dealer
I memtwr o( FINRA and SIPC Ottier insurance products and services are offered by SunTrust Insurance Services, Inc., a licensed insurance agency

■9 SunTrust Banks. Inc. SunTrust rs a federally registered servico mark of SunTrust Banks, inc Live Solkl. Bank Solid, is a serv^e mark of SunTrust Banks, Inc.

Cni

IIPFRHMT

DIGITAL ENTERTAINM^E^g^

BY ANTONY BRUNO

Evolutionary Road

More Digital Music Advances Will Perfect Biz Models, Not Blow Them Up

Has the revolution come to
an end?

The pa.st decade has played
host to an unprecedented
level of upheaval, innovation
and opportunity as digital
music distribution exploded
into the mainstream. But as
the "OOs draw to a close. less
convulsive changes appear to
be on the horizon.

Instead, the decade ahead
will be about refining the
revolutionary ideas of the
past 10 years — like "free-
mium." "direct to consumer"
and 'fan engagement" — into
workable, profilablc busi-
nesses. The focus will shift
from the broad-stroke hype
of new models to the more
mundane details of their
execution.

Take the recently launched
MOG All Access streaming
music service. At first
glance, it's easy to say that
we've seen this alt before. As
of Dec. 2, users can stream
an unlimited amount of
music on demand, create
playlists and listen to cus-
tomizable radio stations for
$5 per month. Doesn't
sound much different from
the $5 subscription plan that
Yahoo Music Unlimited of-
fered almost five years ago.
or Napster's $5 monthly of-
fering that includes five free
digital rights management-
free downloads.

But how MOG offers these
same services is what CEO
David Hyman is betting will
set the initiative apart from
the others.

" Before the i Pod came out.

there were lots of MP3 play-
ers," he says. "It was about
doing it right and nailing it
from a consumer perspec-
tive. Same with iTunes. So
much of it. especially in the
case of music, has to do with
ease of use and look and feel.
The devil's In the details."

For instance, all music
services have music search
or playlisi-building features.
MOG's challenge as a Web-
based product is to make
those features — not to men-
tion the simple act of play-
ing a song — feel as fast and
easy as doing so from a
music library stored on a
user's desktop.

MOG spent three months
defining the specifications
for its playlist-building fea-
ture before programming
even started. It look another
six months to create the
search feature alone. The re-
sult is a rather slick, intuitive
service that will remind many
of the elegant simplicity
that's made Spotify such a
huge success in Europe.

Another sign of incremen-
tal but potentially important
progress is the Vevo music
video venture, which is
going live Dec. 8. Streaming
music videos online is noth-
ing new. Even streaming in
HD quality, as Vevo is doing,
is not a first.

The difference here
is that the labels in-
volved are taking con-
trol of ihe sales and the
content. By hosting all

WIDE RECEIVER

The iPtione can be lots

of different ttiings— a ^^^^^^

music player, a gaming platform, a GPS device and
even, on occasion, a phone. But one ttiing it's not is an
HD radio.

But it can become one with the help of a plug-in ac-
cessory from iBiquity. the company that developed
the technology for MD radio. iBiquity's Gigaware Nav-
igation Control HD Radio Receiver acts as a de facto
HD antenna for the iPhone and the iPod Touch. It works
in conjunction with a free downloadable app, allow-
ing users to tune in HD channels, preview content,
bookmark favorites and tag songs for later purchase
through the iTunes Tagging feature present in all HD
radio broadcasts.

The receiver is available exclusively at RadioShack
for $80. -AB

Refining the model: The new MOG All Access subscription
service (above) and MOG CEO DAVID HYMAN.

of the content in one spot and
syndicating it to others. Vevo
will create a scarcity of
inventory, with the hope
of creating higher per-
impression ad
rates and broader
sponsorship/
branding
opportunities.

Both MOG's
subscription serv-
ice and Vevo rep-
resent positive
steps for a digital
music market still
searching for the
right mix of user excite-
ment, technological innova-
tion and revenue. So could a
number of other digital
music services poised to
launch or relaunch in the
months ahead, including the
revamped Project Playlist.
Grooveshark, Rdio and a U.S.
version of Spotify.

Of course, there remain
some pockets of potentially
revolutionary developments
in the years ahead. One is
the motion-capture add-ons
being developed for video-
game consoles, such as Mi-

crosoft's Project Natal,
which could lead to some in-
teresting new music-based
videogame concepts. An-
other is the proposal to offer
Internet service providers
blanket licenses for digital
music, which would allow
ISPs to charge a small
monthly fee for access to all
the music subscribers want,
while distributing the funds
to labels and artists based
on usage. And mobile ac-
cess to digital music re-
mains a source of great
potential, despite its disap-
pointing history.

But on the whole, the fu-
ture of'digital music will be
marked not by quantum
leaps, but baby steps. Some
may call this slow and plod-
ding forecast boring or un-
scxy. Bui after 10 years of
utter chaos, a more conser-
vative and measured ap-
proach will be a welcome
change. So long to the rev-
olution— welcome to the
evolution.

BITS & BRIEFS

XBOX RECRUITS
NEW LAST.FM USERS

Lastfm says it gained more
than 1 million new regis-
tered users in a week as a
result of its integration with
the Xbox 360 gaming sys-
tem. Microsoft added the
service— along with Face-
book, Twitter and Zune
video— to the Xbox Live
network, which is accessi-
ble through all Internet-
connected consoles. While
there's no way of telling
how many of those new
users will continue to use
Last.fm, it provides further
evidence of the Xbox sys-
tem's potential as a device
to access music.

NEWGROOVEMUSIC
SHARES AD
REVENUE WITH ACTS
The music Web site New-
GrooveMusic is offering
exposure to unknown and
emerging artists. The site's
proposal, which focuses on
ad-supported free music,

offers to pair emerging act
with local and nation,
brands that will sponsor th
free download of their mi
sic. For each track that
downloaded, artists get
"generous percentage" <
the sponsorship fee. Th
site relies on users to fo
ward music to friends an
build a following throug
word-of-mouth.

MUSIC SOCIAL
NETWORK
LAUNCHES FORGIs

The U.S. armed forces mj
be the best fighting fore
in the world, but can the
jam? A new social netwoi
called G.I. Jams aims 1
find out. It's invited at
current or retired membi
of the military to create
profile and upload eithr
video or audio of mus
they've created, with tf
chance to sell downloat
directly to others. The si
gives 100% of the proceet
to the artist.

HOT MASTER RINGTONESr

aI Blllb«

SfS

TITLE "

EMPIRE STATE OF MIND

11!

NEED YOU NOW

FOREVER

BAD ROMANCE

MONEY TO BLOW

FIREFLIES

TIK TOK

REPLAV

WHATCHA SAV

J OIROO

PAPERS

lady OagA latett, "Bad Romanc*." zoomi

n-4 with ao87K increase, the grc.itff^t on th(
chart This inarhs her fourth top 10 (and riftt-
chartod) rlngton« of 2009. the most of an)
female artist, and lies her with D'dke and Kany*
West, whoatso have four each Ul Wayne aik
Michael Jackson le»d, with five each

PARTY IN THE U.S.A.

MEET ME HALFWAY

ALL 1 WANT FOR CHRISTMAS IS YOU

BIG GREEN TRACTOR

8ABV BY ME

■.■H'.l(i,',T,nisr,-«.«t

1.5

TOES

RUSSIAN ROULETTE

WASTED

a> _ MlMFCUURIHGPuaCnOJMJUCBMH

t»

DOWN

J>|< SfAH lUIlMie UL HWHE

-Mi:

IT KILLS ME

.biz

For 24/7 digltnl newt
and analysis, see
blllboard.blz/dlglul.

rcTM

8 I BILLBOARD I DECEMBER 12. 2009

Cni

Anti- Records wishes Mr. Tom Waits a Happy Birthday this December 7th.
Thank you for enriching our lives beyond measure Tom, we love you.

PheHu. )c«n B'i{>iiw Monillnu

Cni

Money In The Bank

Latin Artists Are Increasingly Investing In Their Own Careers

In the last month, as I've rounded up
information for year-end stories, one
theme keeps coming up from vari-
ous sources.

It's the practice of artists — whether
they are signed to majors, indies or
Iheir own labels — increasingly invest-

Cash up front: VERDAGUER

ing in their own careers, spending
money on things labels would have
covered without blinking an eye just
a couple of years ago. This encom-
passes a wide range of costs from the
mundane to the unexpected, be it pay-
ing for a backup band for TV perform-
ances {an expense that some TV
shows don't cover but should) to the
cost of radio promotion,

The practice is so prevalent that ifs
no longer an issue of whether it's good
or bad; it simply is. although many
cling to the notion that labels should
foot the bill for absolutely every sin-
gle piece of cost involved in the pro-
motion and development of an artist.

This is, of course, a lovely thought,
and really, it's the way it should be.
However, artists who are willing to
invest in the face of dwindling label
returns seem to get more love
from those labels, who see them
as partners in their development.
The practice is particularly
common among reggaeton
acts, many of whom started
as indies with their own
companies. WIsin A Yandei.
for example, talk openly
about how they routinely
help pay for their expensive
music videos.

Latin
Notas

Likewise, Vencvision International
music VP Jorge Pino attributes
some of the success of the April re-
lease of "El Amor" by
Tito "El Bambino" to
the fact that "we haven't
stopped investing, from
the first day up to now.
And we've had great
help from an artist who
has also invested in his
own career."

At a time when labels
see fewer album sales
but artists are earning more bookings
and publishing income, labels appre-
ciate an act stepping up to share costs.
This allows for the promotion of, say,
not just one or two singles, but three
or four down the line.

And then, of course, there are art-
ists who act as their own company, in-
vestment included. Take veteran
Argentine singer Diego Verdaguer,
who has gained new relevance with
his current, latin Grammy Award-
nominated album, "Mexicano Hasta
las Pampas." produced by Joan Se-
bastian. Released on his own label
(in partnership with Sebastian) with
U.S. distribution on Sclect-O-Hils
(and in Mexico on Universal), the
album has been worked by a 'small

team that's giving me results,"
which includes marketing,
radio, press and Internet pro-
motion. Verdaguer has been
doing this for a while, but his
most recent albums were live
sets promoted on TV. "Mexicano" has
required strong investment in radio,
which he has fooled on his own.
^^^^^ "Truth is, it makes
^^^^1 things far more expen-
^^^^ sive, but it's part of the

game," he says.
_ Verdaguer is willing

lo invest because he has
f]^ ^ ^ broad, loyal fan base
and has often worked
- ' independently even
when distributed by ma-
jors. I n this case, he and
Sebastian saw the big picture of repo-
sitioning him in the world music mar-
ket. Although sales haven't been as
expected (given the downturn in the
market) there has been a strong re-
turn on awareness that will lead to a
major tour next year.

For Verdaguer. the investment is
worthwhile because he runs a global
business that includes touring througli-
out Latin America, so he can recoup
his investment. Otherwise, he says,
'It's not worth it. It would be a busi-
ness that generates an appearance of
success, wliich is wonderful, but there
isn't a monetary exchange." ••••

ij^^P Analysis, m« billboard.blz/latln,

THE BILLBOARD

JennI Rivera has established herself as a major star with her
saucy take on banda music, into which she Incorporates sto-
ries from her own life and gives voice to a hard-partying,
hard-loving persona. Rivera released her long-awaited mari-
achi album, "La Gran Sefiora," Dec. 1 on Fonovisa. While it's
less autobiographical than her previous work, Rivera says
that a mariachi album is a commercial risk she's earned the
opportunity to take.

Why did you decide to do
a mariachi album now and
not earlier In your career?

I don't think I was ready forit.
And I don't think the industry
was ready for it. You have to
prove that you've conquered
and that you've created a posi-
tion with a certain stj-le, which
was banda ... In order to
record mariachi, people need
to believe it, And how will they
believe it if you haven't lived
it? So I needed to live it. 1
guess, first, and then express

it throughout the recording.

One of the tracks on the
album is Freddy Fender's
"Before the Next Teardrop
Falls." Have you always
been a fan of his?
Big time. I recorded years ago
. . . sometime in the "908 |a
banda version of Pender's]
"Wasted Days and Wasted
Nights." I was talking to some
politidans here in L.A. — we're
working on a few things to-
getlier — and they are like

those veterano cholo type of
guys from back in the day. like,
you know they were cholos
when they were young but
now they're successful politi-
cians. Tliey were in my kitchen
sitting with me and I thought.
"What can I record for these
[guys]?" And right then and
there. I thought. "Another
Freddy Fender song." But let's
give it. of course, a mariachi
touch, but very acoustic.

Are there any other non-
regional Mexican singers

that you are planning to
cover in the future?

There might be some Dolly
Parton songs that I would like
to do. I would like to do some
type of Brad Paisley, some-
thing like that, maybe trans-
lating it. I love his lyrics. And
do it lenni-style, but in Span-
ish, of course, maybe in mari-
achi or maybe norteno. I'm a
big country fan. and I know
thai would surprise a lot of

people because I'm so Mexi-
can. Because I do what I do
with such passion. But I'm a
music lover above all.

Do you have any branded
products coming out?
The fragrance [JR, |enni
Rivera] is out. I didn't just
want to license it out to a
major company and get roy-
alties from it. I am doing it
from the bottom up. from the
packaging to the fragrance to
the artwork to everything. I
want to be able to distribute
it and work hard for it, put it
in stores myself, of course
with my fragrance team, and
maybe later on it could be-
come something bigger. It's
important to mc that I own it
and that I have something to
offer my public, but that's
owned by my children. Right
now it's available on the Web
site and pretty .soon it will be
in stores like Target. Wal-
Mart. La Curacao and Ware-
house Shoe Sale.

— Ayala Ben-Yehuda

EN ESPANOL: All the great Latin music coverage
.com you've come to expect from BlIlboArd— in SpAnlsfi!
Blllboardaneipanol.com.

10 I BlUBOARD I DECEMBER 12, 2009

BRIEVE

PEERMUSIC PARTNERS
WITH THE SIXTH HOUS
Peermusic has entered
publishing Joint venture wit
entertainment company th
Sixth House. The first arti!
under the agreement is Slxt
House management clier
and former RBD membc
Anahi, who released her debt
solo album. "Mi Delirio," No
24 on EMI Televisa. Anahi's cc
writers on the album includ
members of Mexican alterni
tive band Kinky, whose pe
centages were also signed t
peermusic for their writing c
"Ml Delirio."

CODISCOS LAUNCHES
APPS

Colombian indie label Codi
cos and its U.S. imprint Jrt
ptsounds have released the fir
in a series of iPhone app
"Wood Puzzle," a children
game that sells for 99 cent
was designed by Catalina Die
a graphic designer and Lat
Grammy Award winner for be
recording package. Intern,
tional A&R director/label ma
ager Dennis Murcia expects s
music-related apps to be r
leased by the end of 2010, tt
first of which will be a "Ro<
BarKl"-style game where pla
ers can tap out music from tl
Codiscos catalog.

The company is worklr
with developers Bartsoft ar
Mobile Roadie on the ap|
but Is also hiring develops
to do the work in-house.
Codiscos-branded app .
well as orte with content fro
the company's pop label a
also in the works.

MEGA TV TAKES
PUERTO RICO

Spanish Broadcasting 5y
tem's Mega TV channel is rK
available for broadcast ever
where in Puerto Rico. As
Nov. 23, the channel can I
viewed on any TV with a co
verter box on Channel 60. "F
geographical reasons, most
our households without cab
or satellite couldn't receive o
signal in the past " Luis Roldc'
senior VP/GM for SBS at
Mega TV. explained in an a
nouncenr>ent of the r>ew sign
Mega TV's music-heavy linei
includes "Lamusica.com Liv
"La Descarga Con Albita" ai
talk show "Esta Noche
Night. ' —Ayala Ben-Yehw

BY PAUL SEXTON J

Mo More Middle Man

Oirect-To-Consumer Sales On The Rise In Europe

: DNDON— Direct-to-consumer sales of music
id merchandising are gaining traction in Eu-

lipe as labels tap Into fan demand for exclu-
ve product.

Among the majors, Warner Music Interna-
lonal has been particularly active in devel-
Iping its European direct-to-consumer busi-
:3ss since it began taking artist Web sites
..-house in 2008.

Direct-to-consumer sales are "intertwined
ith our artist partnerships, or 360. strat-
igy," says Isabel Garvey, WMI senior VP of
; smmercial channels and consumer market-
iig for Europe, the Middle East and Africa.
;;it] Is the centerpoint of all that, because

gives us the opportunity to present alt
Mcets of the artists we're now representing
I one place."

Garvey says WMI offers combinations
If music, merchandising and— currently
nrough a third party— ticketing. WMI now
iperates sites for about 25% of its front-
ine European acts.

While she won't disclose how much rev-
iue these services are generating. Garvey
I lys the number of unique users across all Its
'tes for front-line European acts increased
i iO% in the 12 months ended Oct. 31 from the

same period a year earlier, while the average
number of page views per visit rose from two

to six.

Sales have been particularly strong for
products that target an artist's core fan base,
Garvey says, noting that almost 100% of the
revenue from Spanish star Alejandro Sanz's
official site CAIejandroSanz.es) comes from
fan club subscriptions or exclusive bundles.
About 80% of fan club members opted for
the premium Paradise XL membership at
€38.99 ($58.37) per year.

Garvey says monthly unique users of Sanz's
site rose 300% to 650.000 since WMI took
over in July. "We have a really engaged artist
blogging four to five times a day, with a very
active community around that," she says.
"That traffic Is generating really decent sales."

Atlantic pop artist Little Boots' site, Little-
BootsMusic.co.uk, features a Bootique shop
offering exclusive merchandise and bun-
dles. Before the release of Little Boots'
album "Hands," the site sold an album bun-
dle comprising CD and vinyl versions of the
project, as well as an exclusive, 33-minute
MP3 mix of music from "Hands," non-album
tracks and remixes. The bundle "proved very
effective," says Karen Tillotson, Little Boots'

co-manager at London-based This Is
Music, although she declined to give
sales figures.

"In an age where music can be ob-
tained for free, label and artist have to
think of clever ways to make digital
and physical product attractive," Tillot-
son says.

At London-based direct-to-consumer
specialist Digital Stores, which oper-
ates 60 online stores for acts includ-
ing the Beatles, Queen and Pet Shop
Boys, commercial director Simon
Coates reports a sharp upturn in physical
music sates.

"Year-on-year music sales are over 100%
up— It's crazy," he says, although he, too,
didn't reveal unit figures.

Coates says a £90 ($149) boxed set of
Queen's "Absolute Greatest" compilation, ex-
clusive to QueenOnlineStore.com in a limited
edition of 500, sold out In 12 hours. While
physical demand is up, he adds, "digital's
pretty much flat."

The Official Charts Co. doesn't break out
U.K. dIrect-to-consumer market-share data.
But managing director Martin Talbot confirms
it's a growing sector, with "an increasing num-

ber of retailers in this area coming to us to
become chart return retailers."

The demise of digital marketing company
and direct-to-consumer mainstay Trinity
Street (Billboard. biz, Feb. 16) hasn't damp-
ened artist enthusiasm for direct sales.

"Trinity Street overpromised and underde-
livered," Coates says. "But that's worked in our
favor, because bands have come to us."

Garvey maintains Trinity Street's shuttering
also represents an opportunity for WMI. "The
players out there are quite fragmented, in terms
of what products they can offer," she says. "We
have something unique, being able to offer
everything together."

li^nscontiaentaj/v^

www.rossellis.com

call us: 1-800-447-2I49

DECEMBER 12. 2009 I www.blllboard.blz I 11

BY ANDRE PAINE

TEMPORARY MEASURES

U.K. Biz Targets Holiday Shoppers With Pop-Up Stores

LONDON— On a recent Fri-
day evening, shoppers at a
new HMV store in ihc
south London neighbor-
hood of Lewisham were
scanning a range of CDs
and DVDs, citing interest
in everything from the new
Leona Lewis album, "Echo."
to the complete boxed set of
"The Sopranos."

It's an encouraging sight —
but after January, this HMV
could disappear as suddenly
as it arrived: the location is
one of 10 temporary stores
launched to capitalize on the
Christmas shopping season.

"That's a shame." one
shopper says. She has just
picked up the Killers' debut
album, "Hot Fuss." for £A
(S6.65) and says she still
wants lo purchase physical
music, even more so this
time of year, "because you
want to buy presents.'

With the demise of enter-

tainment retailer Zavvi and
mass merchant Woolworths
in early 2009 removing more
than 900 stores from the mar-
ket, the HMV initiative is just
one of a range of measures
aimed at making sure U.K.
Christmas shoppers can still
find physical product.

"There is some concern
that having fewer outlets will
particularly affect impulse
purchases." says Kim Bay-
ley, director-general of the
Entertainment Retailers
Assn.. who believes the
HMV stores are "guaranteed
to perform — where you get
the footfall, it's quite easy to
sell CDs and DVDs."

HMV now has 280 shops
in the United Kingdom and
Ireland, but property direc-
tor Mark Bowles says, "There
are still quite a few towns that
don't have a specialist enter-
tainment offer."

The focus is on chart titles

Christmas rapping: ERA'S BAYLEY (left) and Universal's ROSE
— all stores are chart regis- bums by volume in 2008,

tered — and Bowles says that
based on "early, encouraging
signs," its holiday sales strat-
egy will be repeated next
Christmas. HMV will also
consider a "longer-term so-
lution" for sites that report
strong sales.

According lo U.K. trade
group BPI, Woolworths had
a 9.8% market share of al-

while Zavvi had 8.1%. Offi-
cial Charts Co. data shows
that total 2009 album sales
through Nov. 21 are down
6.8% year on year.

Brian Rose. Universal
Music U.K. managing direc-
tor for the commercial divi-
sion, says the temporary
stores have "started well" and
believes HMV's strategy "will

plug a really significant gap,"
but has also worked to find
new retail partners.

As a result, around 220 of
computer game retailer
Game's stores will sell a top
20 range of albums from Uni-
versal and Sony Music from
Nov. 16 until the end of the
Christmas shopping season.

"We know from our
research there is real over-
lap across entertainment
products," a Game spokes-
man says.

Rose hopes that, if success-
ful, the seasonal stores will
be expanded for next Christ-
mas or made permanent. He
has also negotiated an
exclusive with fashion re-
tailer Peacocks for 1 50 stores
lo sell chart titles during the
Christmas period, alongside
existing clothing from Uni-
versal-owned merch com-
pany Bravado.

Both Woolworths and

2avvi have been reborn or
line. Cheshire-based e-coni
merce provider Hut Grou
acquired the Zawi name an
relaunched its online store i
April, and it also powers th
entertainment store for Wc
worths.co.uk, owned by ot
line retail group Shop Diroi

■Over 50% of the |/;i\>
customer data that we buui^
engaged again and st;irti
purchasing." Hutcornnu
cial director Richard Chapp
says. He notes that mus
sales increased 158% in vali
from September to Octohi

Meanwhile, Rose says
hasn't been easy ptTsuadn
people that now is the tinu-
stock music, but he bfli{-\(
the gifting season will pic
there's plenty of life left i
physical product.

"We've got a responsibiii
between now and Cliristni,
just to make the thing work
he says.

The Year-End
Billboard Country Update

Where did your artist
end the year on the charts?

Now's the time to tout their success
to the top country radio programmers
and other key music influencers.

TO ADVERTISE, CONTACT:

Lee Ann Photoglo • 61S. 376. 7931 • laphotoglo@gmail.com
TO SUBSCRIBE: www.billboard.biz/enewsletters

12 I BILLBOARD I DECEMBER 12. 2009

GLOBAL

Contentious
Collections

Russian Collecting Society Faces Accreditation Questions

10SC0W— The Russian government's appointment of collecting society VOIS as the only ac-
redited group allowed to collect performing rights fees on recorded music remains a con-
sntious move.

The decision, effective Aug. 6, sidelined two other Russian societies, ROUPI and RFA, and
aused consternation among international labels (Billboard, Sept. 19), particularly In the case
f RFA. which had collected license fees for many years.

RFA "had the overwhelming backing of the local and the International Industry," IFPI
ookesman Adrian Strain says.

Both ROUPI— which represents some Russian independents— ar>d RFA declared they woukl
ppeal the decision, although only ROUPI has done so. Meanwhile, some music users continue
aying royalties to RFA, despite VOIS' sole agency status.

The IFPI "continues to support RFA's activities to collect [for] rights owners that have directly
uthorized it to collect royalties on their behalf," Strain says.

Billboard caught up with VOIS general director Andrey Krichevsky to ask him about the
ompany's activities.

low have the majors reacted to VOIS'
ccredltation?

onyandUiiiversal'sdecisions. . .on whether
> tranaferaelgh boring rights to external man-
gctnetltaxp made in London, and their Euro-
ean offices' positions are largely following the
lews hdd by IFPI.
[Butf local EMI and Waraer licensees showed
positive reaction. Alexander Blinov. who heads
MTs local representative S.B.A./Gala Records,
-ansferred both Gala Records and EMI cata-
)gs to vol S after accreditation. Alexei Nikitin.
ead of [Warner licensee] Nikitin Recording
o.. joined the VOIS board when it launched
1 April 2008 and transferred Nikitin's Russ-
n catalog to VOIS quite a while ago. [Warner's
italog remains with RFA.|

an RFA continue collecting royalties for

l« cnajors?

egally. the royalties may only be collected and
istributedby an accredited organization. The
xteditation was given to us because VOIS
HialFeady shov-'n solid collection figures. The
umbers speak for themselves. In the 12
lonths before the accreditation, RFA collected
>out 40 million rubles ($1.4 million) in roy-
tics, while we collected over 370 million rubles
i12.8 million).

But we're prepared lo work closely with RFA
id have invited them to name a representa-

tive to join VOIS as deputy general director, so
we could tap into their experience.

What dbout the IFPI's complaint that,
pre-accredltation, VOIS was collecting
for rights holders with whom it didn't
have contracts?

We're ready to present all the necessary evi-
dence that will confirni that up and until Aug.
U. all collections by VOIS had only been on
behalf of riphts holders who had standing
contracts with us. Given the intensity of bat-
tle that we had to go through to get the ac-
creditation, it would have never been granted
had we committed so grave a violation.

What <i(C your Immediate plans for re-
ciprocal deals with overseas societies?
We're working to sign contracts with Euro-
pean and U.S. societies. The response from
many has been tliat they would be happy to
cooperate and are very much interested in
getting royalties from Russia.

However, performers* right societies like
[international group] SCAPR and [Pan-Euro-
pean group) AEPO-ARTIS have expressed
their intention not lo sign contracts with VOl S
until they develop a consolidated position.
We are concerned about a certain dialogue
taking place under the table — you're rather
used to seeing those remnants of the old way
of thinking in the [Commonwealth of Inde-
pendent States], but I cannot say we expected
that from our European counterparts.

Ur#HP!l!BIQ^)M International labels see
increased collections for neighboring
rights?

There will be a major increase, [although]
until the end of the year we will be in the so-
called startup phase, fine-tuning our collec-
tion system, because now we can collect for
all rights holders.

My forecast is that we will at least double
the current figures [during 2010) — and that
would be the worst-case scenario.

Hya Buts is head of editorial for Billboard's
Russian edition.

Jnpr^^edentea Pop Power

Introducing Joel Whitburn's

fop Pop Sngles mSMS - llth Idliion

2 Books In 1 ... Now Includes All Bubbling Under Hits!
Our Biggest TPS Ever. . .37,900 Titles by 7,800 Artists!

Bigger, broader and better
than ever, Top Pop Singles
1955-200S-mh Edition
includes every artisi and
song that made Billboard's
■Hot IWBubbling Under"
and Pop singles charts.

Hot New Features

•AH Bubbling Under m\ei
•»ls on Billboard's 6 other
major singles charts

• Alphabetized Classics

• Duet and featured
names shown exactly
as on record label

• Digital dovunloads
and more!

With Essential
Chart Data

•Peak Positions

• Debut Dates
•Weeks Charted

and more!

i*iisw«|

See full book details,
ordefing Information and sample
pages at www.recordresearch.com

Access MusicVault — The Complete Record Research Music Data Archives. . .Online and
On Demand. View a Sample Search and Subsaibe at www.recordresearch.com

Z010 INTERNATIONAL S

AUDARENAGUlUE

COfiflPLETE DATA ON OVER 3,500

VENUES WORLDWIDE COMPRISING

6,000+ INDIVIDUAL FACILITIES,
INCLUDING AMPHITHEATERS, ARENAS,
STADIUMS, SPORTS FACILITIES,
CONCERT HAI43, EXHIBmON HALLS
AND NEW c'oNSTRUaiONS. PLUS,

COMPLETE LISTINGS OF COMPANIES

OFFERING SEtfVICES TO THE

TOURING INDUSTRY IN THE

^ FACILITY BUYER'S GUIDE.

ORDER NOW!

ONLINE at www.orderWllboanJ.com or
CALL 800-562-2705 (U.S.) or 8I8-487-4

Rillk/-^r/-l

DIRECTORIES

DECEMBER 12, 2009 I www.blllboard.blz | 13

IIPFRnMT

BOX5CORE

Tell Your Friends

Ticketfly Uses Social Media To Get
The Word Out About Purchases

Technology has lowered the barriers to entry to
the ticketing market. At the same time, social
media has emerged as a key influencer. These
two paths converge with the launch of Ticketfly,
which aims to be a ticketer, marketer and digi-
tal ticketing facilitator, while building fan com-
munities around the ticket-buying experience.

Ticketfiy's founding parmers/co-CEOs Dan
T0r*« and Andrew Drttskln — veteran execs
of pioneering Internet ticketing company
Ticketwcb. which Ticketmaster acquired in
2000 — are getting traction out
of the gate with such clients as
the 9:30 Club in Washington.
D.C; Knitting Factory venues;
and the recently signed Trouba-
dor in West Hollywood. And
Ticketfly just raised a fresh
round of capital.

In launching Ticketfly six
months ago, Teree and Dreskin
think they've built a better
mousetrap, at least when it comes to online op-
portunities. "It seemed to us that ticketing soft-
ware hadn't changed all the much for the past
decade," Dreskin says. "You're looking for a sys-
tem that does inventory management, doesn't
oversell, you get a check on time. There arc
plenty of those that do that. But promoters seem
keen on the next generation of ticketing tech-
nology, which will allow them to maximize rev-
enue and have more efficient pricing."

While Ticketfly is building technolc^ies to deal
with such issues as yield management and dy-
namic pricing, marketing is now a key focus. In
many cases, when the Ticketfly guys think mar-
keting, they're thinking social media and the op-
portunity for venues and promoters to leverage
the ticket buyer as a sales or marketing channel.

A good example of this is how Ticketfly uses
Facebook to reach its growing user base, par-
ticularly in the key 20-35 demo. Ticketfly's strate-
gies start with such basic initiatives as rewarding
Facebook users who share concert experiences

On The
Road

£RAY
WADDELL

with friends.

'Ticketfly is very focused on aeating revmd
programs that excite and stimulate fans to tell
their friends about what" s going on in their music
lives, rewarding them with free tickets, meet the
band, VI P packages, things like that," Teree says.

"If you think about a kid buying a ticket and
sending it to his [Facebook] wall, and all of his
friends seeing that ticket having the ability to
buy a ticket," Dreskin adds, "then the kid can
generate points, and for every one of those folks
who buys a ticket and sends it to
their wall, you think about the
magnitude of the exponential op-
portunity there for the promot-
ers."

Ticketfly also helps venues and
promoters coordinate their vari-
ous digital marketing efforts.

"The way the ticketing world
works today is you have silos that
don't really speak to each other,
and it creates inefficiencies," Dreskin says. "If
I'm a promoter and I have the Whit* Stripes
or whatever band coming, and when I confirm
that act I have to build it into my ticketing soft-
ware. I have to have it built on my Web site, my
e-mail newsletter, Facebook, MySpace, Twitter.
What we've done is develop an integrated solu-
tion where it's a single data entry and it updates
down the line."

Ticketing clubs and small venues are one
thing, but the gamechanges dramatically when
it's a major tour at a large venue with a hot on-
sale. This is where the scale and experience of
a Ticketmaster comes into play. Live Nation
launched an in-house ticketing company this
year and attracted attention when a massive
Phlsh tour on-sale melted down the system
(Billboard.biz, Feb. 4).

Dreskin says Ticketfly isn't ready for a huge
stadium show — yet. "The way technology has
advanced has made it significantly more pos-
sible for young, technology-heavy companies
like ours to handle big demand," he says. "One
thing we set out to do when we started the com-
pany was architect the system in a way that al-
lows us to be highly scalcable and handle big
demand, What only Ticketmaster could do 1 5
years ago with the big iron is just not the case
anymore. While we're not ready for the big sta-
dium on-sale today, there's no reason why we
won't be in 12 months or so."

Does Ticketfly's rapid growth support Tick-
etmaster and Live Nation's contention that their
merger won't prevent other ticketing compa-
nies from flourishing?

"That's certainly crossed our mind." Dre-
skin says. "We've been selling tickets for like
six months, and we've already signed up 10-20
of the best club-sized venues and promoters
in the U.S. We don't see any reason why we
can't move upstream and handle larger facili-
ties, promoters and events. There's certainly
no shortage of competitors, but we're feeling
optimistic for sure."

Being social: Ticketfly's home page (top);
client venue the Troubadour in West
Hollywood.

Stiz

For 24/7 touring news
r-ind analysis, see
billboard.blz/to4irlng.

BILLBOARD I DECEMBER 12, 2009

Concert ^Grosses-

ARTISTCS)

■■ S4.0S3.770

BRITNEY SPEARS, DJ HAVANA BROWN

Brltbantf Enterulnmeni Cenirc, 29.457
erlsbim, Australia, Nov, 22. 24-2S vt H 'b mree ih i ^ s

Dainty Consolidated Entertainment

WM $3^21,147

CHER

The CoKMMum M Caeun Pitmoe, Lm 23.432 'A ■jf.--

Concerts West/AEG Live

■I $2,68^390

FLEETWOOD MAC

(€1.787,780}

|H s)aoovt'2003

02. Dublin. OcL 24-aS ****

M $2,002,982

MILEY CYRUS, METRO STATION

mm %T9S0''ii9io
■

Nassau Coliseum. Unlondale, 29.277
NY.. Nov, 18-19 iwo iellc^it:

AEGUve

H $1,751,409

SANTANA

Ttw Joint, Hard Rock Hotel. Las 18.368 nt *^ cqii
V«9as. Now. n, 13-15. 18. 20-22 , frve

ACQ Live

Q $1,194,745

AVENTURA

Allstata Arana, Ros«mont. IIU 14.758

Now. 20 -^^ o.i

Cardenas Marketing Network. VIVA
Ertertairtment

H S1.182.082

MILEY CYRUS, METRO STATION

Gfoaniboro CollMum. 17.597
Graaniboro. N.C., Mov. 22 -.r o .t

AEG Liva

H $1,072,833

mm s^5O/'&!950

MILEY CYRUS, METRO STATION

Qukkan Loans Artna. Cleveland. 15,774

Now. 15 --.i: ■

AEG Uve

M $1,018,200

MILEY CYRUS, METRO STATION

■1

ConiacD Fialdhousa. 14,920
indlanapoUi. Nov, 16

AEG Uve

M $1,000,448

MILEY CYRUS, METRO STATION

XL Carta*. HarttortL Conn. Now 12 )^'*^*

AEGUve

IH $891,736

GREEN DAY

III ((596.200;

$7«.79/$67J1

02. Dublin. Oct 21

MCD

H $754,525

AVENTURA

Hark £t«ss Arena, Atlantic Gtv. 8.907

N.J., Now.27,29 ' ■(, -

Cardenai Market fr>g Network

IH $670,856

MUSE

^1 1SS5V$76S5

Oito Soaktrum. Oihi. Oct. 25 ^'^^h

Live Nation Internaltonal

M $669,092

AVENTURA

Arena at Gwinnett Center, 9,055
Duluth. Ga., Nov. 2S ._t

Cardertat Marketing Network

WM $666,503

RASCAL FLATTS, DARIUS RUCKER

Rexall Place. Edmonton. ASierta, 9.121

Oct 26 ; -i.;

Uve Nation

M $653,958

AC/DC, THE ANSWER

Toyota Center. Houston. Nov. 8 l^^^r^^

Live Nation

HJ $639,437

RASCAL FLATTS, DARIUS RUCKER

mm i^s/i-v?

Save Mart Canter. Fresno, Calif., 10.879

OcLlS „...,,(

Live Nation

m $631,879

TRANS-SIBERIAN ORCHESTRA

Resch Center. Green Bay, Wis., 13.283

Nov.8 c.-"'.; t.vj i'..-^,-

Uve Nation, tn-house

WM $631,222

SARAH BRIGHTMAN

Auditorlo NactonaiL Mexico CHy. 9.565

Oct 5 -if^n'.

Super PuWIcidad

ffl S630.360

■■■■ i-\0' SO.i'iZ} 50

DANE COOK, ROBERT KELLY

Sullitfan Arena, Anchoraoe. 8,2&0
Alaska. Oct. 22

GoMenvoice/AEG Live

TiesTO

Hammarnam Ballroom. New 11,001

York. Sect 24-26 -rree ^elluu-.-.

Uve Nation. Area Event

M $628,062

TAYLOR SWIFT, KELLIE PICKLER, CLORIANA

rrl Si 3 so.'

m 120

American Airlines Canter. Dallas, 13.794
Sept2S -..'....t

The Messina Group/AEG Uve

m $625J»5

Kiss, BUCKCHERRY 1

m s»

QMcltaw Loans Arena. Oavaland. 8,903
Sept. 28 .',v^A

ConcerU West/AEG Live

!■ $623,975
HI %70

TAYLOR SWIFT. KELLIE PICKLER, GLORIANA 1

ftrswt Center. MInneapote. Oct It 1^r,*63

The Metiirta Grtwp/AEC Uve

WH $«20,53S

MARCO ANTONIO SOLfS. PEPE AGUILAR 1

HPPav*anSMJoaftCalK.OcLI7 ^4J?

Ltve Nation, Alvarez A Garner

K $617,234

RASCAL FLATTS. DARIUS RUCKER

Hid leS 149 75

Tacoma Dome, ncoma. Wash, 11.080

Oct. 29 v_.Muu.

Uve Nation

H] $616,427

BLINK-182, WEEZER, TAKING BACK SUNDAY, CHESTER FRENCH |

ShoreliM AmphKheatre. 22.791
Mountain View. Calit, Sept. 13

Uve Nation

IH $611,326

llil %zi2.'%n

VICENTE FERNANDEZ, SHAILA DURCAL 1

Arerta at Gwinnett Center. 6.445
Duluth, Ga., Oct 16 :3 i ~ =

Ralph Hawser Promotions. VIVA Enlertalnm<

M $611,106

PINK, THE TING TINGS 1

TD Garden. Boston. Oct. 2 "^^.^

Concerts West/AEG Live

IP $610,818

BRITNEY SPEARS 1

CenturyTel Center. Bossier City. 10.240
La.. SepL19 _

Concerts West/AEG Ltve

HI $608,300

BRITNEY SPEARS, JORDIN SPARKS I

San Dieoo Sports Arena. San 11,845
Otego, Sept. 24

ConcerU West/AEG Live

!■ $608,177

ATRtVETE A SONAR 1

iaC6J2iOpesi»>
^1 151 ^l;

AiMlltorlo Naclonal. Mexice City, 19.185

Oct. 11 ■ > !->.

OCESA/CIE-MeNico

ffl $607,022

TRANS-SIBERIAN ORCHESTRA 1

Ervin J. Nutter Center. Dayton. 15,021

Ohio, Nov. 7 r .7-3 S... ■J..:..-.:

Uve Nation

M $606,500

KINGS OF LEON, WHITE LIES 1

||J S46,i»>

PhlUps Arena, Atlanta. Oct. 9 ^^'°*?

Live Nation. in-tMHise

Hi $604,111

JAMIE FOXX 1

|m S8950/$44 5O

Nokia Theatre LA. Uve. 10.760

Los Angeles. Oct. 16-17 j t : ■ ^ =

GoMenvotce/AEO Uve

Cni

THANK YOU TO

GARY ALUaN. jack INGRAM. ELI YOUNG BAND. JOHN LYTLE. ROB BECKHAM & WILLIAM MORRIS
JDEAVOR ENTERTAINMENT. GEORGE COURI & TRIPLE a MANAGEMENT AND BRIAN HILL & PARADIGM

LET THE BEAUTIFUL RIDE BEGIN!

BOC AND YOUR FRIENDS AT K^vs nHTtorr|

Cni

mi= Rll I ROARII

'^^^1^^ BV LOUIS HAU

_The Capitol Nashville
chief talks about country music's
recent commercial revival— and
reveals what was on Darius
Pucker's demo tapes.

It's been a surprisingly robust 2009 for country music— even for artists who aren't named
Taylor Swift.

Country album sales in the United States totaled 38.7 million units through the week end-
ing Nov. 29, down only 2.6% from the same period last year, while overall album sales have
plunged 13.4%, according to Nielsen SoundScan.

Swift's ascent to pop stardom has helped draw new fans to country. Country's broaden-
ing appeal is also evident at Capitol Records Nashville. The label's roster illustrates how
country music has become the big-tent genre that rock used to be, with hitmakers as stylis-
tically diverse as Keith Urban, Trace Adklns. Hootie & the Blowfish frontman Darius Rucker,
Dierks Bentley and Lady Antet>ellum.

Playing a leading role in building this roster has been Capitol Nashville president/CEO
Mike Dungan. The industry vet has headed the label since 2000, when it was primarily known
as the home of Garth Brooks, the superstar who led country to the promised land of the
commercial mainstream. Brooks' success as a crossover star still provides a template for
country artists with broad pop appeal, including Urban and Lady A.

Dungan previously spent eight years at Arista Nashville, where he ultinnately rose to sen-
ior VP/GM. He is a former president of Che board of the Country Music Assn. and remains a
CM A director. In an interview with Billboard, Dungan talks about how country music and his
label have been adapting to changes In the market

Overall, U.S. album sales are down
about 13%, but country sales are
down only 2.6%. What accounts
for this strong performance?
We definitely have a new class of
stars and they're delivering more
than their fair share down to the bot-
tom line. It's led by Taylor Swift of
course, but we're getting our share
as well, with Lady Antebellum and
Darius Rucker, if we can call him a
new star. He's just won a CM A best
new artist award, so I guess he's new.

Do you think this sales revival
has legs?

I do. I think a younger generation is
discovering this music. Looking back,
we've excelled when our pop coun-
terparts aren't delivering the mes-
sage as well as they could be. In the
'90s it was driven by this magnani-
mous personality, Garth Brooks.
When people looked at what he was
doing, they leaned over here and
checked out the rest — and loved what
they were hearing. I think we're going
through the same experience this
year, led by a lot of people — Rascal
Flatts, Keith Urban, artists like that.

but at the top of the list is Taylor Swift
We have first-hme fans coming out
to shows. They're excited. This is a
whole new world for them.

The last several years had been a
tough time for recorded-music
sales, and country in particular.
What happened on the way down?

If s a combination of things. A lot of
it involves radio listening habits.
When our pop counterparts are per-
forming well and the artists are de-
livering music that's interesting and
compelling, then it tends to draw
people back to the pop stations as a
primary listening source. Also, some
has been self inflicted — anytime the
industry has success, it tends to copy
itself — although we [at Capitol] try
not to. And that makes for compla-
cency. I think that's where the pop
field is at right now. There's a lot of
sameness out there.

Country music remains depend-
ent on CD sales. What is the genre
doing to cope with the closing of
music retailers and shrinking floor
space at big-box stores?

It's definitely alarming. If we were
making straight-down-the-mid-
dle, old-style country music, I'd
be freaking out. But in the last
nine years at this label, we've
made our way in the world by en-
gaging artists with a younger ap-
peal, ones that are challenging the
status quo creatively. We sell a lot
more records to a younger audi-
ence than people would think in
country music, so it's less alarm-
ing to us because we have an au-
dience that's more engaged in the
digital world.

What does the genre need to
do overall to elevate digital
sales to the level of the broader
music market?

Every Christmas helps. Kids come
home from college or wherever, and
they've given their parents this digi-
tal device, an iPod, and then they
show them how it works. It opens
their eyes to a new world. Look at Lady
Antebell urn's single sales: " Need You
Now' was No. 1 on the overall iTunes
chart. They were absolutely astro-
nomical sales.

What digital or social media plat-
forms have been effective for you?
We take a run at all of them. And
obviously not all of them work, but
we're aggressive on that front, as
are our artists. Lady Antebellum is
a great example of a shift in coun-
try music. When you sign a younger
artist, because of their generation —
that social osmosis — they're already
engaged in the digital world. The/ re
already making their own videos
and putting them up on every so-
cial network possible, long before
they have a record deal. They're
building a fan base on their own,
long before having a record deal.
When you engage with younger
artists, that's what you get.

Are there any challenges in pro-
moting acts as different as Trace
Adklns and Lady Antebellum?

The challenge is getting through
the gatekeepers anytime you put
something in front of them that's
slightly different. There was a great
deal of skepticism about Darius. It
wasn't that he was a black man, but
because he was the lead singer in a

band that was so big, it was almost
a joke. The comments I got from
program directors were that "it's
going to take the greatest song in
the world for me to play a Darius
Rucker record on a country radio
station." But the minute we went
out with Darius and visited them,
they converted immediately. And
now. I dare say he feels like a staple
in the format.

I was never a Hootie fan. but I
recognized that this guy had a very
unique voice, and every time I'd see
that band on television, he felt like
a country singer to me. And it's
funny because the stuff that he
brought to the table — a lot of them
were on cassettes — (wasl very, very
country, too country for our radio
format, so we had to adjust to each
other. About half the songs were
Texas two-step shuffles — I told him
that George Strait can't even get
those played. The other half were
Vern Gosdin-style, 'tear in your
beer" ballads. They're all great. He
jokes with me that one of these days
he's going to make a record of noth-
ing but that stuff.

The CMA will be conducting a
consumer research study for the
second year in a row. Is there any-
thing in particular that it's hop-
ing to learn from its next study?
We're driving down into a younger
audience and seeing what their
lifestyle patterns are. We've learned
a tremendous amount from [Arbi-
tron's] Portable People Meter in
ma)or markets. We're finding out that
people don't listen to country radio
as long as they said they did under
the diary system. But we're finding
that a lot more people than we'd ever
dreamed of listen to us on a regular
basis. People are pushing buttons on
the radio like crazy, and country is
definitely in their mix. • • • •

Lady Antebellum is a great example of a shift in
■ country music. When you sign a younger artist. . .
they're already engaged in the digiral world.^ ^

16 I BILLBOARD I DECEMBER 12. 2009

STRENGTH

If'

CHARACTER

MARY J. BLIGE RETURNS
WITH HER NINTH STUDIO ALBUM
AND BRANCHES OUT
INTO MOVIES, BRANDING
AND CHARITY WORK

Photograi: ' " er

DECEMBER 12.2009 17 www billbo.ircl bt •

On the chorus of her latest single, "I Am," Mary J. Blige sings in her riveting voice, "Ain't
nobody gonna touch you better . . . more than I am." Since breaking through with her first
R&B charting single and first No. 1 in 1992, "You Remind Me," no one has touched fans'
inner emotions quite like Blige. ^ Nearly 20 years later, that emotional connection shows
no signs of fraying. The nine-time Grammy Award-winning singer/songwriter — who has
earned such sobriquets along the way as "the Queen of Hip-Hop Soul" and "the Empress
of Soul" — returns Dec. 21 with her ninth studio album, "Stronger" (Matriarch/Geffen/
Interscope). Produced and co-written by Stargate, "1 Am" debuted at No. 46 on Billboard's
Hot R&B/Hip-Hop Songs chart. Not only was the bow tlie singer's best start since 2007, it
marked her 17th top 50 debut as a lead artist — the most by a female — and her 59th appear-
ance overall among women, second only to the Queen of Soul herself Aretha Franklin (99).
^ "You never want to say the words it's a perfect song,' " Interscope marketing chief Steve
Berman says about the single, which is No. 39 this week on Hot R&B/Hip-Hop Songs. "But
I believe tliis song is as close as you get. Given the positive response it's received thus far,
once it fully penetrates, we will have a great long nm widi it." ^ in addition to Stargate,
Blige enlisted the production and songwriting talent of Ryan Leslie, Polow Da Don, the
Runners, Ne-Yo, Akon, Bryan-Michael Cox, Rodney Jerkins, the Stereotypes, D'Mile and
Geffen chairman Ron Fair. Guests on the set include Trey Songz, Drake (the previously
released track "The One") and T.I. Appearing as a bonus song on the album is the title track,
a previously issued single from the "More Than a Game" soundtrack. ^ Universal Motown
singer/songwriter/producer Leslie calls working with Blige for the first time "one of the
most inspiring and magical experiences in my career. She's a writer with her own perspec-
tive-— 'Tliis is what the music sounds like and what it's saying to me' — who is just as com-
fortable knocking a verse out as she is knocking out her vocal in the booth."

On the heels of performing "1 Am" at the Nov. 22 American
Music Awards, Blige is gearing up for a series of performances.
Following her Nov. 24 appearance on " Lopez Tonight" and a Nov.
30 stop on "The Oprah Winfrey Show," fans will be able to catch
Blige on "The Jay Leno Show" (Dec. 17), "Jimmy Kimmel Live!"
(Dec. 18), the "Christmas in Washington" special with Presi-
dent Barack Obama and first lady Michelle Obama (Dec. 20),
"Today" (Dec. 22) and "The View" (Dec. 23). On the retail front,
Blige taped an episode for Wal-Mart's Soundstage promotion.

Blige the artist is also busy ramping up her evolution into
Blige the entrepreneur. Her Matriarch Records recently released
the original motion picture soundtrack to the critically acclaimed
Lee Daniels film. "Precious." In addition to co-writing a song
specifically commissioned for the soundtrack with Raphael
Saadiq, the moving "I Can See in Color." Blige doubled as ex.
ecutive producer on the set, which features previously recorded
tracks by Jean Cam, Queen Latifah and Latwlle.

In the meantime, Blige and her inanager and husband, Kendu
Isaacs, are launching Matriarch Entertainment to develop TV
and film projects. In that realm, Blige will work in tandem with
William Morris Endeavor (WME), with whom the singer has
signed for representation. Bilge's previous acting roles include
"The Ghost Whisperer," "Entourage" and, most recently, Tyler
Perry's "I Can Do Bad All by Myself"

Two Blige product lines are rolling out in the coming year:
her Melodies line of sunglasses in association with Geffen/
Interscope and the My Life fragrance through her partnership
in the Brooklyn-based natural beauty products company Carol's
Daughter. But beyond music and her burgeoning roles as a
businesswoman and actress/producer, it's Bilge's work with
FFAWN (the Foundation for the Advancement of Women Now)
and the recent opening of the first Mary J. Blige Center for
Women in her hometown of Yonkers, N.Y., that really stokes
her fiery passion.

What was your mind-set when you began workin
on "Stronger"?

I always say that whatever doesn't kill you makes you stronger,
honestly believe that. And I'm the type of celebrity who can't nt
talk about the trials I 've been through. No matter how successfi
you become, you always end up finding out there's something i
you that needs to be purged. You hit a valley, another trial. It hun
so bad that you have to go through something like this again.

But people are people, and you will have to go through thing
as long as you live on planet Earth. When you go through thes
situations, it's what you learn about yourself that gets you ot
of them as well as the responsibility you take about that parti
ular lesson. And once you come out of that, you're definitely
stronger individual than you were before. The strength in th;
is learning how to forgive and move on. That's a serious lessoi
As is learning how to love yourself even more to another Icvc
where you don't expect or need anybody to make you feel goc
about yourself That's why I named the album "Stronger." That
what I had to learn from this trial I was in, another self-love tria

Was there anything in particular that set this trial in motioi

I don't want to go into any details about that. But I do have da
when I'll run around like my life is over. And what makes n
happy is when I can come out of those situations feeling lil
I've learned something.

How would you describe your evolution
singer/songwriter from 1992 until now?

Each and every time, I gain more wisdom about speaking fro
every place I learn from. There's really no difference, it's j
me continuing to grow.

Speal(ing of which, fans may be surprised that you're or
of the guests on classical artist Andrea Bocelli's holid;
album. How did that come about?

He requested me [laughs]. I knew his voice was amazing si
said, "Yes, absolutely."

Since you've logged your first soundtrack under yo
label, what other projects can we expect from l^atriarc

LaNeah [Menzies, who shares a writing credit on "I Can Seu
Color" and on Kanye West's "Love Lockdown"] has joined t
Matriarch roster, with her debut album slated for spring 20
Other than that, we're trying to wrap up a few deals with
eral more artists. I don't want to share too much about that uii
everything is signed.

How did you become associated with Carol's Daughto

[Brand marketing executive] Steve Stoute, who's been a friend

MADE IN THE SHADE

BLIGE UNVEILS
DETAILS OF HER
SUNGLASSES
LINE AND NINA
SIMONE MOVIE
PROJECT

Mary J. Bilge fans will be able to
rock the singer/songwriter's dis-
tinctive style when her Melody line
of sunglasses rolls out in the spring.
The Blige-designed line is a part-
nership between the Getfen/lnter-
scope artist and her label, headed
by chairman Jimmy lovlne.

The Bllge/lnterscope brand pair-
ing is reminiscent of lovlne's other
high-profile partnership: Beats by
Dre with Interscope artist/producer

Dr. Dre. That audio company's prod-
uct line Includes the Beats by Dre
headphones and Lady Gaga's
Heartbeats earbuds.

"This Isn't about getting a prod-
uct and sticking someone's name
on It." lovlne says. "It's about com-
ing up with something unique that
fits the artist— and there aren't that
many great, unique Ideas. These
glasses were completely designed
from the ground up with Mary and
[Bilge's husband and manager,
Kendu Isaacs]. And now we'll be
working together to market and dis-
tribute the glasses. Mary Is a great
canvas: the three of us plan to exe-
cute more Ideas together."

One Idea Is already In motion,
lovlne will collaborate with Bilge

and Isaacs on a biographical fil
they're developing under their M
triarch Entertainment banner abo
legendary singer Nina SImone. Blit
earned her first credit as a soun
track executive producer for h
work on the soundtrack to
movie "Precious." She also co-wro
and co-produced an original sot
for the Lee Daniels/Llonsgate fil
"I Can See In Color."

"It's pretty amazing what
does with the song vocally," Lion
gate president of music Jay Fair
says. "Having worked with Ma
now on the 'More Than a Gan
soundtrack and Tyler Perry's 'I C
Do Bad by Myself,' we'd love the o
portunlty to work with her on futL
material." — C

18 I BILLBOARD 1 DECEMBER 12, 2009

Copyrighted

w in the music business for as long as I can remember, asked
what I thought about Carol's Daughter products. I'd already
Ilcii in love with the product before that; it was so good. But I'd
vu searching for the product ever since and could never find it
any stores. So when Steve mentioned it to me a couple of years
■u, I said it was definitely something I 'd love to be involved with.
> he took what 1 said to the Carol's Daughter folks and the rest
history. I'm now a co-owner of the company, along with Will
mill. Jada Pinkctland Jay-Z. as well as its spokesperson.
1 also have a perfume line coming out next year under Carol's
aughtcr called My Life. I did all the work, smelling different
entsevcr." single d;iv. I put in a lot of time to make this perfume
)rk because I wanted it to smell like when people compliment
(• and ask. "What are you wearing. Mary.^" So I made a version
what it is I wear, trying to figure out what it was that got to them.

3 My Life Is a combination of what scents?

basically a flower girl. So il has flowery scetits with just

Take me as I am:
MARY J. BLIGE
performs at the
2009 American
Music Awards.

a little musk and a tiny bit of wood.

In a separate venture, you also have the Melodies sun-
glass line coming out.

I don't know if you watched me sing the national anthem on
the World Series with the Yankees. But the glasses 1 wore and
then took ofTare from the Melodies line. I had to put them on
display [laughs]. I designed those myself along with the eye-
glass designing company [SpyOptics]. It's my version of what
I wear. I have a lot of sunglasses that I'm fond of, so I look my
favorite pairs and said, "Let's try to figure out something from
these." And they figured it out.

Describe what it felt like to open the first Mary J. Biige
Center for Women.

Opening that center is one of my greatest achievemenis be-
cause it's something I 've always wanted to do for other women.
It's part of the charitable organization I co-founded with Steve

Stoute in 2008. Foundation for the Advancement of Women
Now. Our initiative is to educate, encourage and empower
women. Yonkers is where I grew up and saw women destroyed,
both physically and mentally. So this center is beautiful for me
because maybe those women's children or their children's chil-
dren can go there and get help. I'm hoping to see FFAWN and
Mary J . Blige Centers all over the world. Outside of music, that's
probably the one thing to which I will devote a lot of my time.

During the recent Hollywood Reporter/Billboard Film &
TV Conference, you mentioned your ongoing wish to do
a bloplc about Nina Simone. Is that any closer to happen-
ing? What other film and TV projects are you developing?

Yes. WME, [TV/film writer /producer] Cynthia Mort and I are
now moving forward on "The Nina Simone Story.' It's been a
long time coming.

We're also working on a film, which the Lifetime Network
just picked up. It's about Betty Shabazz. Malcolm X's wife, and
Coretta Scott King, Dr. Martin Luther King's wife, and the lives
they led being the women behind such important men. It's re-
ally deep; Their lives are different but both women also go through
the same things at the same time. 1 don't want to give away too
many details about it, but it's going to be an important film.

So you're eyeing more acting projects?

Working with Cara Lewis and Randy Michelle at WME has been
a blessing because they really go out for you and do what they
say they're going to do. I have scripts now that they're sending
over. There aren't a lot of great parts out there, so they're try-
ing to pick the best material for me. I'm waiting patiently, but
you will definitely see me in more films.

After almost 20 years in music, what continues to drive you?

Honestly, it goes back to my fans. I have a responsibility to them
and they let me know that it's a responsibility. 1 read things all
the time from them like, "Please keep doing what you doing."
Or " I 'm listening to 'Growing Pains' right now and it's getting
me through my day." It's just the things people say that con-
nect mc with their lives . . . that keeps me going.

All this could be gone today or tomorrow if 1 were to act like
1 did it all by myself It's God first and then my fans. They help
me do what I'm doing; they're the reason why I am where 1 am.
And I always acknowledge them in that. I've never been the type
of person to become full of myself I've never known how to do
that because when we were growing up, if you even showed out
a little, someone would try to take you out. So I guess the bal-
ance in that is what it taught me: lo stay humble and not count
all your chickens before they hatch. To just stay on a level where
people can relate to you and you can relate to them. ••••

HAIL MARY BLIGE HAS CHARTED ON THE BILLBOARD 200 WITH STUDIO ALBUMS AND OTHER SETS

DIO ALBUMS REMIX. LIVE & GREATEST-HITS ALBUMS

3.3M

AUUNSUtS
NUBMRD 200 PEAK

0.5

0.5M

mnraiiii!- urifp -sukhy»o«u>"

Uptmnmct NU HU NU

ml rm rni m>

■MIWKMUIU'

»01

HOHOHOtAIU-

Mflfl/MerKOlic

'THE UEAITHKIIKH-

m mi

"IHEIWJU-
WA
1991

0.1M

"DMUfOIHr
NU

0.1M

-tOIKnOlE HHTlRNItl

NllrMl/MlH/ICA MIm/IU
iMt 2MI7

DECEMBER 12, 2009 I www.binboard.blz I 19

Cl, aerial

Jive Records Stars R. Kelly
And Britney Spears Have
Survived PR Nightmares.
Can Chris Brown's Publicity
Campaign Take Him

By Mariel Concepcior^

Nov. 18 was a typical Hollywood night — the breeze calmly whispered around the congested traffic on the streets.

But on this particular evening, one element of the atmosphere couldn't be forecast. The night marked the return of R&B wun-
derkind Chris Brown to a California stage for the first time since his February domestic violence dispute with ex-girlfriend Rihanna.

It's a turning point for Brown, the indisputably talented singer and dancer who built a legion of young female fans with his
quick smile and catchy music. How Brown and his team at |ivc Records — who declined to comment for this story — handle the
buildup to the release of his new album, "Grafiiti," due Dec. 8, could determine whether he regains the chart clout he held be-
fore the incident, or if the grave situation derails a promising career.

Those with experience in crisis public relations — the branch of marketing that by definition requires reactive instead of proac-
tive messaging on a quick deadline — say Brown and |ive have made smart moves since the 20-year-old plead guilty to assault tn
[une, and that careful strategic groundwork could mean a comeback for the singer.

Levick Strategic Communications senior VP Gene Grabowski — who's worked with other celebrities in crisis, including base-
ball's Roger Clemens — says Brown and his team have taken the necessary steps for a reinvention of Brown's image. "Chris has
done three things well, which anyone in his case should do." Grabowski says. "One, he apologized. Two. he's taking the neces-
sary steps to see that it doesn't happen again through counseling and therapy. Usually when you seek the help of others, people
empathize with you. Three, he's helping others by giving back to charities."

So far. sales are promising. The newalbum's first single, "! Can Transform Ya" featuring producer Swizz Beatzand Lil Wayne,
reached No. 12 on Billboard's Hot R&B/Hip-Hop Songs chart and No. 23 on the Billboard Hot 100, with 240.000 downloads to
date, according to Nielsen SotuidScan. The second single, "Crawl." isn't yet available digitally.

STAGE SUPPORT

Brown's performance at the Avalon was the third stop as part
his Fan Appreciation tour, an intimate performance for those
who supported him during a "tough year." as Brown himself
puts it. After the guilty plea. Brown was sentenced to five years*
probation and more than 1 ,400 hours of community service. A
portion of the proceeds from the concert will go to the |enesee
Center, which aids domestic violence victims, and Best Bud-
dies International, which helps children and adults with devel-
opmental disabilities.

Brown's initial return to the stage in October wasn't without
controversy. When he headlined New York radio station WWPR's
Powerhouse concert, the station wound up giving away two-
for-one tickets to the e\'ent. fThe venue and/or promoters have
yet to report the event's attendance to Billboard Boxscore. and
WWPR declined to comment.)

But things looked brighter at the Hollywood stop. The Une out-
side the Avalon extended down the block and wrapped around
the comer. People of all ages and ethnicities, including parents
who accompanied their underage daughters — some carrying
homemade sigr^ that read, 'I Love You. Chris" — anxiously awaited
the show's start and tlie Virginia entertainer to hit the stage.

"This tour is a trial balloon for Chris Brown and )ive Records,"
Grabowski says. "They are doing it in modest-sized venues so
the crowds don't look small and so that it looks successful. He's
donating the proceeds (o two charities, which is smart. The wild
card is how well he handles things moving forward. If he han-
dles with grace and humility, he has a good chance of revital-
izing his career. Social standards have changed over time and
people are conditioned to forgive more easily than in the days
of Ike and Tina Turner."

Another notable strategy that Brown's team is adopting
that is smart but can be extremely risky, Grabowski notes,
is that Brown is "attempting to ride Rihanna's pubhcity wave.
Every time she makes an announcement, he makes one
shortly after. She is popular now because she was victim-
ized, but obviously when you talk about her, you think of

PHOTOGRAPH BY JASON KEMPIN/GETTY IMAGES

him, so he is trying to benefit from her publicity."

But all the chess moves in the crisis management PR play-
book run the risk of going awry. Adam Kluger. a PR specialist
and founder/owner of executive and lifestyle branding com-
pany Adam Kluger PR. says that while five Records has a track
record for saving the careers of troubled artists, like Britney
Spears and R. Kelly <see stor>'. page 22). Brown's case maybea
bit tricky. "In some genres it gives you street credibility if you
are involved in a shooting or if you serve jail time. Bui for Chris
Brown, it goes against his musical personality," he says. "It's
difficult to cast yourself as a love figure if you're beating up on
those you claim to love."

Grabowski agrees. "R. Kelly won his case and was found not
guilty on like 14 counts, which is very helpfiil. Plus, most of
Chris Brown's fan base were girls. I believe, and most women
aren't affected close to the heart when it comes to underage sex
as opposed to domestic violence." he says.

There are two strategic factors that weigh against Brown as
he starts promotion of "Grafitri": one is the immediacy of the
incident, and the other is the fame of the victim.

Ebro Darden. PD of WQHT New York— the station that gave
Brown his first radio interviewafter the ordeal took place — says
that unlike Brown. Kelly's trial dragged to the point where
some — maybe even most — had forgotten about the charges
against him. " R. Kelly's controversy was extended because the
trial dragged on for years, and during that time, he still man-
aged to get tons of airplay and sell tons of albums."

Brown has no such leeway, as every follow-up court appear-
ance after his plea deal continues to be reported by celebrity
news outlet TMZ.

Kluger adds that it didn't help Brown's case that Rihanna is
a celebrated ariist, while the woman involved in the Kelly alle-
gations was unknown. "(Rihanna) has her own fan base just
like )on and Kate and Brangelina and )ennifer Aniston." he
says. "If there's an unknown involved, it just doesn't have the
same allure."

DECEMBER 12, 2009 1 wvim.billboard.biz I 21

SECOND CHANCES

Although Brow-Ti hasn't granted many interviews since the in-
cident, there may be a strategic reason for his reticence.

Crabowski feels Brown could've used more practice before
his pubUc apology, which included an online video released in
July after his guilty plea, in which Brown said that what he did
was "inexcusable," and an August interview with CNN's Larry-
King alongside his mother and lawyer, during which he de-
clared his longstanding love for Rihanna.

Grabowski says that in the aftermath of the event, staying
quiet is actually a smart move on Brown's part. "You have to be
careful not to overexpose yourself and overapologize. If you
overdo it. it can seem transparent." he says.

Lizzie Grubnian. founder of Lizzie Grubman PR — who
found herself in her own tabloid torment when she drove her
sport utility vehicle into a crowd of people outside a Hamp-
tons nightclub in 2001 — says Brown has a good chance of re-
vamping his career but will need to do more than apologize to
prove he is sorry.

'Chris Brown is giving Rihanna space to let her do most of
the speaking, which is a respectable thing to do, but I think he
needs to continue to work with charities and do PSAs and ed-
ucate people on what he did wrong." she says. "America likes
to give second chances, so if lie can come correct and prove to
everybody he is truly sorry and produce an amazing album at
that, he will win."

Darden agrees that the music will be Brown's saving grace,
"livo knov^-s that ultimately an artist's relationship witli the con-
sumer is based on the music ihey make, so when controversy
happens, you can rebound as an artist if you have great music."
he says. 'He has an uphill battle to fight, but a hit record is the
only tiling that can keep hitn alloal."

Based on the significant digital jumps that Brown's song
"Forever" made after appearing on TV and online after his
guilty plea, the prediction that good music can keep Brown
afloat sc-cms to be- accurate.

After being featured in a YouTube wedding video |uly 19, the
song's digital downloads jumped from 3.000 the week ending
|uly 12to 50.000 the following week, a 1.500% increase.

Digital sales ihe week ending Oct. 4 were 7.000. but after (he
songappeared in an episode of N BC's "The Oftice." they jumped
to 32.000 the week ending Ot1. 1 1 . a 350% increase.

" Look at [ ftwiball player) Michael Vick — he did something that
was lerribleas well, but he has been given another chance." Kluger
says. "You have to own up to the mistake and try to rectify'. Chris
Brown seems to be moving in that direction. I wouldn't put it past
him if he has a career resurrection."

Other artists have overcome trouble thanks to the popularity
of their music. Shortly after Spears filed for divorce from Kevin
Federline. she began a downward spiral, which eventually led
her to be put on a psychiatric hold at UCLA Medical Cenler. But
with the 2008 release of "Circus," which has sold 1.6 million
copies, according to Nielsen SoundScan. Spears is in the midst
of a comeback. Her Circus tour has so far grossed nearly $108
million from 77 shows, according to Billboard Boxscorc.

Say goodbye . . .
and hello: CHRIS
BROWN during a
June 22 hearing at
Los Angeles County
Superior Court after
pleading guilty to
one count of felony
assault on Rihanna
(left): Brovtfn and
the Chris Brown All-
Stars play against
the DJ Webstar Al^^
Stars in the
Entertainer's .',
Basketball Classic
July 27 at Harlem's
Rucker Park; Brown
poses wirhNYPD
officers before the .
baskett>all game.

A FIRST STEP

I f Ihe Avalon stop is any indication, a favorable wind seems to
be blowing in Brown's direction.

At around 9:40 p.m. after opening acts Scooter, the Rejects
and New Boyz, Brown took the stage before a packed, 1,250-
capacity venue to chants of "We want Chris.'

While he brought out A-listers 50 Cent and Sean "Diddy"
Combs for the New York slopofhis 2007 18-stop Exclusive tour,
which grossed $11.3 million and had five sellouts, according
to Billboard Boxscore. this time he was accompanied by rising
stars Keri Hilson and Ester Dean. "Did you all come out to party
tonight?" he asked the energized crowd. "First off. I want to say
tliank you to each and everyone who came out tonight. With-
out you guys. 1 would be nothing. Now. let's part)'."

In the crowd were producer Polow Da Don and representa-
tives from Icncsee Center and Best Buddies International, which
he shouted out a number of times during his set.

For those outside the industry, the music remains the mes-
sage, not Brown's conviction. "I lost some respect for him. but
he has apologizedand is working tochange." said a 16-year-old
African-American girl while she gazed at BrowTi as the singer
flashed a smile at the supportive audience. "If he continues to

make good music like on his first two albums. I will still bu
his music'

" I 'm still a fan. Despite what happened, you can't take awa
the fact that he's very talented," said a 2 1 -year-old Caucasiai
male, who got tickets to the show as a birthday gift from hi
girlfriend. "All of what's happened to him will become part c
his life experiences, which will be ammunition for his musit
1 don't think his bouncing back to where he was is going to ha^
pen in an instant, but 1 think he's going to stand good at th
end of the day. I will buy the album when it comes out Dec. 8.

After hiring a grade-A legal team, which Brown clearly did—
"He was facing jail lime and got off." Grabowski says — th
next step toward a full recovery is keeping fans like these i
his good graces.

"It's definitely too early to tell, but [ive is making the ligt
moves." Grabowski says. "We'll just have to wait and see ho*
fans will respond. The kind of connection he has with fans i
the most powerful determination of whether he can come bac
or not."

Additional reporting by Gail Mitchell in Los Angles.

BIIXBOARO I DECEMBER 12, 2009

HOW SPOON GOT SIGNED,
WAS DROPPED, WENT INDIE,
SYNCHED UP WITH JAGUAR,
HUNG OUT IN THE OC,
KEPT ITS CRED AND STILL
MANAGED TO SELL ALBUMS

bY CORTNEY HARDING I PHOTOGRAPHS BY AUTUMN DE WILDE

Spoon IVoiitinan Brill Daniel's atloptrd lioinetowri of Porl-
land. Ore., doesn't sprawl. The city maintains tight hniits on
local developrnenl. creating a boundary around the metro
area lu try and avoid ihccongc-siton dnd ntibiirbaii isprjwl ihui
plague other cities. The term most often used for this theory
is planning: managed growth.

It seems strange to draw a comparison between an indie
band's development and an indie city's building permits pol-
icy, but in a way. Spoon and Portland embody the theory of man-
aged growth. Neither is wholly resistant to getting bigger; they
just want to keep everything in clieck and make sure the fun-
damentals stay in place.

Wliile Portland's managed growtii has run into some biniips
recently. Spoon's slow and steady approach has served it well.
Uacii album the band has released has sold progressively :

DECEMBER 12, 2009 www.billboard.blz I 23

more than previous efforts. According to Nielsen SoundScan,
200rs "Girls Can Tell" has sold sHghtly less than 100.000.
2002's "Kill the Moonlight" 1 53.000. 2005's "Gimme Fiction"
215,000 and 2007's "Ga Ga Ga Ga Ga" 315.000. And the band
hopes to sell even more when its new release, "Transference."
arrives Jan. 19 on Merge.

"Spoon's upward trajectory is pretty unparalleled, and it's all
across the board." says Ben Dickey, who has worked with Spoon
since 2001 and managed the bandsince 2005. "It's sales, it's tour-
ing, it's synchs. This is a traditionally underground band, and
they are not all of a sudden making very commercial records."

Ironically, the band's upward trajectory started after Elektra
Records dropped it in 1 998. Put out to pasttare only four months
after the release of its major-label debut, "A Series of Sneaks,"
failed to sell and the band's A&R man Ron Lafitte quit. Spoon
signed to Merge in 2000. It wasn't until 2002, however, when
"The Way We Get By," from the album "Kill the Moonlight,"
appeared on the TV show "TheOC" that the tide began to turn.

" 'The Way We Get By' was really the start of things," Dickey
says. " 1 1 was the first single people identified with; previously,
they had been a very album-centric band."

But if "The Way We Get By" lit the fiise, the explosion oc-
curred with the band's next album, "Gimme Fiction."

"The biggest tipping point for Spoon was (the (rack) *l TUrn
MyCameraOn,' " Dickey says. "That was the song that started
to crack radio [although the song never charted), and it started
to attract a lot more synchs.'

One of those synchs was a Jaguar ad, which started airing in
January 2006 in the United States, Canada, Mexico, the United
Kingdom, France and Italy. The song also appeared in TV shows
like "Veronica Mars," "Bones" and "The Simpsons."

" *I Turn My Camera On* was really the start of them getting
a mainstream audience," Merge co-founder Mac McCaughan
says. "And they were smart about how they went about it, be-
cause they could have gone crazy after 'Camera.' But the band
has always retained tight control over their licensing. They do
it on their own terms."

Spoon also overcame any notions it would be a one-hit won-
der post-"Camera" with "Ga Ga Ga Ga Ga," which featured
the single "The Underdog." The song was also a licensing suc-
cess, appearing in the film "Cloverfield." as well as TV shows
like "How I Met Your Mother" and "Numb3rs." "The Under-
dog" also cracked the radio charts for the first time in Spoon's
career, peaking al No. 3 on Triple A and No. 26 on Alternative.

Tlic baud rode the wave of success all the way to the stage of
"Saturday Night Live." where it performed Oct. 6. 2007.

"The key to each successive record is l>eing able to set it up
to reach the new people we are poised to meet." McCaughan
says of "Transference." "The visibility is there for the fans: they
pay attention, and they know it's coming out. The bigger chal-
lenge is to get it into places where people who know them from
'SNL' or hearing them in an ad will find them."

But McCaughan adds that strategy doesn't mean flooding
the market. "We are going to get them in as many retailers as
it is smart for them to be in," he says. "It makes no sense for
us to be in useless markets."

That's why. for instance, the label is targeting Best Buy and
Target, but is more wary of Wal-Mart. "Wal-Mart doesn't have
a lot of alternative albums, and its music section is shrinking,"
he says. "We have to be careful not to be haphazard in how we
approach this." Dickey adds that many big-box stores already
stock Spoon albums. "We sort of snuck in the back door at a lot
of these stores and quietly sold there," he says.

Lead singer Daniel says that the band has "a definite plan at
retail. It feels like the same thing we've always done, just at
warp speed."

That same line of thought exlend<f to the licensing for
"Transference."

"This is a band that is willing to license, without question,"
says Lyle Hyscn, head of Bank Robber Music, which handles
Spoon's licensing. "But they are also more involved than al-
most any band I know. Britt is included on every e-mail I send
out with a licensing request, and he's part of every conversa-
tion and very responsive."

"Any band worth its salt should care about where its music
is appearing," Daniel says. "We turned down an ad for Hum-
mer, because every time I see someone driving one, they seem
to be saying, ' I don't give a fuck about anyone,' and I didn't want
to get behind that. But in terms of movies and TV shows, as
long as it's not offensive and high quality, we'll go for it."

But don't expect to hear songs ft-om "Transference" in ads or
films just yet. "We're trying to keep the record from leaking at
this point," Dickey says. Hyscn adds that they're planning a party
and show for music supervisors the week of release. "We will get
some hits the week the album comes out, for sure," he says.

Spoon's cautious approach is a direct result of its last album
leaking almost two months prior to release. "The worst part
about a leak is this: You spend all your time talking to everyone

als

Ith

involved and putting together a plan, and then a leak just throw
a wrench into it." drummer Jim Eno says. "You have to redt
everything. Say the second single leaks — well, now radio wil
think the song has been around forever."

Fno adds that his goal at this point is lo make it hard fo
someone to steal the record. Tlic physical copy sent out to mcdi;
won't play on computers, and digital streams conic with stric
orders not to leak the track.

"I know it will leak at some point." Eno says. "But ideally, it'l
be closer to the day it's supposed to come out. And after all
Kaks can be positive if you have a good recordand people stat
i.ilking about it."

"Transference" is rawer and dirtier than previous efforts
without as much sheen and production. Songs like "Myster
Zone" cut oft' abniptly. leaving listeners to wonder whether thei
i^opies might be defective or if the band just decided to simpl
■^top playing on a whim. Transitions between tracks are a
'^hortor, and Ihe result is a more angular sound.

Daniel says he wanted to make an album where none of ll
-;()ngs soimded like "The Underdog." and he's managed to s
tecd.al) while retaining the signature Spoon sound. "I was w
ing whatever turned me on while we were making the allnur
he says. "But I look back, and I definitely see a lack of son
lhat follow the verse-chorus-verse-chorus structure,

Eno says that a few of the songs were tracked live, and
band tried not to obsess while making the album.

Despite the fact that "Transference" is arguably less co
mercial than other albums. Dickey says he thinks Spoon wi
continue to do well at radio. "We haven't started really a
proaching anyone yet, but we have had success in the pas
and we have program directors and music directors onboard
he says. In addition to charting with "The Underdog." th
track "Don't You Evah" peaked at No, 33 on Alternative an
No. 9 on Triple A.

"We will continue to work with stations that support Merg
artists, like college radio stations and triple A and [noncon
mercial]," McCaughan says. "It's harder to predict how thini
will go at commercial rock radio. That said, this album is vei
stripped-down and direct, so I think that rock radio will like it

The band is also planning on touring extensively behin
"Transference." as it has done with other albums. "They ai
going to start off by playing some shows in December and tr
ing to get back into people's minds." McCaughan says. "We ai
counting on people remembering them and hoping that casu;
fans see that they have staying power."

Daniel says Spoon will play shows during the week of relea;
and then spend much of 2010 on the road. "We're going to sta
out in Europe and then do the States and the summer fest
vals." he says. According to the Official Charts Co., "Ga Ga
Ga Ga" has sold 5,000 copies in the United Kingdom, a

"Gimme Fiction" has sold 3,000.

He adds that as Spoon spends more time touring behir
each album, the members come to better understand their li
its. "You can totally tour a record for too long," Daniel say
"And it can prevent you from coming up with new material,
feel like we know when to stop at this point. That said, I lo^
touring, and I have a lot of fun on the road. The really nice thir
about being at this point in our careers is that we have the abi
ity to stop doing the things that aren't fun."

Eno says that he doesn't envy young bands at all. "They ha>
no formula or strategy lo do music and make a living anymore
he says.

And unlike many young acts. Spoon doesn't have to sper
countless hours surfing the Web. While the band has a Wt
site and a MySpace page, the members don't post minute-b
minute updates of their lives. "No one makes us do any onlii
stuff we don't want to do." says Daniel, who sounds incred
lous that some labels would force bands to spend hours on Tw
ter. "I do some blogging, I like to talk to fans, but I don't do
in any organized or strategic fashion.

"We're in such a sweet spot right now." Daniel says. "1 ho
estly can't really think of anything to complain about."

'THIS ISATRADITIONALLYUNDERGROUND BAND, ANDTHEY ARE NOT AL
OF A SUDDEN MAKING VERY COMMERCIAL RECORDS.' -BEN DICKEY, MANAGEl

24 I BILLBOARD I DECEMBER 12, 20O9

Cci

PHIL IT UP

lil V3U3t mi.il

BABY BLUE

'AvaUr' soundtrack Is
as Intricate as the film

SPECTACULAR

Elvis Costello dishes
about his TV show

R8YAk9yi1B0

'Princess' music draws
Randy Newman, Ne-Yo

SIbung revelry

The Band Perry leads
with 'hip' first single

Roaring: MOTION CITY
SOUNDTRACK

BY LAURA LEEBOVE

'Dino'-Mite!

Motion City Soundtrack Gets Ready
To Roar On Its Major-Label Debut

After releasing its first two records on indie label Epitaph, pop-
punk band Motion City Soundtrack signed a multiple-album
deal with Columbia in late 2006, months before releasing its
final Epitaph effort, 20O7's "Even If It Kills Me." With its Co-
lumbia debut. "My Dinosaur Life." set for release Jan. 19. the
band's team is working to balance its new major-label status
with the independent, grass-roots approach that got Motion
City Soundtrack its start.

Manager Doug Lefrak says that while Epitaph has always
been a great partner. Columbia offers the group the opportu-
nity to go further. "In the long term, the feeling was that at
some point we'd want a larger set of resources and a larger
team of people that could help us take all that groundwork and
continue to expand it." he says.

Even though the signing was done while the band was still
under contract with Epitaph, guitarist |oshua Cain says it
seemed like a logical next step. "Knowing how things change
so fast and having no idea how the next record would do on
Epitaph, it just felt right to make the move when there was the
right interest there.' he says. "This feels like a big machine
that can work really well toward the goals wc have at this point.

Because we're not a new band, we don't need the [initial] de-
velopment phase, but we need the development phase on the
bigger side."

Columbia director of marketing Nina Webb says she hopes
"Dinosaur" will nudge Motion City Soundtrack out of its pi-
geonhole as a "Vans Warped tour band.'

"With a band like this that's kind of been the kings of the
Warped tour, it's always the challenge of getting the next step
higher." she says. "One of the challenges is making sure peo-
ple realize that this is not just another cmo-punk band. This
is a sophisticated band that should be in the same category as
Weezer. {immy Eat World. Blink-182 and those typeof artists."

Becau.se of this. Webb says it's perfect that tlie band will sup-
port Weezer on several dates in December and Januar>'. The
group will go out on a headlining tour starting in late January,
covering the United Slates. Australia. Japan and the United
Kingdom in the first three months following the album release.
Motion City also has three sold-out Chicago shows in mid-
December, each of which will feature one of the band's Epitaph
records in full. "It's kind of our holiday, coming-back moment
for being on and off so much in the last year." Cain says.

There's already an album preorder under way on the band's
Web site, and fans who opt for the $60 deluxe version will re-
ceive five bonus tracks, a hard-bound book with six 7-inch pic-
ture discs, a signed lyric booklet and album artwork for each
song by |oe Ledbetter. There is also a digital deluxe edition,
which includes the bonus tracks and the artwork in PDF form.
Webb says. The album's first single, "Her Words Destroyed

My Planet," is being serviced to modern rock radio, and the
track "Disappear" and an accompanying video were already
released to fans online.

Along with the more traditional marketing campaign. Mo-
tion City also took a grass-roots approach to reach its diehard
fans: Throughout November, frontman lustin Pierre traveled
with the band's tour manager and a friend on a tour they called
On the Dino Trail, during which Pierre made appearances and
played acoustic shows throughout the Midwest and East Coa.st,
Webb says much of the spontaneous itinerary was planned
with fans' help through Twitter, and all of it was chronicled on
MyDinosaurLjfe.com. "|ustin is a rare breed where he is charis-
matic and entertaining, but does not have an ego," Webb says.
"He's happy if he's playing in front of 10 people or 5,000. It's
been really great and I think fans are really surprised by it."
Lefrak says he's hoping that a Western run of the tour is also
in the cards.

Cain says Twitter has been the biggest change in the band's
relationship with its fans, which used to be handled online
through instant messaging and e-mail. "I feel like in the last
few years, that stufTs gotten harder to do." he says. "(Twitter
has] really re-engaged us as a band to be able to communicate
with everybody."

Columbia may be new to the Motion City Soundtrack busi-
ness, but Webb wants to make it clear that the label isn't try-
ing to change the band. "Nothing's broken here," she says.
"We want to just help support it and show everybody who this
band is and keep them exactly who they are."

DECEMBER 12, 2009 I www.billboard.biz

»>NORAH JONES
ANNOUNCES TOUR
DATES

Norah Jones is waiting
until spring to embark on
a 36-city lour, which
kicks off March 5 in Tulsa,
Okla. The jazz-pop singer
will play midsize and
smaller markets like
Akron. Ohio, and El Paso.
Texas. Several shows
went on sale Dec. 4 with
the rest becoming
available before the end
of the year. Jones spent
much of November
performing on TV shows
like "The View" and
"Good Morning America"
and is scheduled to
perform on "The Tonight
Show With Conan
O'Brien" Dec. 15 and
■ Jimmy Kimmel Live!"
Dec. 16.

»>CHESNEY, BON
JOVI TO HEADLINE
HULLABALOU FEST

Churchill Downs, the
Louisville, Ky., racetrack
that's home to the
Kentucky Derby, has
announced plans for a
three-day music festival
in 2010 called Hullabalou.
Headliners for the event,
scheduled for July 23-25.
include Bon Jovi, Kenny
Chesney and the Dave
Matthews Band. Grounds
passes, reserved seats
and VIP packages went
on sale Dec. 4 through
Ticketmaster and at
HullabalouFest.com.
More than 65 acts will
perform, including 2ac
Brown Band, Al Green,
the Doobie Brothers,
Loretta Lynn, Dwight
Yoakam, Gladys Knight,
the B-52S, the O Jays,
Colbie Caillat, Richard
Marx, Gov't Mule, the
Black Crowes. Kansas
and Taj Mahal.

> STROKES BACK
ONSTAGE IN 2010

The Strokes and Jay-Z will
headline the 2010 Isle of
Wight festival in the
United Kingdom, marking
the New York rock band's
first confirmed show
since October 2006. The
Strokes will headline the
festival June 12.
According to frontman
Julian Casablancas. the
band is slated to
reassemble in January
after spending five
months earlier this year
working on songs for the
group's fourth album, its
first since 2006's "First
Impressions of Earth."

Reporting by Michael D.
Ayers and David J. Prince.

COUNTnV BY DEBORAH EVANS tyWCE ^^^Kt

The Circus
Comes ^
To Town

Phil Vassar Involves The Whole .

Everybody
in: PHIL
VASSAR

SOUNDTRACKS

BY ANN DONAHUE

To Town

Phil Vassar Involves The Whole
Crowd On His New Album

t-rom recording with his band, rather than as
a solo arlis), to recruiting young talent to craft
his new video, Phil Vass.ir sought to involve
the coninmnit)' willi bis new Universal South
album. "Traveling Circus." due Dec. 15.

" Business as usual just doesn't exist any-
more." Vassar says. "I'm so over the glamour-
shot album cover and same producers and same
musicians on every record. It just all sounds
the same to me. So I thought it would be fun
to get sonic different folks on the record."

In addition to using his band on the new
album, Vassar recruited recent graduates of
Orlando. Fla."s Full Sail University to create
the video for his new single. "Everywhere I
Co." "The guys who did the video are just so
green. Tliese guys are 22 or 23. just getting out
of school." Vassar says. "It's a really cool ap-
proach and the thing looks great. I 'rn trying to
figure out why [previous| video guys were
charging me SIOO.OOO a year and they could
do it for $40,000.'

The Virginia native first made a name for
himself in Nashville as a songwriter, penning
hits for Tun McCraw. |o Dee Messina. Collin
Raye. Alan )ackson and others. In 1999. he was
named ASCAP's country songwriter of the year
and soon signed with Arista and began scor-
ing hits of his own.

He cither wrote or co-wrote everything on
the new album, including the personal, vul-
nerable "A Year From Now." "As an artist. I
think you arc doing yourself a disservice if you
donl take the opportunity to sort of write about
things that are good, bad and ugly." he says, re-
ferring to his recent divorce. " 'A Year From

Now' wasa hard sung to write, but I think that
you can surely tell that 1 mean it."

Vassar had used his band to record a couple
of new songs for his greatest-bits package, but
"Traveling Circus." his sixth studio album,
marks the first time he and the musicians
recorded an entire project. "It's a real raw-
sounding alburn. It was just a lot of fun." says
Vassar. who self produced the record.

Universal South senior VP of sales and op-
erations Van Fletcher says the label has high
expectations for the album. "Tlie music on this
album represents the most honest and per-
sonal Phil Vassar release that he has ever
recorded." Fletcher says.

To create awareness, (he label plans to place
ads in circulars as well as buy TV spots in De-
cember and )anuary. There will be "win it be-
fore you can buy it" contests at radioand stations
are being ser\'iced with liners. Fans who pur-
chase the CD will gel a fri-e download of the
video for "Bobbi W iih an I," which features
"Desperate Housewives" star fames Denton.

Vassar will perform U.S. dates in Decem-
ber and will head to Hurope for shows in |an-
uary. "I've always wanted to do it." he says
of playing Europe for the first time. 'I'm
going back in lune for two weeks and then
back in November. I'm excited. I'm going lo
rock that place."

Vassar has also signed on to write songs for
an upcoming play based on the 2007 film "Wait-
ress," which starred Keri Russell. "It's a really
cool movie, and llicy are taking it to Broadway."
he says. "I'm writing liie songs, so I'm in the
middle of thai. It's just been crazy." • • ■

PLANET
HOLLYWOOD

James Horner's
Score For 'Avatar'
Combines A Love
Story, Aliens— And
Leona Lewis

It's been 1 2 years since direc-
tor lames Cameron and com-
poser lames Horner worked
together on "Titanic." The
highest-grossing film of all
time earned $1.8 billion at
the global box office, accord-
ing to BoxOfficeMojo.com;
sold 10.1 million copies of the
score, according to Nielsen
SoundScan; and propelled
Celine Dion's closing-credits
track. "My Heart Will Go On."
to an Academy Award for best
song and a thousand mis-
guided karaoke sessions.

So when Cameron called
Horner two years ago and told
him that he wanted lo collab-
orate on another film — but
that Horner had to stop work
on all his other projects in the
interim and dedicate 100% of
his time to the movie — he
willingly signed up.

"It was going lo be pretty
massive," Horner says. "He
said. 'You won't be able to
handle it and anything else at
the same time.' '

The film, "Avaiar." is due
Dec. 18 from 20th Century
Fox and stars Sam Wor-
thington. Zoe Saldana and
Cameron's muse. Sigour-

EDITORS

Aensi

ENGLAND

By Steve Adams

Pop quiz: Name the only in-
ternational act ever to debut
at No. 1 on the official singles
chart for the Belgian region
of Flanders.

Forget Madonna, Eminem
or Lady Gaga— the proud
owners of that accolade are
U.K. alternative act Editors,
who went straight to the
summit of the Ultratop chart
in September with "Papillon,"
the lead single from their
third album, "In This Light
and on This Evening."

The album marks a change
in musical direction for the
four-piece band, which has

eschewed the guitar rock of
its first two releases, 2005's
"The Back Room" and 2007's
"An End Has a Start." for a
more electronic sound.

Editors singer Tom Smith
says that outside Belgium,
the new sound has alienated
a number of fans.

"Some people are shock-
ed and think it sounds like a
different band," he says.
"But for us to go somewhere
new and stretch ourselves
felt like the most natural
thing in the world."

And, in truth, it's a logical
progression. After the Joy

Division-influenced gloom
rock of the first two records.
Editors' newfound love of
synthesizers and drum ma-
chines has echoes of New
Order, adding real groove to
tracks like "Bricks and Mor-
tar" and "Eat Raw Meat =
Blood Drool."

The change also found
favor with U.K. record buyers.
The album went straight to
No. 1 on the Official Charts
Co.'s (OCC) albums list after
its Oct. 12 release on indie
label Kitchenware.

"That was a really nice sur-
prise," Smith says. "To be in

the game for three records
and have people still inter-
ested in what we're doing is
an amazing feeling,"

The new album has sold
54,000 copies, according to
the OCC, while "The Back
Room" has moved 523,000
and "An End Has a Start"
335,000.

Editors are licensed to
PIAS for Europe and Sony
for the rest of the world, but
the album makes its U.S.
bow Jan. 19 on New York-
based indie Fader. Fader
handled the U.S. release of
"The Back Room," which

ney Weaver. Much like thi
prerelease buzz on "Ti
tanic," "Avatar" is takinj
some knocks for being to<
costly, too long and just toi
damn weird, with painstak
ingly intricate computer
generated blue aliens as th>
main characters.

Bui Horner says that again
the scope of Cameron's visiot
will prove doubters wrong
The soundtrack, which will b-
released Dec. 15 on Atlantic
is the result of Cameron ere
ating the futuristic societ
that's the setting of the film-
and Horner dreaming up th
type of music that the planet'
non-human population wouli
listen to.

"The kind of music h
wants and how emotional h
wants it to gel was extraordi
narily difficult to achieve,
says Horner, a fivc-tim
Oscar nominee for origina
score and winner for origina
score and song for his contri
butions to "Titanic." "I'v
never worked on a score a
complicated as this one."

But lest things get too esc
teric, much like "Titanic," th
album gets diva lung power wit
Leona Lewis singing the enc
credit song, ' I See You (Tltem
From Avatar)." The song wa
produced by Horner and Simo
Franglen. who also produce
"My Heart Will Go On."

sold 63,000 copies, accorc
ing to Nielsen SoundScar
allowing its successor to b

BILLBOARD I DECEMBER 12. 2009

MUSIC-

Atlantic Records chair-
lan/CEO Craig Kallman got

llu' soundtrack — "He had
ursued it heavily since last
pring," says james Lopez,
enior VP of marketing/
rand partnerships at At-

\ intic. "The song came about
1 the past month. We're all

lunning at breakneck speed."
Much like "My Heart Will

i;o On," "I See You" incorpo-
iiles sonic themes from

Horner's score.
"It will be very
familiar by the
time the movie ends and the
song comes on," Lopez says.

While specific deals
haven't yet been finalized,
Lopez says the rollout for the
soundtrack will take place in
three phases: Tirst, the song
was streamed online during
the first week of December;
the following week, the

*I've never
worked on
a score as
implicated
as this one/

-JAMES HORNER

album will be
streamed in its
entirety; finally,
the wn k "Avatar" is released
in theaters, the video will be
released online.

There's another similarity
between "Avatar" and "Ti-
tanic," Horner says: Despite
the spectacle of the films,
they're both love stories at
the core.

"I was always pushing
[Cameron] never to lose sight
of the heart," he says. "1 was
like the female onboard: 'Re-
member the girls that want
to go see this and may want
to go see it twice.' That is
where the music plays its
most important role, con-
stantly reminding you that
there's this two-person rela-
tionship driving the whole in-
side of tin- story."

pstreamed to Epic. But
lies of "An End Has a Start"
ailed at 48,000, according

to SoundScan, prompting a
return to Fader.

"We were really happy
with the setup of ["The Back
Room"]," says the band's
co-manager Rob Whitaker,
of Birmingham-based Zoot
Music. "So we're glad to be
using the same team."

Fader CEO Jon Cohen is
Optimistic that his label can
return the t>and's stateside ca-
reer to an upward trajectory.

"The new sound is going
to go over really well here,"
he says. "But this is the kind
of record people need to
spend time with. The first
two records had some more
obvious straight-ahead pop
music . . . this one's more
challenging."

"Papillon" is being worked

to college and alternative
radio. Some U.S. -specific re-
mixes are due in early 2010—
a tactic that proved success-
ful In Belgium, where three
versions of the song, includ-
ing an acoustic take and a
mix by Dutch dance DJ Ti-
&sto, all attracted consider-
able airplay.

Meanwhile, Smith is relish-
ing the prospect of playing
some U.S. shows in February,
booked by William Morris En-
deavor Entertainment.

"Our music's never been
particularly British," he
says. "We'll go out there
and get amongst it. Our fan
base has been building step
by step with every record.
It'd be nice if America could
follow suit." ••••

QUESTIONS

with ELVIS COSTELLO

by CORTNEY HARDING

Elvis Costello needs no introduction. If you're unfamiliar with his body of work, put down
this magazine and make a beeline to your nearest record store or download emporium.
The British singer/songwriter, who swept through the London pub scene, the punk move-
ment and the New Wave fad while retaining his signature sound continues to release great
work 30-plus years in. His latest project, the country- and folk-inflected "Secret, Profane,
and Sugarcane," arrived June 9 on Hear Music.

As if being a music legend wasn't enough, Costello is also determined to make his mark
on TV; his show, "Spectacle," blends music and interviews with superstars and up-and-
comers. A DVD of the first season was released Nov. 17, and the second season premieres
Dec. 9 on the Sundance Channel.

1 How do you curate the shows and
decide on the guests?

Well, of course you can make a wish list, but
even though you can theorize all you want,
you've got to get people into the theater. After
that. I think the most important thing is con-
trast. You need people who are more gently
spoken together with people who can really
grab you by the throat. It's not a bad thing
to also have people who have a broad popu-
lar appeal and don't often get to play in in-
timate settings.

being like a carnival barker or the MC of a big

package show.

4 Are you planning on doing any other
TV, given the success of "Spectacle"?
Maybe visiting "Colbert Christmas" or
"30 Rock"?

I think "30 Rock" is on hiatus right now, but
I'd be more than happy to reprise my roll as
an internalional art thief jlaughsj. I've car-
ried a Screen Actors Guild card for a number
of years, but I don't think of myself as an actor.
I wouldn't mind doing something
where 1 am given the responsibility
ofbeing a character — usually I'm just
asked to be a guitar player with
glasses.

1 '

2 You hold your own as an interviewer
against big personalities like Bono and
former President Bill Clinton. How did
you prepare to interview these people?

With someone like Bono, at one time. I was
on top of the bill and he was just coining up.
And all of sudden he got on a rocket ship and
just took oil. and his music was just designed
for such huge, wide spaces. But he's still a
human being with anxieties and insecurities.
On the show, Bono talks about being in the
company of Frank Sinatra and realizing that
he was in a heavyweight league.

When I talked to Clinton, we mainly talked
about music, but 1 did ask him one very seri-
ous question, about whether he consulted
music when he was faced with a difficult pol-
icy deLiKioii. And I could sec the inipait that

question had was different than him just rem-
iniscing about music, and I felt like I had been
sparring with Muhammad Ali and just laid a
glove on him.

3 Were you influenced by any partic-
ular music shows or talk shows when you
started putting "Spectacle" together?

1 didn't really have a model for the show in
my head: I iust wanted to pull together all the
things that interested me. I see myself as

5 Are you working on any new
music at the moment?

I'm always writing. I'm not record-
ing anything right now because I just
finished touring. 1 was in Australia
four weeks ago playing shows, and
then 1 went to Toronto to do the last
show of the season { for "Spectacle"],
and I've been in New York working
on the edits ever since.

6 in 20O4, you put a line on the back of
your CD "The Delivery Man" stating that
you didn't endorse the FBI anti-piracy
warning on the back of albums. What did
you mean when you made that state-
ment?

My issue with having a government agency
stamp on creative work is that it just goes
against my nature. 1 won't carry an I D card,
because people achiaily lost their lives so that
we don't have to carry I D cards.

And \'m not really big on government in-
stitutions putting stamps on works of art. The
problem is much more complex than all of
that, and my issue is that it's just like the pa-
tient is Islroding from a number of wotmds

and you just put a [bandage] on this one
thing — and it has a big FBI sticker on it and
that's supposed to make people fee! better.'

It's like suing one or two people for down-
loading. If you really want to go after il. you
go after the file-sharing institutions, because
they're also the conduits for child porn. So
why don't you go after them? Just go and close
them down. You know, it's a half-assed thing,
that's what my problem with it is. It's the
wrong enemy. ••••

DECEMBER 12. 2009 I www.billboard.biz I 27

ALBUMS

Ens

KID SISTER

Ultraviolet
Producers: various
Downtown Music
Release Date: Nov. 17
Kid Sister may be something
of a one-trick pony, but for-
tunately tfiat one trick is to-
tally unique to her— a high-
energy, syncopated rap style
that's as simultaneously cute
and husky as a Miley Cyrus
single. Her often-delayed,
multiple-producer debut
album (overseen by A-Trak)
comes more than two years
after her breakthrough sin-
gle. "Pro Nails." a thumping
collaboration with Kanye
West. That track is included
on "Ultraviolet." along with
11 other instances of old-
school Chicago-style rap
and house melding together
in decidedly not-so-nostal-
gic ways. On the declarative
opener "Right Hand Hi"
(produced by tastemaking
dance music DJs Steve An-
gello and Sebastian Ingros-
so). Kid Sister drops Missy
Elliott-esque rhymes over
humming, trance-like synths
that pulsate in breakbeat
style. Other standouts in-
clude the frenetic, techno-
tinged "Switch Board" and
the new wave styling of "Get
Fresh." After 20-something
years of rap and dance run-
ning in mostly parallel lines.

Kid Sister's imagining of
their intersection is fresh and
unapologetically fun -KM

RAKIM

The Seventh Seal
Producers: various
Ra Records/Tuscan
Villa/SMC Recordings
Release Date: Nov, \7
Despite it being nearly 10
years since his last album,
Rakim proves he's still in top
lyrical form on his third solo
set. "The Seventh Seal." On
the single "Holy Are You." he
makes biblical references
atop the Electric Prunes' 1968
sample of the same title, rap-
ping. "Trace this style to the
roots of Genesis/The world
wonder/I'm still standing like
pyramids." Later, over a basic
tambourine and electric gui-
tar production. Rakim schools
other artists about the art of
rap on "How to Emcee."
Standouts on the album in-
clude "Man Above." with
piano influence from Dr Ore's
"Still D.R.E.." and "You and I."
which features flute vibra-
tions. But much like the synth-
driven beat on "Holy Are You,"
some elements on "The Sev-
enth Seal" seem dated. "Mes-
sage in the Song" includes a
lifeless singer on the chorus,
while "Satisfaction Guaran-
teed" has an unappreciated
chipmunk-sounding voice
looped into the beat. Overall.

SHAKIRA

She Wolf
^^^/i Producers: various

^^^V Epic Records

^^^^ Release Date: Nov 23

With plenty of moans, guitars,
doumbek, disco, clarinet and Synth, Shakira's
newest album, "She Wolf," is a grab bag of influ-
ences, ranging from pop rock to world music to
'80s R&B. The result is certainly more adventurous
than anything from her peers, if a little forced.
Highlights include an ingenious mix of mandolin,
banjo, sitar and tabia on "Gypsy," the closest thing
to an acoustic song on the album, and "Why Wait,"
with its relentless synth punctuated by a badass
Middle Eastern string section straight from Led
Zeppelin's "Kashmir" The bonus tracks, for which
the album's U.S. version was previously delayed,
don't add much. The Timbaland-produced "Give It
Up to Me" has Shakira telling Lil Wayne, "Put me in
a cage and lock me away and I'll play the games
that you want me to play." Just as you'd say to a
friend with an unworthy partner, you want to tell
Shakira: You can do better.— /ASV

GUCCI MANE
The State Vs. Radric Davis

Producers: various
Asylum Records/Warner Bros.
Release Date: Dec. 8
If Gucci Mane's new album, "The
State Vs. Radric Davis," were a
holiday. It would be Halloween. Over a daunting,
organ-like piano on the track "Heavy," the Atlanta
rapper wittily rhymes, "I just got out of iail, yeah, they
tried to Michael Vick me." Similar to something heard
in a horror film, the song "Gingerbread Man" features
OJ Da Julceman's habitual "Eys!" over a grand piano
scheme and clinging xylophones. And Souija Boy and
Waka Flocka Flame are featured on "Bingo," which
boasts a double-speed beat ideal for any scary
movie. Even the ladies' track "I Think I'm in Love," on
which Gucci discovers he and his love Interest are
falling for each other, features an eerie Zaytoven pro-
duction beneath It. However, like the singles
"Spotlight" and "Wasted," the songs on the album
that jump out most aren't the ones with creepy
rhythms, but those with Gucci Mane's witty lyrical
delivery. The comical "Lemonade" is about diamond-
encrusted jewelry, while "My Own Worst Enemy"
talks about the day he was almost murdered.— AfC

the God MC can still carry the
throne as one of the greatest
rappers of all time, but he'll
need stronger production the
next time around.— MC

ONEREPUBLIC

Waking Up

Producer: Ryan Tedder
Mosely/lnterscope
Release Date: Nov 17

OneRepublic has recharged
its sound with its second al-
bum. "Waking Up." The new
set finds the band turning out
irresistible instrumentals and
ultra-catchy vocal chants that
enliven its radio-friendly rock
sound. The first single, "All the
Right Moves." melds scratchy
drums with a sweeping mix of
cello and piano in a nod to in-
dustry politics. During "Se-
crets." OneRepublic frontman
Ryan Tedder defends his in-
demand songwriting abilities
when he sings. "This time,
don't need another perfect
line/Don't care if critics never
jump in line." He's more opti-
mistic on "Good Life." an up-
lifting pop gem complete with
whistles and lighthearted
marching drums. "Waking Up"
boasts enough intertwining
pop melodies t>acked with an-
themic vocals to show fans of
the 2007 Timbaland-remixed
track "Apologize" tfiat OneRe-

public can deliver more addic-
tive hooks while still maintain-
ing its own graceful and intro-
spective sound.— KP

IJ«1J

ROBBIE WILLIAMS

Reality Killed the Video
Star

Producer: Trevor Horn
Astralwerks
Release Date: Nov. 17
The United States may not
even have noticed he's been
away, but there's been a Rob-
bie Williams-shaped hole in
the rest of the world's pop
landscape since his experi-
mental last album. "Rudebox."
flopped in 2006. On his
newest effort. "Reality Killed
the Video Star." such lyrics as
"Get the message to the trou-
badour/The world don't love
you anymore" may suggest
that "Rudetiox" is still preying
on Williams' mind. But musi-
cally, it's never happened. In-
stead, he offers string-
drenched ballads ("Morning
Sun"), slick George Michael-
style electronic dance-pop
("Starstruck." "Last Days of
Disco"). Elvis Costello-esque
clever wordplay ("Blas-
phemy") and the slightly
cheesy, supremely catchy
MOR pop he made his name
with ("You Know Me," "Won't
Do That"). Only the garish

"SOs-style rocker "Do You
Mind" fails. The end result may
not be enough to convince
America it's missing out, but
expect this album to bring the
already-converted back on-
board in droves.— MS

JUSTIN BIEBER

My World
Producers: various
Island Records
Release Date: Nov. 17

Fifteen-year-old pop sens
tion Justin Bieber's first Bi
board Hot 100 single. "On
Time." was an insanely catch
ode to young love that immc
diately won over fans. And s
were his second, third an
fourth. It's no wonder, ther
that Bieber's debut albun
"My World." sticks to the foi
mula. His vocals are as bo^
ish as they are disarming
mature. With genuine swac

LEONA LEWIS

Echo

Producers: various

J/Syco

Release Date: Nov. 17
"I breathe, I hear, but I don't be-
lieve it," U.K. pop artist Leona Lewis sings on "Alive,"
a standout track from her second album, "Echo."
"My heart, it beats, but inside I'm freezing." Lewis'
detractors will find it hard to separate those lyrics
from the main criticism often lobbied against her:
that she's technically gifted, but there's a soulful
quality missing from her performance. While it's true
that Lewis has never emoted on the level of her
heroine, Whitney Houston (an awfully high bar to
match), "Echo" still marks a vast improvement over
her post-"X Factor" debut release in 2007. A range
of writer/producers— including Ryan Tedder. Kevin
Rudolf and Max Martin— help the singer reveal a
more expressive side. The result is most apparent on
Martin's upbeat electro-pop "Outta My Head." where
she's finally allowed to let loose. As haunting as
Lewis' ballads are, perhaps fewer of them would do
her some good.— MH

BILLBOARD I DECEMBER 12, 2009

Cci

ler on the nimble R&B track
Bigger," Bieber sings, "I was
player when I was little, but
ow I'm bigger . . . and all
he haters, I swear, they look
o small from up here." The
allad "Down to Earth" (a
ong he co-wrote about his
larents' separation) reveals
deeper side: "So we fight
irough the hurt, and we cry
nd cry and cry and cry/
hen we live and we learn,
nd we try." Judging by the
elivery of those poignant
nes, it's hardly a stretch to
nagine Bieber racking up
ore hits in the next decade
0 come — MH

fRETTY RICKY

retty Ricky

reducer: Diamond Blue
mith

'luestor/Big Cat/Tommy

•oy

lelease Date: Nov. 17
ho giant parental advisory/
xplicit lyrics sticker on the
ont of Pretty Ricky's new
Dif-titled album leaves no
oubt as to what the group
still up to on its latest musi-
al outing. The former At-
ntic quartet comes packing
ith a new member (Lin-
erie) as well as sexually
harged songs whose titles
on'l leave much to the imag-
ation ("Menage a Trois,"
Doggystylo" and "Sticky"),
retty Ricky goes hard right
om the start with an Intro
lat trumpets this telling
;ece of information: "My sex
rive is times a million, tril-
Dn." Another song, the aptly
lied "Black," intones that
nee you go black, you
ever go back." The four-
jme can be clever and fun,
5 demonstrated on "Mr.
oodbar" and mellow lead
ngle "Tipsy (In Dis Club)"—

FflEVIEWS-

SINGLES

about the tamest song on the

set. The group gets off. how-
ever, on the mood-setting
"Lapdance." Despite the title,
it's a languid R&B groove that
pleasingly complements the
quartet's sweet, urgent har-
monies. It also hints at some-
thing for the guys to keep in
mind next time: Sometimes
less is more.— 6M

NEW & NOTEWORTHY

THE ROLLING
STONES

Get Yer Ya-Ya's Out!
(40th-Anniver5ary
Deluxe Boxed Set)
Producers: The Rolling
Stones, Glyn Johns
ABKCO

Release Date: Nov. 3
For a band with such a
storied history of great
performances— and a large
catalog of live recordings—
there's little a fan can buy
(legally, at least) that cap-
tures the Rolling Stones at
the full height of their pow-
ers. "Get Yer Ya-Ya's Out!,"
which captures the band at
New York's Madison Square
Garden in 1969, has always
been the best of the bunch.
This smart four-disc pack-
age commemorates the con-
cert's 40th anniversary with
a pristine remastered version
of the original recording, five
previously unreleased songs
from the same show and an
entire disc devoted to the
fiery opening acts, B.B. King
and Ike & Tina Turner But the
real treat for Stones fans is
the 29-minute DVD by direc-
tor Albert Maysles, which
features material left out of
the documentary "Gimme
Shelter." Here, Maysles man-
ages to give the vast stage
show at the Garden an inti-
mate feel and reveal the
band's immortality— DJP

>ITED BY MITCHELL PETERS
.LBUMS) AND MONICA
ERRERA (SINGLES)

DNTRIBUTORS; Ayala Ben-
(lui; 1, Marie! Concepcion. Ron
-: Monica Herrera. Kern
I I in Michael Menachem, Gail
Iti'II, Kelsey Paine, Deborah
ri' Price, David J, Prince,
i l Sutherland

RITICS' CHOICE «: A new

r-rrvt , regardless of chart
lotiri-ii highly recommended
' musical merit.

PICK >: A new release predicted
to hit the top half of the chart in
the corresponding format.

All albums commercially available
in the United States arc eligible.
Send album review copies to
Mitchell Peters at Billboard. 50S5
Wilshire Blvd., Seventh Floor, Los
Angeles. CA 90036 and singles
review copies to Monica Herrera
at Billboard, 770 Broadway,
Seventh Floor, New York, N.Y.
10003. or to the writers in the
appropriate bureaus.

l:M«i!l

TRAVIS McCOY

One at a Time (2:55)
Producers: The

Smeezingtons
Writers: various
Publisher EMI

Decaydance/Fueled by
Ramen

Travis McCoy's gig as the
ambassador to MTV's Stay-
ing Alive foundation re-
cently gave the Gym Class
Heroes frontman another
reason to make music. On
Dec. I. McCoy and the non-
profit released "One at a
Time, " a charity single that
coincides with World AIDS
Day. The track was written
after McCoy visited com-
munities in South Africa,
India and the Philippines
that are fighting the global
epidemic. Producers Philip
Lawrence and Bruno Mars,
better-known as the
Smeezingtons, mix linger-
ing acoustic guitar riffs with
midtempo beats, over
which McCoy sings, "We
gotta speak soft and listen
harder ... so go on and
spread the word, and not
the virus." Though McCoy's
signature tongue-in-cheek
approach is absent, his
lyrics should resonate and
influence young listeners to
get involved in a vital
cause.— MM

ELECTRONIC

FOUR TET

Love Cry (9:13)
Producer: Kieran Hebden

Writer: K. Hebden
Publisher: Chrysalis Music
Domino Recordings
Almost five years after his
last full-length release,
English avant-hip-hop trail-
blazer Kieran Hebden is set
to return in 2010 with
"There Is Love in You."
Those looking for more of
the caustic angularity on
2005"s "Everything Ecsta-
tic" will be shocked at the
directness of Hebden's
new single. A nine-minute
trance-out, "Love Cry" har-
bors some of the artist's
most accessible, danceable
grooves to date. The song
takes a cue from "Moth/
Wolf Cub." his collabora-
tive 12-inch with dubstep
artist Burial from earlier
this year. As its midtempo
groove steadily heats up
without boiling over, coo-
ing female vocals repeat
the song's title and house-
style synths weave in and
out of the periphery, with
a hint of signature weird-
ness thrown in for the fan-
boys. "Love Cry" is think-
ing person's dance music
at its finest.— ffW

lYAZ

Replay (3:01)

Producer: J R. Rotem

Writers: various

Publishers: various

Time fs Money/Beluga

Heights/Reprise

With his charismatic vocals

and Caribbean roots, lyaz—

RIHANNA FEATURING

YOUNG JEEZY

Hard (4:10)

Producers: Christopher "Tricky"
StevLfart, Terius "the-Dream " Nash
Writers: various
Pubiishers: various
SRP/Def Jam/ID JMG

The notion of Rihanna as impervious— both emo-
tionally and career-wise- is central to her new
album "Rated R," and her second single. "Hard,"
puts forth that message loud and clear. "They can
say whatever/rma do whatever/No pain is forever/
Yup, you know this," the Barbadian singer boasts in
a rap cadence over gurgling synths and antagonis-
tic piano notes. "Tougher than a lion/Ain't no need
in tryin'/l live where the sky ends." Rihanna effec*
lively assumes the hip-hop posture and even
recruits the ultimate street cred-booster in rapper
Young Jeezy. who provides the thrust needed to
send a song with a somewhat inert chorus home.
Though "Hard" doesn't find Rihanna in her typical
comfort zone, the atypical is precisely what she has
aimed for with her new material— and it works.—

the first artist signed to Sean
Kingston's Time Is Money
Entertainment — bears a
close resemblance to his
mentor. It's no surprise, then,
that the newcomer's first sin-
gle. "Replay." is an island-
style ode to romance.
"Shawty's like a melody in
my head that I can't keep
out, got me singin* like/Na-
na-na-na everyday, it's like
my iPod's stuck on replay,"
lyaz croons on the catchy

chorus. The artist's charm
comes across through his
youthful, exuberant voice,
while producer J.R, Rotem
supplies a breezy beat
sprinkled with effervescent
strings and synths. "Replay"
sees lyaz delivering on the
reggae-pop formula that's
already worked well for
Kingston. Though he'll need
to set himself apart on the
next single, lyaz is off to a
promising start.— KP

BRAD PAISLEY

American Saturday Night (3:40)

Producer: Frank Rogers

Writers: B. Paisley A. Gorley. K. Lovelace

Publishers: various

Arista Nashville

Brad Paisley has a gift for wrapping astute observations
on American life and culture in tasty musical packages.
The country artist does it again with this engaging third
single and title track from his chart-topping "American
Saturday Night" album. The song's melody is absolutely
Infectious, and its chorus is an open invitation to sing
along. But it's the well-crafted verses, which celebrate the
American melting pot, that make it a hit. "It's like we're all
Dvin' In a big oi' cup/Just fire up the blender, mix it all up,"
Paisley sings. The artist delivers a revved-up performance
that teems with personality and panache. Paisley has
already scored 15 No. 1 hits on Billboard's Hot Country
Songs chart, and this upbeat single looks sure to reach
the summit next.— DEP

DECEMBER 12, 2009 I www.billboard.biz I 29

-MUSIC

HAl?REMhMG MQML

Burbank. Calif.

SOUNDTRACKS

BY JASON LIPSHUTZ

A Thing Of Beauty

Disney Fosters
Synergy With
'Princess'
Soundtrack

With its hand-drawn animation
and hip. New Orleans-set stor>'.
"The Princess and the Frog,"
currently in limited release in
New York and Los Angeles, is
a mix of the classic and cutting

edge for Walt Disney Anima-
Iton Studios.

The film's soundtrack, which
includes original compositions
by Randy Newman and a new
single from Ne-Yo. reflects a
similar combination of old and
new aesthetics that Disney
hopes will connect with a di-
verse audience.

Released Nov. 23 on Walt

Disney Records, "The Princess
and the Frog" soundtrack de-
buts at No. 14 this week on Bill-
board's Top Soundtracks chart.
With 10 original songs and
seven score pieces composed
by Newman, the set touches
upon the jazz, gospel and zy-
dcco music that define the di-
versity of the film.

"With something like this.

the album is so tied into the
movie experience that the
soundtrack is like owning a
piece of the film," says Damon
Whiteside, senior VP of mar-
keting at Walt Disney Record.s.
Whiteside believes the sound-
track's close relationship with
the film makes the disc compa-
rable to a Broadway soundtrack
and will help drive album sales

instead of single-song pur-
chases. "This feels like a pur-
chase where you want the entire
musical experience, not just a
sample." he says.

Walt Disney Records' mar-
keting campaign for the sound-
track will coincide with Disney's
promotion of the film,
which will go to wide re-
lease Dec. II. For exam-
ple, when fans preorder
liekets to the film from
1 andango or MovieTlck-
ets.com, they will be given
a code that can be used to
download album track
'Dig a Little Deeper" for
free on iTunes. Advertise-
ments for the soundtrack
will also appear before
screenings of the film.

"The key for us is to
align with the movie mar-
kcting team, and then
have a stand-alone cam-
paign as well Whiteside
says. "There's such a
broad audience interested in
seeing this movie that we are
trj'ing to reach, from parents to
kids and even young teens."

"Never Knew 1 Needed," Ne-
Yo's contribution to the album,
represents another opportunity
for the soundtrack to expand
its demographic appeal. The
Grammy Award-winningartist
signed on to the project be-

cause of Disney's pedigree am
for the chance to be involvei
with the first Disney animate<
film with an African- Americai
lead character.

"Disney's animated film
have such a timeless elemen
to them. My whole MO is t>
make music that's going to out
live me, so this made perfec
sense for me," he says.

A precious love song buil
around a twinkling piano riff an<
pulsating R&B beat. "Needed
mirrors the film's simple styl
and offbeat charm. "The movi
is traditional Disnej' but with
little different feel to it. and I fe
like [the song] needed to have
I ittle of both worlds — sweet, bi
with some flavor to it," Ne-Y
says. "I think we hit the mark.

When the film goes to wid
release. Walt Disney Record
will increase its promotion c
the album with retail circular
and radio/TV advertising. A
though the movie Is markete
as an innovative new fairy tati
the label also believes the filr
will make audiences recall th
soundtracks to Disney's pat
animated hits like 'Aladdin
and "The Little Mermaid."

"This film makes you n
member that when music is s
integrated into a movie, it ca
jump off the screen." Whit<
side says. •■•

A 'SPECIAL' TIME OF YEAR

With the debut of "A Very Special Christmas 7" on this week's Billboard 200. each edition of the venerable
series has graced the chart. The A&M/UMe album, released Nov. 23, bows at No. 184. •! The anthology,
launched 22 years ago by Interscope Geffen A&M chairman Jimmy lovine, has since generated more than
$100 million for Special Olympics, the most money ever raised by a benefit recording series, according to
the organization. ^ How long has the "Very Special Christmas" brand been a holiday fixture? When its first
volume entered the Billboard 200 the week of Nov. 14, 1987, many of the artists featured on tlie newest re-
lease— such as Miley Cyrus, Vanessa Hudgens and Sean Kingston — weren't even born. — Gary Trust

HOLIDAY CHEER
The benefit CD series "A Very Special
Christmas" has been a chart fixture since
its debut in 1987.

'Rt^ied piior to Ihe ddvent ol Nielsen SoundSun data
11 1991; Ihe albom has b«en ce'hl^d loi^.tjnws-Dlatinum,
according to Ihe RIAA.

"A VttY Special Christmas"
1987

314,000

234,000

iBilllwardZOOPealiPiHilii
I Nielsen SoundScan Sales

^ <to date)

7.000 (,i,i,.„,

"A Very Special (hrislmas 2'
1992

"A Very SpMlal Christmas 3"
1997

"A Very Special Christmas live:
From Washington, D.C."
1999

"A Very Special Christmas 5" "A Vety SpKlal Acoustk Christmas"
2001 2003

"AVefySpedal Christmas 7°
2009

30 I BILLBOARD I DECEMBER 12, 2009

Cni

BY KEN TUCKER

All In The Family

"he Band Perry Savors Sweet Sibling Success

he Band Perry, a family trio made up of Kim-
crly, Reid and Neil Perry, has grabbed the atten-
on of country radio in a way usually reserved
>r more established acts. The group's first sin-
le. "Hip to My Heart." which the trio co-wrote
ith Brett Beavers, jumps 45-40 on Billboard's
lot Country Songs chart this week after only five
eeks of airplay.

H's one of the most-played songs at KKBQ Hous-
m. which spun the record 58 times during the

week ending Nov. 29. 'It's a fun. bright and up-
tempo song that's perfect for a younger-targeted
country station like KKBQ," says PD lohnny Chi-
ang, who first saw the group perform in a confer-
ence room in Nashville. "I was blown away by the
band's talent and charisma. [They] have 'it,' what-
ever 'it' is.'

Mike Moore. PD at KW)J (the Wolf) Portland.
Ore., says he's convinced ihe Band Perry "will be
the biggest breakout act of 2010. They sound fan-

tastic live, they have amazing songs, and they look
good. They are the total package." Moore says the
fj;roup's sound "is like nothing else on the radio."

The trio owes its unique sound to its parents.
"Most dads would be rocking their kids to sleep
singing 'Rock-a-bye Baby.' " Kimberly says. "Our
dad was singing us Rolling Stones songs, and our
mom loves country. They definitely cross-pollinated
our musical palette."

She describes the group's sound as "modern
throwback. We love tons of old country, from
[ Johnny] Cash to Loretta Lynn to Hank [Williams|.
but wc also love modern music. And we live up in
Appalach ia. so there's a little bit ofbluegrass thrown
in now and then."

Kimberly, the oldest of the trio, fronted her first
high school band at age 15. employing Reid. then
10, and Neil, only 8, as her roadies. Eventually the
brothers formed their own band, which opened for
Kimberly's, Four years ago the siblings banded to-
gether. "We always knew at some point it would be
a family band," Kimberly says.

The trio toured, playing "a little bit of every-
thing— festivals, churches and clubs.' Kimberly
says. "Anywhere there was a pair of ears that would
sit and listen, our dad was really dogged about get-
ting us the opportunities to play for them."

Raised near Mobile. Ala., the siblings moved to
East Tennessee seven years ago to be closer to, but
not live in. Nashville. "Our initial inspiration and
songs came from outside Nashville, so to keep one
foot in and one foot out was always really impor-
tant to us," Kimberly says.

The trio teamed with Garth Brooks' manager.
Bob Doyle, in 2008 and a year later it signed with
Republic Nashville. Tlie group's debut album, which
is being produced by Paul Worlcy {Lady Antebel-
lum) and Nathan Chapman (Taylor Swift), is due
in 2010.

tASHING IN

esha Sebert, who's better-known as the pop
nger/songwriter KeSha, has nothing to hide.
She has a dollar sign tattooed on her
and, inked over the spot of skin where she
::ks salt before slamming tequila shots,
he was once trapped in an elevator that
le says went haywire after she provoked
"ghost." She rambles about the psychic
owers of narwhales— "the unicorn of the
>a"— and asks if it's OK to use the ladies
)om during a phone interview.
"I think people can stand to take them-
>lves just a little less seriously," she says,
'm fighting the war against pretension."
KeSha s spontaneity is part of her charm,
le artist's debut single, "TiK ToK," an elec-
o-pop song inspired by a night of epic par-
'ing and featuring a Diddy cameo, is No, 3
its eighth week on the Billboard Hot 100.
"»e song already peaked at No. 2 on Hot
igital Songs and has sold 875.000 down-
ads in the United States, according to
ielsen SoundScan.

Before her recent success, the 22-year-
d Los Angeles native was subsisting on
ee tacos and, at one point, living out of a
Did 1978 Trans Am. She scored a break
irlier this year as a featured artist on Flo
ida's No. 1 Hot 100 hit "Right Round."
hich Inspired that dollar sign tattoo.

"I got it because I was being ironic. I didn't

make any money off the Flo Rida song. No
one knew it was me," Ke$ha says noncha-
lantly. "I'm money— I don't need money."

Ke$ha signed a deal with RCA Records
shortly after "Right Round" topped the Hot
100, and she's now prepping her debut
album for an early 2010 release. Tentatively
titled "Animal," the set features production
from Dr. Luke as well as collaborations with
Max Martin and Benny Blanco.

Ke$ha is currently touring, backed by a
DJ, bassist and keytar player and armed
with a cannon as a stage prop. Though she
says she could "party in a cardboard box."
the singer boasts that her live show is a
"sensory assault" of sweat, beer and glitter.

If KeSha is serious about anything, it's
self-motivation. Case in point: She once
snuck into Prince's house to ask him to pro-
duce her album. "If you visualize what you
want and you go for it and you work your
ass off," she says, "you can realize your
own realities." ~-Sandy Cordon

IN THE
SPIRIT

Jazz saxophonist Kirk Whalum credits
adversity for inspiring the genre-bridg-
ing, live-recorded project he started in
1998, 'The Gospel According to Jazz."

"I had been on Columbia Records for
12 years when I was kkked to the curb
like a tot of other artists," Whalum re-
calls. 'The next day my wife sakJ, "What
can we do today that we couldn't do
yestefday?" Arxi the first thing that came
to mind was, "Why dont we do the proj-
ect [the label] promised they would
support?* So we called up [pianist/pro-
ducer] George Duke and got started."

Whalum and Duke's expressive dis-
tillation of musk: and message is once
again movingly displayed on "The
Gospel According to Jazz: Chapter III."
The follow-up to prior installments in
1998 and 2002 is due Feb. 16 from
Whatum's Top Drawer Records through
distritxitor Mack Avenue Records.

Recorded live at Reid Temple in
Glenn Dale, Md^ the doubte<D set also
spotlights special guests Latah Hath-
away, guitarist Doc Powell, Bishop T.D.
Jakes and several Whalum relatives:
sons Kevin and Kyle, nephew Kenneth
Whalum III and Whalum's sax-playing
uncle, Hugh "Peanuts" Whalum.

in addition to original material like
the rousing "Fit to Battle," the set in-
cludes inspirational covers of songs
popularized by Luther Vandross
("Make Me a Believer"), Charlie Chap-
lin ("Smile") and Maze featuring
Frankie Beverly ("Running Away").
Two singles are being worked: a re-
vamped version of the Stylistics' 1971
R&B/pop hit "You Are Everything" and
"He's Been Just That Good" featuring
Hathaway. "We wanted this to t>e off
the beaten path of what fans may ex-
pect, to stir things up," Whalum says.

An avid fan of sodal media, Whalum
and Atlanta-t»sed Fainvave Media will
launch the "Music Is Love. Sharel2"
campaign to help spread the word
about "Gospel." Kicking off on the pro-
ject's release date, the interactive cam-
paign (facetxxilcconVklrkwhalijm) wHI

let fans send 12 people Instant mes-
sages about the album. When those 12
confirm they've received the sender's
message, the original serxler can down-
kad up to nine "Gospel" trsKrks for free.
Then the 12 others in ttw circle can share
the message with 12 more and so on.

Also being released is a DVD of the
"Gospel" live recording at Reid Tem-
ple. "We're just trying to connect all
the dots on this spiritual journey."
Whalum says. —Gail Mitchell

www.blllboard.bl2

CONNECT WITH THE MUSIC INDUSTRY'S MOST IMPORTANT DECISION MAKER*

MARKETPLACE

For ad placement in print and online call Jeff Serrette 800-223-7S24/jserrette abillboard.conn

LEGAL NOTICE

IN THE UNITtD STAI i:S BANKKtlPTCY COURT
FOR niEPlffTRKT OF DF.I^WARE

) Cliapacf 1 1

NOTICE OF (\1()B.IK I ION \M1 VOl m IM S, (B) SOLICITATION
ANDVOTINt; PROt KDl RFS.(C iUt \H1M; (IMTRM THE PLAN OF
HEORGAM/ VMON AM) (LH f I H I AtN (H Hk H INFOHMAnoN

DISCI^SliRE STATEMENT AND SOLICITATION PROC EDI RF-S APPROVED. On November
Z. 2009. ihc Lnilcil Slalcs Bankniplc> Ciwin tV'r ihc Distnvt uf LWawarc llbe "Bunkmpltj Court"!. erKeral
duu certain f)»utr fa) A/'pnnmg Dehtnn Sti onJ \kniiliitJ Diu hMitv Sltiu mt iii. itii Apfmmng Soluilaiittn
lUtJ Sinltn PriKrituna: IcIAff/Hinin}; (i'ttrtj; aaJ Tal'ulaliun PnirJum. arul iJl E-iiahluhiitg L'tHiprmalion
\otuf and Ohiet twn Pnu ethrtt (ihc "thsclosurc Smcmcnl Ordcr"l, As pan of ihc Ducto&urc Siatcmcni
Older, (he Bunknjptcy i'ovn apjwwvcil, among ulli« ihinj^v Ihc Detauw' bm ltuunf SjateitKOt /ar Sei-,mJ
Stotfifk-d Joini Plan of ReotTiaiuzaiifm nf Xhnak Holdings iW artti ifi lh-hii>r Affilum-t Under Chapter II
tifthf Bankniph r Cade, daicil October 2tt. 2009 (ihc thitlosiirc Swicmcnt") (or Itic Stiimd \foilifiedMni
PlimitfRcorgmiZiUiiiiiif .KkiZiA HoidinS'' i lX imdih AftilKUi-dlh-hliir^l!itderChi^>ler U iiflheBtMr^
Ciii^'i'M umemlnltw imxlihnl Irinn linw lolnnc, ihc ~PUiii"|.a.sc«ntiiiniiig aJniuatc iiil'onnuiKin. ai^ retiurrej
under section ll25(a)oflillc II of Ihc United Slate* CoJc tibc'OankmfKC) Cwfc'f. and authnit/cd ihc IVht-
oni lu soIkii ucccpUnccs of Ihc Plan

COPIES OF SOLICITATION PACKAGE MATERIALS, INCLUDING THE DISCLOSIRE
STATEMENT AND PLAN. The Pljin. Disclosure Staicmmt. Plan Suppkment luixin Its filing I. Disclosure
StAEcniou Onler und all other tnoichuli.. except Biilloki and Miisier Ballou. miiy be obtaiDcd from the Debtors'
ie5tn»clunn)f wetnitc at lriip;<' 'chapiert l.epii|s)'Ueini'.c[im'inu/iik or by mfunimy a cop} frum the I>irh<Lir&'
Vbim^ ont) Claim^i A$eM b> wniinc ui Munk Holding I l.C lUlloiing Cenler; c o I'pkj llankiupttrv Solu-
liom. ll.C; FDR Slalimi. P.O iiox S)M; Nc* York. Nw York 10150.5014 or caltinn (H66I <M01fi07 Ihe
I>cbturi uill "ene the Plan, OiM;li»ure Suicmeni and nil ulhcr maicna]>> in the SolKilauun Package (execpl
halliiw and leiicn) im |u) the Office ufihe United Sinics Tnince fur the Disiricl of Delaware, ihlctMinKcl fur
the ODkul ( ommiitee of Lituxmcd Crcvlilurs: [c)couiuel to (he ktecniig coiiunitiee oflbe Debtwi' lenn
loiui IcnilLTi; (dl coiuiiet to (he ad hoc group nf the Dehtuts' I0^> senlni noic holders, (el counsel to the
Prrpcliiion Admimuralitc Agent; lOcounMllu Silver Puim, (gt counsel for ihc Intetnalioniil Planned Music
AsMKintion^thl the Inienul Revenue Sen' ice; sndiitiinypeTMnH uhohaveliledaKqueM formitic* ni these
chaptei 1 1 eases ptinsuanl to Bnnkiuptcy Rule 3002 Crcdilon who ore entitled lo vule to iieccpl or reject the
Plnn will be \cT\c^t h\ iirM-rU» iiiajl with this Confimialiiyn Hearing Notice, applicable Balkxsand Muter

Ballols. and ' i i ' > <f ^ j prr-xkhcssed. posta)^ pre-paHt return envvtofic. the Plan, the DiKlinure

SUtcnieir I i i.iiiL'niOidcr|cxeludingthecshi1>ilslhcnTlo.exccpithcSolicilaliiinPtiN:edurn|

BiMleertiiM- I h micil in the Solicitation Packa^.

CONFIRM \ IIC>\ HI- \RI\t;. A heanng Ui euirkider conlimalinn of Ihc Plan uhe "CimtimialHin Hear-
ing~> will timimct>..c on Januar) 12. 2019 al 1:30 p.m. Prr^alli«t FaMrra Time, hefonr the Honorable
Kcv in J- Carcv al the Bonkniplcv Court, Ii2-t Market Sired. 5th Fluor. Courtroom 5. Wilmington. Delaware
19*101. The Conlimuiinn Ik-aiing iruv be L-oniinucd from lime tu time by nnmwncini: such continuance in
open court or otherwise, w ilhom further nnlice to piinH;% in mleie^l. The B^nkruptt,-) Court, in its diMTieiioa
and prior to the ( onlimutioD Hcanng. may put in place Mldilional procedures tcineminij: the ( ontirmalKm
llctrintt.

PLAN OBJECTION DEADLINE. The Hankruptcy Court Iws ettnhli^hed January 5.2tlOat l2iWp.«.
PrrvUlag FjiHem Time, as the last dale and time for tiling and serving obto;! ions to ihc contirmation of ihc
Plan (the "Plan tJtijcclioti Deadline"). (Mijcclwn^ lo the cimtiriTialKin cifihc Plan, ifanv. muxt la) be in urit.
ing:(b|suic wnhpDitK'uIaniy the grounds for such objeetinn; (c I state the name and address of Die ubjecin^
pDct>' and the luture of the claim or interest of such party; (d) conform lo ihe Federal Rules of Bankntptey
Proceilurc and ihc Local Rulc%. and lObcfilcii with ibc Bankruptcy Coun and scT\ed on the follow ing p^cs
Icultcctii ely. the "NcKicc Patiies") so thai ibcs are acluiiib received iw later than the Plan Objection Deadline.
Dbjccliiiruniil linicly filed and leived thall he overruled and not eon.iidcred.

Ca-CmrMsrr «f rAe Deiton: i\) KIRKLAND A ELLI.S LLP. Attn: Fdward (1 Sas.w*er. )o«hua A
Susd)crg.f<01 Lc\mgiun Avenue. Neii^ York. New York 10022-161 1 - <ii) KLEIIR. HARRISON. HARVEY.
BRAN7.BCRG & ELLERS LLP. Attn: Domenic E Pacini. Michael W Vurkc«i«.91'> Maikct Street. Suite
l(KH\ Wilmmiiion. Delauure l<M<01-3tK>2; Co-Camittfl W the CommiMf! (ni) AKIN GtMP STRAl'SS
HACER& FELD LLP. Ann: James R. Savin. Attn: David M. Dunn. Robert S. Strauss Building. 1333 New
lUmpshirc Avenue. N W. Wushingtoiu DC, 200J6-1564. |iv| DORSEV & WHITNEY LLP, Aim- Eric
Lopc2 Schnabel. Ann: Robert W Mallard. 1105 North Maiket Street, Suilc 1600. Wilmington. Delaware
moi: Co-ComiatI M SUvtr Point Ci^fiul Advit»n. LLC: |vi UTLLKIE FARR & GALLAGHER
LLP. Alto Paul Shalhoub. Attn. Robin Spigcl. 78"? Seventh Avenue. New York. New York 10019; (vi)
VOUNC CONAWAV STARCaTT & T.AV LOR LLP. Attn: Robcn S Bradv. Attn: Matthew B, Lunn, The
DruHlyv^iiKlluitdiiis. IIMMIWcit^ircei. 1 7<h FI0.V, Wilminffion, Delaware \'i^\:C»-CouMStlMlheAdHoc
ComvrHMm of SotiSihtr Point HoUm of Senior SaUi:\\\\)ViRO'V,T<i RCDNICK LLP, Ann; Wdtiam K
Baldiua. Attn: , Andrew M SriAa. Oik Finaociai Center. Boston. MissaclHisctu 021 II: (viii) SAIL EWING
LLP. Ann: Mark Minuti. 222 Delaware Avenue. Suite 12(W, PO Box 12f*. WilmingUm, Dclawaic l'J!<99,
f'tf-riNuuW M llb^ 5iMWiijr CmvmMw tf/Smior

Attn Andrew J. Gallo. C>ic Federal Street. Bosioil Massachusetts 02110-1 726. \\\ REED S.MITH LLP.
Attn Kurt F t.wvnnc. 1201 Mjikci Street. Suite l5tX), Wilmington. Delaware 19801; \\\) MCGtlRE.
CRADDOCK >& STROTHER. P.C., Attn. Jonathan ThalheinKr. 500NLirth Akard. Suite 3550. Dallas. Texas
l^li\\ C>>mnvrlH'ihei*rrpeiiHoHAdmiaitmtMAgrM:{\\\) \\\fAWV\C%OVT\\V. UNITED STATFJv
TKl STEE FOR THE DISTKICF OF OF.LAWARE. Attn David KUuder. K4J Kmg Sirecl, Suite 22U7.
Wdininglim, Oclavvnrc IQSOI , uiiil KLKSTADT A WINTERS, LLP, Attn- John F Jurelkr, Jt . KIckimIi
& Winieri. LLP. 292 Madison Avenue. 1 7ih Root. New York. Sew York 10017, Cawiwrilwrtr /l'.H-4; (nivl
THE INTERNAL REVF-NIT. SKRVICF^ U llopkm^ PWa. Mail Stop Raim 1150. Baliiinore. Maryland
21201

VUTIN(; RECORD DAI E tKlober 20.2W9 l^ il>e icord date <lhe "Vaim^ Rceord Datc''t for purposes
of delenruninis which parlies are cniiLlcJ tii vntc im ihc Plan

VOTING DEADLINE. Januar) f. 1010 al 12:«Mp.ni. Pmalllay Eailer* Time is Ihc voluig deadline
("Voting Deadline"). All Ballots and Master Ballots must be received by the Voting and Claims Agent by the
\bling Deadline Voting Instructioni will be sent w ith the Ballots

TEMPORARY ALLOWANCE OFCLAIMS FOR VOTING PURPOSES. Holders of Claims that arc
subject it» a pending objection by the Debtors as of Ihe Voting Record Dale cannot vote on the Plan absent one
of tbc foUowmg a'solution events taking place pnor to the Voting DcMllinc; (a) an order of the Bankruptcy
Court is eitlercd allowing such claim puiHisni to section 502lbl of Ihe Bankniptcy Code, after notice and a
hearing; (b)an order of ibc B^nkniptcy Court is entcied tcmpontrily allowing such claim for voting piirpoio
only puntLiant to ftiuikruptey Rule 301 l*4al. aOer iHitice and a heorinjc |c> a >iipiilalKni or other agrcemenl is
executed betvccen the holder of such claim and the IX'bltirs lesutvinj; tlur objection and allowing sueU claim
in an agreed iqion amouiil, (d) a stipublion or other agreerncni is executed between the holder of such claim
aiMl the IX'btuis lemporarily allowing the bolder of Mich claim to vote its claim in an apeed upon amounl. or
(el the pending obieciii'ti i.i mi^IiiIjiim luluiiiarih iMilxlnw'n by the Debtors (each, a "ReMklution Event"),
If an objection tn a t ■ ^ t 1. .: h', v» [ Vl-r. ir-, t i|...- \i'!rii- Keconl Dule, :my vote by the holder of such
Disputed Claim will nii[ - i ■ ■. . .. - i - i h Im: n I vent print to ibc ConfirmiitKin Hearing.

PLEASE BE AI>\ I'-l ii lil\l Till 11 \n . nM vinS CERTAIN RELEASE. EXCULPATION
AND INJUNCTION PRU\ IMUSS. \ <H ARE \n\ ISK1> TO CAREFULLY REVIEW AND CX)N-
SIDER THE PLAN, INC LU DINt; THE RELEASE. EXCULPATION AND INJUNCTION PROVI-
SIONS. AS VOUR RIGHTSMIGHT BE AFFECTED.

' The Debtors in these cliaptcr 1 1 cases, together w ith the last lour digits of each Debtor') federal \a\ iden-
tification number, arc Muzak Holdinjis LLC (3730K Muzak Holdings Finance Corp. (3728); Muzak LLC
|3729): Background Music Bruadcasicrs. Inc. (30I4|: Muuik CapiUl Corporatton (2302); MLP Environ-
mental Musk. LLC 160981. Business Sound. Inc. (95251: BI Acquisition. LLC (6049); Muzak Financ-c Corp.
|79ti3l, ElcctroSysteim Corpor»lion(f>059); Audio Fnvironnwnts. Inc. |41 1 1 );Tclep(ione Audio Producemns,
Inc (48941; Vortex Sound Communications Company. Inc (371 1 ); Muok Housuw. Inc. (9'*!a): and Mumc
Incorporated (^7(0). The location of the Debtort' eorponte hcaduiiarters and the service addrexx fur all the
Debtors is: 33 1 S Lakemoni Boulevard, l-ort Mill. South Carolina IHIW

Ml capitalized icrms iivd, bul not delined herein, shall base the meanings attributed to such terms in ihe
Plan Of (he Din losme Staicmeni, asapplitahlc

MUSIC
MERCHANDISE

BUY DIRECT AND SAVEl

While olher people are raisg men prices, m
are slashing ours CD's. LP's, Books.
Casseltes as lo\v as 50 cents. Your choice
from the most extensive listings available.
Fof free catalog all (609) 690^00.

Fax (609) 890-0247 or write
Scorpio Music, Inc.

P.O.Box A Trenton, N.J. 0S691-0020
email: scorplomus9aol.com

MASTERING

tangerineMASTERING.com

Grammy winning CD mastering
REISSUES & RESTORATION
201-865-1000

NOTICES/ANNOUNCEMENTS

BILLBOARD'S HOTTEST ISSUE OF THE YEAR!

THE 2009 YEAR IN MUSIC ISSUE
December 19, 2009/DEADLINE CLASSIFIED
December 8TH

TOURING, PUBLISHING, LEGAL, TECHNOLOGY AND
MUCH MORE!!

FEATURING . . .
■Over 200 Highly Anticipated Billboard Year-End Charts
•The year's most unforgettable music moments
'Analysis of all segments of the music business

■Billboard also honors MADONNA in this special edition -
The Top Solo Touring Artist in

■GET YOUR MESSAGE IN THIS SIGNATURE DOUBLE
ISSUE THAT IS REFERENCE ALL YEAR-ROUND BY THE
MOST POWERFUL PEOPLE IN THE WORLD OF MUSIC,
BUSINESS AND ENTERTAINMENT!
CALL TODAY JEFF SERRETTE/1-800-223-7524/
JSERRETTEd BILLBOARD.COM

Billboard Classifieds
Covers Evervthi

DUPLICATION
REPLICATION
VINYL PRESSING
CD ROt-l SERVICES
DVD SERVICES

FOR SALE
PROMOTION &
MARKETING SERVICES
MUSIC DISTRIBUTORS

AUCTIONS
RECORDING STUDIOS

REAL ESTATE
INVESTORS WANTED
STORES FOR SALE
EQUIPMENT FOR SALE
STORE SUPPLIES
FIXTURES
CD STORAGE
CABINETS
DISPLAY UNITS
PUBLICITY PHOTOS
INTERNET/WEBSITE

SERVICES
BUSINESS SERVICES
it

MUSIC INSTRUCTION
BUSINESS
OPPORTUNITIES
COMPUTER/SOFTV/ARE
MUSIC MERCHANDISE
T-SHIRTS
EMPLOYMENT SERVICES
PROFESSIONAL
SERVICES
DJ SERVICES
FINANCIAL SERVICES
LEGAL SERVICES
ROYALTY AUDITING
TAX PREPARATION
BANKRUPTCY SALE
COLLECTABLE
PUBLICATIONS

TALENT
SONGWRITERS
SONGS FOR SALE
DEALERS WANTED
RETAILERS WANTED
WANTED TO BUY
CONCERT INFO

VENUES
NOTICES/
ANNOUNCEMENTS
VIDEO
MUSIC VIDEO
POSITION WANTED
LISTENING STATIONS
FOR LEASE
DISTRIBUTION
NEEDED
EDUCATION
OPPORTUNITY

HELP WANTED
MASTERING
AUDIO SUPPLIES
ROYALTY PAYMENT

PRINTING
MUSIC PRODUCTION

METAMUSIC
STAGE HYPNOTIST
CD FAIRS & FESTIVALS
MUSIC WEBSITES
NEW PRODUCTS
DOMAIN NAMES

iiUIK!lMKU<iKw<W:*M-223-'% "

32 I BILLBOARD DECEMBER 12. 2009

Cni

A WEEKLY ROUNDUP
OF NOTABLE CHART
ACHIEVEMENTS

lirtesy of last week's
oductlon of catalog tUIti
K« mix of the Billboard
Unk Floyd-i "Dark Sid* ot
oon' logs a rccorO-
dlns 742nd w««k on the
Mrd 200 as It re-enters at
19— Its first week on the
y since Oct. B,19Sa.

Anahl of the H
Ived Latin sextet RBO
■t No. 4 on Top Latin
Bs with "Me Dellrfo"
10 copies). Its first-week
•ter than the S.OOO that
■d the bow of RBD-s final
) set. "Per* Olvldarte d
I April.

onc^ debut) at No. 1 on
wslc video sales with "I
Ifturs . . .," her second
t on the chart (see page
SLIve at Wembiey" relgrted

Bin 3004. She
■pent two weeks at No. 1
06 as part of "Ocitlny's
kUVt In Atlanta."

Boyle's 'Dream' Bow Yields Year's Best Sales Week

YouTube sensation and former "Brit-
ain's Got Talent" contestant Susan
Boyle's debut album. "I Dreamed a
Dream." opens at No. I on the Bill-
board 200 with a whopping 701.000
copies sold in its first week, according
to Nielsen SoundScan. It's the best
sales week for an album in the United
States this year.

The year's previous high-water mark
came when Eminem's 'Relapse" sold
608,000 in its opening week. In fact.
Boyle's sales frame is the best the chart
has seen since AC/DC's "Black Ice"
bowed with 784,000 upon its release
in October 2008.

The arrival of" I Dreamed a Dream"
also marks the best opening week for
a debut album from a female artist
since SoundScan began tracking sales
in 1991. Boylc beats out Ashanti for
the title, as her self-titled debut began

with 503.000 in 2002.

In SoundScan's history, only one
other debut album has seen a bigger
opening week: Snoop Dogg's "Dog-
gystyle" opened with 803,000 in its first
week in 1993.

Boyle's fellow U.K. countrymen
should be proud as well; "Dream"
notches the best sales frame for an
album by a solo U.K. performer in
SoundScan history. In fact, only two
U.K. acts— the Beatles and Coldplay
— have earned bigger weeks,

Finally, "Dream" has the eighth-best
sales week for an album by a solo fe-
male in SoundScan history.

As Billboard reported last issue, ex-
pectations were high for Boyle's first
week, especially considering the re-
portedly large number of preorder
sales the set had racked on QVC and
Amazon. As It turns out. those reports
were accurate, as the title's
sales from nontraditional
sellers tallied 256,000. or
37% of its debut week. That
figure includes sales from
QVC, traditional internet
retailers and digital down-
load services.

On Top Internet Al-
bums, "Dream' arrives at
No. 1 with 132.000— the
largest sales week for an
album sold online. Previ-
ously, the best sales frame

Over The
Counter

came from Dave Matthews* "Some
Devil" when it hit No. 1 on the Oct. 1 1 .
2003, chart with 87.000.

THANKS FOR GIVING: Susan Boyte

wasn't the only artist to drop an album
during the busy Thanksgiving shop-
ping week, as the reality
TV star led a packed re-
lease schedule.

Fellow reality TV won-
der Adam Lambert, the
2009 "American Idol"
runner-up, sees his
debut. "For Your Enter-
tainment." start at No. 3
on the Billboard 200 with
198.000 copies.

We're not sure if its sales were helped
or hurt by his much-talked about Amer-
ican Music Awards performance the
night before the album's release, but
one thing's for certain: Everyone knew
he had an album out.

LEADING LADY: Lady Gaga's new

eight-song EP, "The Fame Monster,'
bows at No. 5 with 174.000, while her
first album. "The Fame." is close behind
at No. 6(151.000. up 429%).

The latter album's total this week
combines sales of her debut set as well
as a two-disc deluxe "The Fame Mon-
ster" package tliat contains "The Fame"
as well as the "Monster" disc.

There have been instances of this sit-

uation in the past, but none quite as
high profile as Gaga's.

Exactly a year ago this week, Capi-
tol reissued Coldplay's "Viva La Vida
or Death and All His Friends" in a
deluxe version with the tag line
'Prospekt's March Edition." And, as a
courtesy to consumers
who had already bought
"Viva" earlier in the
year, the bonus content
from the deluxe album
was also offered in a
stand-alone "Prospekt's
March" EP.

Billboard and Nielsen
SoundScan combined
the sales of the original
"Viva" album with the deluxe version
of the release while also separately chart-
ing and tracking the "Prospekt's" EP.

That week, the combined sales of
the two full-length albums pushed
the "Viva" set 54-26 on (he Billboard
200 with 43.000 (up 127%) while the
"Prospekt's" EP debuted at No. 15
with 77,000.

Interscopegotthe stand-alone EPball
rolling earlier in 2008, with the expan-
sion of Fergle's "The Dutchess" into
"The Dutchess Deluxe."

The cuts added to her plussed-up
album were also offered as a separate
digital-only 'The Dutchess Deluxe EP,"
which debuted on the Billboard 200
with 11,000.

Market Watch

Weekly Unit Sales

iiiaui waui
luijK luws' mats

mum

10.727.000 1.754.000 19,791.000

7.985,000 1.684.000 18,946,000

Ctuil9«

34.3K 4.5%

12.208,000 1,717,000 20.095,000

Change

-12.1K 2.2% -1.5%

A Weekly National Music Sales Report

Year-To-Date

1^ MM No. 3« XC*

..iMUiimv

OVERALL UNIT SALES

Mm 369,967,000 320.217.000

MglMllKtS 962,983,000 1,056,626.000

SHltSndtt 1,525,000 1,641.000

M 1,334,475.000 1,378,484,000

Umenlmr 466.265.300 425.879.600

-lj.4%
9.7%
7.6%
3.3%

-8.7%

niclscn

SoundScan

Distributors' Market Share:

11/02/09-11/29/09

• UMG SSME VWHC • IndlH >J EMI

Weekly Album Sales cMiiiion umts)

Total Albums

1 1

-.2008

-200*

■ M

A M

A s o r

i D J

SALES BY ALBUM FORMAT

a 309.283,000 249.087.000 -19.5%

nglU 58.927.000 68.832.000 16.9%

Klnrl 1.636.000 2.195,000 34.2%

0<lw 121.000 53.000 -56,2%

Current Albums

Go to www.bjlltMard.biz for complete chart data 33

Cni

COBFIUO

niclscn

'ill

ARTIST

l1^'h '.I '. 1 \l! E-i :'l'1Il'IBUnNGlABtl(PR1Ctl

Title

i if

1 , m SUSAN BOYLE

1 Dreamed A Dream

ANDREA BOCELLI

My Christmas

liM

ADAM LAMBERT

For Your Emenainment

RIHANNA

1" 1 1 1 I.' '.' 1' 1. 1. Ml, 1-9 yai

Rated R

Ml LADY GAGA

E.1 ■ . . . ■ ,[ CME^KVinCi: INF- i '

The Fame Monstei (EP)

441Uyj LAOV GAOA p,-,

HjEHiM 1 ■nEAMllNE'WMllVI.THEnfH 1HEE llHttfbcOHt OMIOS'.ISA (I? 98)

■ 4 1

iWM MILEY CYRUS

Hai<a;l ' II' AOOO O04r)9 EI 110 981

The Time Ol Our Uvea (EP)

^ TAYLOR SWIFT

Fearless

B H

g CARRIE UNDERWOOD

Play On

□

NORAH JONES

EiiF iiiup ii-'i'H^- m r. itii 9«i

The Fall

B u*'?"*^'" 911 Mtehjiel Jackson s This Is It |Soundtrack|

SOUNDTRACK

1 III'. ,-lJlli. -.liAPrAG |189B|

The Twilight Saga: New Moon

■ H

JOHN MAYER

Battle Studies

Ik."

tfe-;

JUSTIN BIEBER

Mil I 1'.' '. Ill .iiiri ISLAM Dt37m*IEUIAS 19 981

My Worid (EP)

■

]

ffl^"*^'"*, „

She Wolf

VARIOUS ARTISTS

. ONVUUSiC (IB 98)

NOW 32

£f4 CASTING CROWNS

mm I't.'^i-H -.'-it;t Hi.iMMN iui;'D,SOVr«USIC(13 9e)

Peace On Earth

• ■

MICHAEL BUBLE

;l ( Ef'H^! ^,1 .ll WARNtn BROS (I8 98| ♦

Crazy Love

M SOUNDTRACK Glee: Ssason One: Ttie Music Volume 1

■fl ,:itH : iNTiiK^ Ml) IV. tOl UMBIA SI»0<-SaNT MUSIC ill 9B|

f% 50 CENT

MIM.. .M ' ■ MM ■ irn i nr[ 0l!)g3' ICA (13 Oa CD.nVn) •

Before 1 Self-Deslruci

TAYLOR SWIFT Sounds 01 The Season: The Taylor SwW Holiday Collection (EP)

WiM SBF. . II. '.' ' ' 1' '.. ^mi

Q BON JOVI

The Circle

fft THE BLACK EYED PEAS

The E N D.

■m

H CASTING CROWNS

mM eifACH Slriar PtUMOK II1I3J.'S(MYMU5IC (MM)

UntH Tha Whole World Hears

M OWL CITY

lii ' %:VIll:.M -<-lniKLIC01314t''UMfl6|10 98l

Ocean Eyes

fft JOSH GR08AN

UJ '.vl.l'.K |.r : r ..' ','.w:iim BHDS |18 Ml

Noel

°B

M LADY ANTEBELLUM
tal ''.>l 'K'l . . 991

Lady Antebellum

■ B

H TIM MCGRAW

mm ':uR£' . >i^'9ai

Southern Voice

n STING

Kfl ■•lE^ci'II !: !■ ::iL'9- l MvtHSAl clAasicSOTWP 116 981 +

If On A Winter 5 Night...

1*1 MICHAEL JACKSON

U V;l II 1 14 9«)

Number Ones

M PAUL MCCARTNEY

Kfl MI'l HE All .'in-j'^ EEhE0'T3 il9 98 Ct) DVPi ♦

t3ood Evening New York City

M JAY-Z

WtM tnr. ^AlmTl s:'0Hri6'.AG |IH 9«i ■*

The Blueprint 3

■

BIROMAN

CASH MfiNET UMVENSAL UDIOWH OIJMO'UURQ |I3 98l ^

Priceless

n SUQARLAND

< ' lAlllvatE 0I33Z&UMGII (13 981

Gold And Green

l»

KRIS ALLEN

1 II. I ■.J.-.i. Ill IIJ9BI

Kris Allen

PI ZAC BROWN BAND

liti - .''X 1' !.L(H I'll :'J»E HUME GROWMiAUANIIC Ste93t/AG |13.9Bl

The Foundation

■ H

■

M JAY SEAN

■ ■'f||'-flHC0l36B3.UMHOi'l3 98|

All Or Nothing

H TRANS-SIBERIAN ORCHESTRA

Night Castle

IP:

S| TAYLOR SWIFT

Taylor Swift

!">

Q JASON ALDEAN

Wide Open

•n

3EY0NCE

■1. .11 .Ml-li:- i.iiLllMBIA 19492 SONV MUSIC 111 98)

1 Ani...Sa«lHI Fierce

■ I

f/*"!'"^"'' ^^^**"!°8i''^'' Christmas: 25th Anniversary Collection

SOUNDTRACK

Hannah Montana: The Movie

■B

'".v^i'^ijM^lTrlMA 11^ a„ Gloty In The Highest: Christmas Songs Ol Worship

■Wl PEARL JAM

i ■.■.■4' I189BI

Backspacer

3'j

J 3

ROD STEWART

Soulbook

THEM CROOKED VULTURES

Them Crooked Vultures

DARIUS RUCKER

Ai mil M,Mr..uE H'jy^ri (IB 981

Learn To Live

■1

N LEONA LEWIS

mM ^vi..ri J MMG (13 9e>

Echo

M MICHAEL BUBLE

m 'CI.OEPHISE 4M^'^ WAHM(4 BROS (7 U]

Let II Snow! (EP)

ExtKtlY four yean
aner she last
debuted on the
(harl.lhe singer
relums, starting
with 89,000. In
2005, Iter last
release. "Otal
Fixation Vol. 2."
began at No. 3
with 128.000.

TtK afeuin's tMil
siiijit, "Down,"
spMltmwMlts
Hof tlx lilburd
HotlOOInOctolw.
Kim.lihlull-ltiitlli
iMttt eotm with
!1,00«co|il«.

IIW lOIK-llISI CD

boxed »l carries an
Honofitkal S24.98
list price (though
the vinyl version

90ts IDI il49.981

and starts with
22,000. Inlemet
sales made up 28S
of the packa^'s
nnliMclL

With a gain ol
286%, thesel
returns lo the ctiarl
thanks at least in
part to the lact thai
Best Buy sale-
priced II loi S6.99
on the tivo days
following
lhanksgnlng.

£iS So

Is is ss

ARTIST

lUPHiJil A NUIABEn y OiSTFUSuriNG UUUL (PRICE|

Title

TOM PETTY & THE HEARTBREAKERS

The Uvo Anthology

DAVID ARCHULETA

Christmas From The Heart

VARIOUS ARTISTS

'. ir(Ifr.Rlly 148!,.' EVI (.MCI (17 9A.

WOW Hits 2010

SWITCHFOOT

1 iMtC W?Q?0. 'AG 118 98) -f

Hello Hurricane

TRANS-SIBERIAN ORCHESTRA

The Lost Christmas Eve

WEEZER

.■ 1 . .1 : 1 ■ J;Hr IGA |13 9Bl

Raditude

134

MICHAEL BUBLE

. 1 1 1 1 1 : -aii'n i^ARiiEii Bros tiB98i

Call Me Irresponsible

KINGS OF LEON

Only By The Night

□

WHITNEY HOUSTON

t Look To You

VARIOUS ARTISTS

1 ■ 1 . .. '.in' :.'*MBUCRS(129e)

Making Merry

□

MIRANDA LAMBERT

i lil.', 1- llASXVILLEl JbB^A SUM (1298)

Revolution

DAUGHTHY

■II .: ■ 1 ■■- HV! Ilfl 981 *

Leave This Town

iSi

TOM WAITS

. .1 1 1 . ::««)

Glitter And Doom: Live

HARRY CONNICK, JR,

Your Songs

127

□

MICHAEL BUBLE

It 11 .■..-.i.M 1 III...S I1B 991 ♦

U s Time

SELENA GOMEZ t THE SCENE

. • 1 ■. . 1 111 981 -f

Kiss And Tell

•7

FLYLEAF

JiM ;:;.:!.:,-. ..u.j-.ij iga i139bi

Memento Mori

181

□

MICHAEL JACKSON

(Pir l]f JC-f,llo 111 981

Bad

«7x music „9 9SI NOW Thars What 1 Call A Country Christmas

JANET

■■ .1. iiMl (19 981

Number Ones

FOG FIGHTERS

I ■ ■ . -IL.» IfiWI- RMG (11 981

Greatest Hits

CREED

Full Circle

STEVEN CURTIS CHAPMAN

Beauty Will Rise

TRANS-SIBERIAN ORCHESTRA

, . . ■. ■■- 1, ■ lib get

Christmas Eve And Other Stories

79.

ONEREPUBLIC

i 1 \v- l i - ■.i ii-.;i;.ir,* (tJ 90i

Waking Up

145

VARIOUS ARTISTS Letters To Sania: A Holiday Musical CoHecllon

SOUNDTRACK

-iW iiNlIC i15W3' *G lia 9B| +

Twilight

163

STEVEN CURTIS CHAPMAN

This Moment

THE CHIPMUNKS WITH DAVID SEVILLE

Christmas With The Chipmunks

121

^?,V-'^?J?'^,^?B, The Twilight Saga: New Moon: The Score

103

VARIOUS ARTISTS NOW That's What r Call Christmas! 3

' " ^ilriVSTRATtGiC MARKETING GROUP aMa2.'S0MVUUSK p9 gsy

MELANIE FIONA

■ " ni3l50UUllG \\09tSl

The Bridge

DAUGHTRY

Daughtry

MICHAEL W. SMITH

It's A Wonderful Christmas

BREAKING BENJAMIN

Dear Agony

99 "

STRAIGHT NO CHASER

Christmas Cheers

MICHAEL JACKSON

i(..,/,i.v ■.■i.i;: :.■,■,• -Ju^-C il99H)

The Essential Michael Jackson

TOBY KEITH

Miiiw flOC; NASHVlLLt 1127 (18 M)

American Ride

MICHAEL JACKSON

' ■ ■ m

Thriller

FAITH HILL

,1 Hv .;i . ■rum wfiM (10 9flj ♦

Joy To The World

□

NICKELBACK

Dark Horse

160

CASTING CROWNS

■ -■ '. . i niMotJ ii/ 9Hi

Casting Crowns

59 p

PARAMORE

., AG (18 98t

Brand New Eyes

62 .(C"

REBA

..■;i|flVn8Ml*

KMp On Loving You

BOB DYLAN

Christmas in The Heart

191

MICHAEL BUBLE

i ■ : ■ ' .■-.-f '.[i; Mil..':. I'B yS/

Michael Buble

180

FRANCESCA BATTISTELLI

■i ■ '.it. 5R0S lH 991

My Paper Heart

TREY SONGZ

■ -:. -■■(;!. ■iTis.-W.'AG (18 981

Ready

159

JOURNEY

Journey's Greatest Hits

100

BARBRA STREISAND

Love Is The Answer

-I

■ f(

-i

•I

THE BILLBOARD 200 ARTIST INDEX

^^^BOmpiB 6ARL0WGIRL 192 IHf MJ^CK mfl Ft.\S 23
AUI41 i4<i f RAHCESCA BATTKIEllJ (uUQfiT t7t.

BflOOKS S DUNN 152

ZAcenovmaAND 36

LUKEeRYAN 124
UCHUL BUBLE

CASIKiCHUWHS

17 24 K
CELTIC WOMAN 105
STE«N CURTIS CHAPktAN
.... 73,78
UNNYCWSHEV 145
CMWGO 178
CWXENFOOT 154
THE CHPUvmS WITH
OAVC SEVI.IE 79
KEUYCURKSON .121

COLOPUW . 16a
HARRVCONWCK.JR

M, 161

CflHO . 7!.tM
MvncnOHKRBAND

BUrCtAftlMQTON 1B7
MUYCffiUS . r

DASHBOWtU
COIiFESSIOKAl.
DAUGHIRV W 83

hEL DiAuutii)

UEUW f lONA 82
flVLEAf 67
FOOfiGHIERS 71

CtTV^ "J Hosts 130

HOLLvwaxiWtffenc i;o

AJJW JACKSON 165
JACKSONS 15S
lillCHAEL JACKSON
It, 30,68.67. 89, IIS, 147

J!)UKU£V 99
KCIZBOCKIOS 177. 166

.tASON ALDEAN W

ALICE i» CHAINS ne

KRIS ALIXM 35
OAVD ARCHULrh f>2

,97

IHt BEATlf S

IDS. 164. 19S. 197

BEVONCt 41

JUSTM BIEBER .14

AWftEA BOCELU 2
eOiXM 22,167
5USANB0VU . 1
BOrSUNEOlRLS m
BOVZIMEN . n-I

18 WJ,S7,6i,96

MWIIAHCAflEV , t«
ROSANME CASH 146

DRAKE 102
BOB DYLAN 95

EWA 122

SELENA mm &

THE SCENE 66

AMVGftAMl 143

JOSHGROBMt .26

WHItWYHOliSION W
ILB^"'*'*^M

JANET 70

JAY-7 K

JACK JOHNSON 149
JMKY JOHNSON 151
JONAS BnOTHERS 190
NOfWtJONES 10

KMGSOFLEON 58
KiSS 194
KUTIESS 157

LADVOAfiA .
AOAAIUUIffiERT
IrilRANDA UUUWRT
LEONA LEWTS
LINKM MftK
DEWUKMTO

34 Go to www.bjllboard.biz for complete chart data

Data for week of DECEMBER 12, 2009 i CHARTS LEGEND on Page

I DEC I

12
120091

won

iili

ARTIST

ir/CHiir & NUMBER ; OlsntlBUtmS LABEL \?m.l)

Title

Ot), boys! Hi?
studlty setltng tasi

ARTIST

ir..n.|ir ^'.JWain CKSinWUiMG LMEL (i*RiCe)

Tide

§ si

104 «5

SKILLET

tNUc'.i \L A-iiSfii '.\'vn: *li (13 991

Awake

1B1

JAMEY JOHNSON

I.. 1 . . '. 1. ; 1 i i:37-.'UMGN |13 9B|

That Lonesome Song

?8 56

ORAKE o_ p-fc- fiftfHj^ fPP)

YOUNGMONETXiSHMOMtVUNIVERSALMatOWNOIMS&'UMRQlSM) ^ ra uone |C |

recortling-tirsl
released in 2005-
Nt 1 million in ul«s

162

111

BROOKS & DUNN

tPIS ... And Then Some

■

79 22

BRITNEY SPEARS

im S9e7S.'JLG (13 981

1 ne oingies uotiection

175

127

DEMI LOVATO

Here We Go Again

■

tvni weeks ago.
Only a handful ol

71 43

SUGARLAND

UERCURV NASHVILLE Ol1273*;liMGN 113 98]

Lovo On Th8 Insido

■

1S4

1?0

.i.

CHICKENFOOT

Chickenfoot

82 -

CELTIC WOMAN

A Christmas Celebration

cast albums have
hit that mark in tt^e
Ntelsen Soundkan

isa

132

130

JACKSON 5

Ultimate Christmas Collection

■

¥>
*■

156 -

ORIGINAL BROADWAY CAST RECORDING

Jersey Boys

■

1S2

STRAIGHT NO CHASER

Holiday Spirits

■

60 101

FT* ■

NEIL DIAMOND

1 ' .I'm MuSiC m 93)

A Cherry Cherry Christmas

era, including
"Rent," "Ptianlom

ISS

100

KUTLESS

; - ' ; 1 1 3 9B)

tl Is Well

■

118 -

THE BEATLES

*FPU ;.i 3Bji;*ciioi I18.9BI

Abbey Road

♦

or ttie Opera" and

158

14D

106

DAVID CROWDER BAND

.11^ '.,hli.SPAHH()W (17 S9i

Church Music

■

106 as

□

MAXWELL

n:il llMiVA BSHI'SDNV MU&IC 111 H) %

BLACKsummers' night

•

"Hamma Hia!"

THIRD DAY

f -.rit ...1 ir^s:t (17 98)

Revelation

■

83 50

PINK

Funhouse

■

TOM PETTY AND THE HEARTBREAKERS 5,^^,^^,

124 94

RASCAL FLATTS

III- ■ ' ■mv'iM (IB 98}

Unstoppable

■

166

HARRY CONNICK, JR.

What A Nighll A Christmas Album

■

THIRD DAY

1 -i :, ■ 1-98)

Chflslmas Offerings

182

149

VARIOUS ARTISTS

Disney: Holiday Magic 2009

■

98 70

GEORGE STRAIT

Twang

•

The trio's third
coven set in a row

163

101

DASHBOARD CONFESSIONAL

.... ■■i" PI,. .. . ..■■L U)il..3..lb* (13 98)

Alter The Ending

■

BOYZ 11 MEN

Love

164

152

THE BEATLES

AF-PL: ri:i. » .:A|..i(jL t:i 98)

The Beatles

■c-pmn

170

MICHAEL JACKSON

fPIC If 3574^ III 98l

OtT JYm Wail

■

(11.000) finds the
art taking on such

168

103

ALAN JACKSON Songs Ol Love And Heartache

CHOC^EH BAJH1EL.*HIS!ft NASHVIIU'SOWV CUSTOM MJlttKEIINQ (yilJOl. -19184 EI.SMN (tt 9Sl

■

146 -

CHRIS TOMLIN

Hello Love

'■■ ■ ' ■■!?'. r-

168

130

BRAD PAISLEY

! . ,H.,.|LIE 4 73S2..SMN (13 98l

American Saturday Night

■

122 -

ELVIS PRESLEY

i-iv 1 Ml-, L.- LCtGIC IWWEtWEGnQUP 118.98)

Elvis Christmas

PI
m

BON JOVI

... . . .t(IIl.MGItB9a..1t98)

Cross Road

113 88

EMINEM

; ' , ■iCOWOI2863'/KJI(t398)

Relapse

Dolls' "Ins " and
Cyndi lauper's
'Time After Time. "

183

SOUNDTRACK

Elf

■

128

VARIOUS ARTISTS The Essential NOW That's What 1 Call Chrtsimas

, ifJ^t.'UME (1898)

COLDPLAY

Viva La VIda or Death And All His Friends

THREE DAYS GRACE

Life Starts Now

170

102

HOLLYWOOD UNOEAO

II, .1 .I39B) *

Desperate Measures

■

171 '23

KELLY CLARKSON

■.1 Muijic 03 as; «

All 1 Ever Wanted

182

FRANK SINATHA. DUN MARTIN « SAMMY OAVIS JH Christmas Wilh The Rat Pack

11.1 -

ENYA

1IS9BI

And Winter Came.

•

178

MARTINA MCBRIDE

■ ' ■ ,. 1 ■ ..'1. ilfl 9fl)

White Christmas

-■

125

ELVIS PRESLEY

I ,.Nf3IHAnGICMAnUIING&n{KJP«93i;S(WyMUSIC|8 98)"®^^"*''""^'"^^

■

■ n-s • 1

PINK

■11981

I'm Not Dead

-■

93 f>7

LUKE BRYAN

-i-.iLL l]iS33|1BM>

Ooln' My Thing

Jackson's [lauic
Egk solo debui
returns to Uie

COLBIE CAILLAT

iirvJi9iiiMHC (10 98)

Coco

lis 82

VARIOUS ARTISTS

;MI lA.'je-Mi ;vWBA?«.)r;SOKV MUSIC (18 981

N0W3t

•

178

136

VARIOUS ARTISTS

'.L b6^b»|S0tiY MUSIC (18 98)

NOW That's What 1 Call Country Vol. 2

■

□

WISIN & YANDEL

At MH. HrF CiK")ft;.'lJMl£ 01 98» *

La Revoluclon

BllllnuninoiDf
the Drst time sime

BLAKROC

I n (13 98)

BlakRoc

110 61

KEITH URBAN

rumi^ NJ',.<viii.r. viTii- iie9Ui

Defying Gravity

•

Oct. 6, 1984. At the
same time, his 1991
set, "Dangerous,"

172

163

..
;*■»

KIDZ BOP KIDS

■■■ , . Ill 1 98)

Kidz Bop Christmas

163

119 -

IL DIVO

St; : riiLUUf^lft T'li'SCIMY MU5tC (IB 98>

The Chnslmas Collection

■

CHICAGO Q, Chicago: 401h Anniversary Edition

116 92

SHINEDOWN

ill :,■ *fi itfl 98)

The Sound Of Madness

•

alsosttgesa
(onieludial
N0.M7.

ITS

150

■i

VARIOUS ffTISTS Tls The Seann: KIda Chrtstmas Sing-Along

■

M-tinin

GUNS N ROSES

.■■1 . ■ ! 'TiHSGOPE (1f>9Hi

Greatest Hits

180

164

Ny (iwG cusioM Mi^ftKEDNG (ytow 86?34iSo«v MUSIC 18 9Bi Holiday Collection

■

SUGARLAND

■ 1 !."-.,-r..lLE llcrJM ;(V&K lU 9Bl

Enjoy The Ride

■

181

167

144

DAVE MATTHEWS BAND

1 , .., .. nCA <a713*.HMfi(1fl 98).*

Big Whiskey And The GrooGrux King

CARRIE UNDERWOOD

Some Hearts

■

it- F

KATV PERRY

One Ot The Boys

■ f..v:-.i.\ !iJs>(vn 1 i ;if9:KM!i (9 98i

1 ...i i- . , i;.ii. ii;. 98)

ANGIE STONE

"1)118 98)

Unexpected

BMMTW

PRINCE BRIA VALENTE

Lotus Flow3r'MPLSoUND,'EII»3r

■

144 -12

SOUNDTRACK

Hannah Montana 3

Two vreeks ago. this
I99J release moved
past ttte S million

VARIOUS ARTISTS

, 1 .... ; 1 :■ iiu[ .11 98)

A Very Special Christmas 7

■

109 78

COLBIE CAILLAT

: ' ."'i i.URG (13 9B|

Breakthrough

185

133

CHRIS YOUNG

The Man 1 Want To Be

■

ALICE IN CHAINS

Black Gives Way To Blue

IS8

148

KIDZ BOP KIDS

KIdz Bop 16

■

CHRIS TOMLIN

Arriving

■

;.. . ; . ..ly grPiiievl-
liits package ol ttte
Nuhen SoundStan

187

154

lie

BILLY CURRINGTON

',. ■ •,,'i ■....u 1 ML,N (13.981

Utile Bit 01 Everything

■

88 51

BEBE & CECE WINANS

Still

188

185

ELVIS PRESLEY

.1 1 .M9 (17 98)

Christmas Duets

ABBA

Gold - Greatest Hits

IB'

era Ttit bigget?

Bf-omn

PINK FLOYD

■ I,..' 1 ' ■ 1 11! 91.10,981

Dark Side Of The Moon

139 -

TRANS SIBERIAN ORCHESTRA

.. ii:i45;A& Its 98)

The Christmas Attic

■

163

l] ".lllli.'illj

■f-nmrr

JONAS BROTHERS

Unes, Vines And Trying Times

■

92 71

MUSE

HELIUM 3 i:i13awAIIHCn BROS (1898) 4)

The Resistance

■

With caUlog

u-orntT

LINKIN PARK

. II , 1 ii; ,. *(LHWHBROS (1898)1*

MInuilee To Midnight

95 58

MARIAH CAREY

ANii :'t:)r:>fii(ijMC (19 98)

Memoirs Ot An Imperfect Angel

KTflT

BARLOWGIRL

., .f,- ... , 1 KM,-(tei,'W*HN(fiBHOS 113 98)

Love & War

■

135 -

AMY GRANT

■■.}/■• i.-i-.M i'^iimuciiONS nfsi.'SPARflow ii? W\

The Christmas Collection

Christmas albums
swamping th«
(hart, the overall

K-f

ntht

ELVIS PRESLEY

.3.1, -|. M.1i; |. 1 118 12981

Elvts: 30 «1 Hits

184 -

VINCE GUARALDI TRIO ^ charlie Brown Christmas (Soundtrack)

■

10*

KISS

• 1 ,.. J.ivKn (X (H9BC0,.11V0)^i

Sonic Boom

■

117 80

KENNY CHESNEY

tSbJ^'-^UN (11 98)

Greatest Hits II

No. ZOO-seliing
album this week

186

SLAYER

'■•J 3 1 .... 1 .1 1.111 ,.. ,1'31S'iS0NV MUSIC 111 (M)l*

Wodd Painted Blood

■

153 -

YO-YO MA Yo-Yo Ma

\.'m CLAS<iICAl MASIERWORKS (18 98)

& Friends: Songs Of Joy & Peace

shifts 7.000.

Compare thai wilh

the Ho. ZOO title on

196

189

THE BEATLES

. 1 M. , it 101 (1898)

Sgt. Pepper's Lonely Hearts Club Band

MICHAEL JACKSON

Dangerous

■

197

151

THE BEATLES

:,AlnOL (243 98 CD'IIVD) ,+

Ttse Beatles In Stereo

■

129 90

ROSANNE CASH

The List

tlie Top Current
AltHims tally (view-
able at billboard,
biz/charts), which
moves 4,000.

m-e

CREED

rtmu 111. 1J103 19 BBCO 'DVO) 4

Greatest Hits

•0

109 76

JACK JOHNSON

iMM ■ ;i98)'+

En Concert

JUT

BOYS LIKE GIRLS

coiuMeiA 4gi9;,'S(i((y music 111981

Love Drunk

■

MICHAEL W. SMITH

A New Hallelujah

200

157

121

RASCAL FLATTS

Greatest Hits Volume 1

■

BfUNIOrj 111- j3 lU 9Bl

LYRIC STHECi 002764 (13 981

I MATTHEWS BAND

181 ONEWPUBUC

MMAVEH 13 ir-l'.: '."'.Tl

[TINA UCSRIOe 1 77 JERSEY BOYS

LMCCARTNEV 31 OWLOTV
HCGIUW 38

Wrv PtRRV

. .75 TOM PETTY AMD THE
HEAflTBflEAKEFIS

fTUHK SWATRA, DEM QCDROE STtWH 113 CUE SEASON ONt Trtl

RASCAL FLATTS .
RCBA .
SI 160 RIHANMA

189 DARIUS RUCKER

106 PINKFIOYD
» PINK no 173

ELVIS PfiESLf y

117, m 1S8 191 JAYSEJW

I , TOO MARTK & SAWWV DAUtS STRAIGHT NO CHASER MUSK VOLUME 1

9* JR 1T1 86 1U nftNNAH MONTANA 3

tOI SMBRA STREtSAMD .100 WUWAH MONTANA

m SUCWUW) .34, 1« 131 THEMOVC

4 yKllEl
48 SUVEH

UlCKAEl W SMITH

"~37 BflnWY SPEARS

mOn 5WFT 8. ?1 . 39 TVnjQKT

B4 m SWITCHFOOT

BRADMISLEY 166 PRHC&ffWVAlfrfTE IS3 SHAKJRA IS R0OSTC1MART

PARAMORE ...» SHMEOOmi 129 SIWG

PEARL JAM .45 AH6C STONE

THE TWUGHISAGA
NEW MOON 1?

THE TWUGHT SAQA NEW
MOON TriE SCOflE .80

19 IMfMCmOHEO CAAR1E UNDERWOOD THATSWHAT

M VUJIKS 47 9.13? CHRISTMAS

THIRDDW .... 1t^ ISS KEITHUnSAN
43 THREE DATS GRACE l»

CHRIS TUAJN

, 44, Il6. 137 VWCEGUWALDiTRin
TRANS-SeERMM
ORCHESTRA

119 NOW THAI S WHAT I CAU WEETEft

i;;; lcttirstosanta:

AHOUOAVUUSCAL

COUKinN
MANNGMERRY ..

N0W31 125 AVEfWSPtCIAl

NOW M tfl CHRISTMAS 7

38. &S. 74, 14D DISNEY HOUDAV MAOC NOW THArS WWT I CALL A WOW HITS 20 1 0
TREVSONGZ 9B 3009 162 COUnHVCHHSIMAS .69

COWTRVVOt?
TIS THE SEASON WDS
CHRISTUAS SING-ALDNG

ita for week of DECEMBER 12, 2009 < For chart reprints call 646.6S4.4633

Go to www.bMlboard.biz for complete chart data i 35

BillbMrd

EXCLUSIVE CHART:
FROM BILLBOARD

9 TOP INDEPENDENT

ARTIST Title

iWH^l iNtiMbEH UlTii'ieUIINOlAML (PBtCEi
KB JASON ALDEAN Wide Open

BIOS f ■' 1 '■■II''- ■ n 'iS)

i
•

t z
I

MANHHEIM STEAP/IHOLLER ChnsBius 26m Amrversary Colteclion

PEARL JAM BKk&pacer

WiM

VARIOUS ARTISTS Makif>o Merfy

■ .-. if]e.(i>. i.l'. SUHBUtKS 112 98)

TOM WAITS Gllttar And Doom: Live

ifri ^. I.-. ^^plUPH ii; «i

SOUNDTRACK The Twilighl Saga New Mooii Ttie Scm

BEBE & CECE WINANS Still

CHICKENFOOT Chickenloot

•

■I

PRINCE BRIA VALENTE Loius now3r MPLSoUND/Elix3r

KISS Sonic Boom

'1 . .11 :'i..i tX H* 98 CO.'OVDI *:

Wra

PHOENIX Wottgang Amadeus Phoenix

invAUIF OlOS'-'GLASSHOIt III 9B1

RAKIM The Seventh Seal

HA 3*2- SMC (1B m

WIZ KHALIFA Deal Ot No Deal

CAGE THE ELEPHANT Cage The Eleprtani

■i

VARIOUS ARTISTS The 99 Most Essential Tcha*ovsky Mastefpteces

15" -■

ADAM LAMBERT Take One

MOTLEY CRUE Greatest Hits

Mljl.f - !.:!;■ flCES ■■iV(U ita 98^ »

FIVE FINGER DEATH PUNCH Wai Is The Answer

■.■ft,-;' I'.-fl 1'/:^.. ^.niC-0- 113 QBl ♦

■ the swell season Smcl Joy

DETHKLOK M'.'laioc^iiv{)se Delhaibum II iSouiKJitacki

JIM BRICKMAN Joy

TAMELA MANN The Master Plan

HI LTMAKM 6Mi ; U 98)

■99

TECH NONE KO D

STRANGE f.4 itnC |1B ^at

™

PRETTY RICKY Pretty Ricky

BL^if f'^At) tIG CiLI (1? lOUMV DOT ^6 9S)

■■■

JENCARLOS Buscame

9ir.i;itVE 3!fM IK' '!BI

DAVID GRAY Draw The L<ne

MONSTERS OF FOLK Monsters 01 Folk

WYNTON MARSALIS Chnstmas Jazz Jam

/J-i." 'Jiivi-- v.L'j mSOMtflSEI l9»fli

PASSION PIT Manners

'•■'i ■. 1 1 '■ HMfllft (1? Ml

HORHCNtUaiUCLICHORIHnOUaTBirUSOUMCIlim RnjCfraiKfHb

PINK MARTINI Splendor In The Grass

RODRIGO Y GABRIELA It 11

1 .. ' 1 L-;: DvDi »■

' 33

RAMMSTEIN Liebe 1st Fur Alle Dd
.'USB.yAGRANt |1B9B|

tiff)

REGIS & JOY Just You Just Me

BRIAN MCKNIGHT Evolution Ot A Man

COLT FORD Ride Through The Country

■ VIr

NEKO CASE Middle Cyclone

■ ;fir4)>M li;9B|

JOURNEY Revelallon

. ..ii, f( (14<iBCn.'0VDl

■

BMf<

NOFX Cokw The Clown

l.'.f 1 ' III :■ . ■ .'• 16 981

VARIOUS ARTISTS 101 7 KGSR Broadcasts Voi 17

Km-

FLIGHT OF THE CONCHORDS 1 ToM Vbu 1 Was Ffeaky iSouncflrack)

SOUNDTRACK Yo Gabba GabbaV Musk: Is Awdsonie

■w

JASON ALDEAN Live Sessions EP (ITunes Exclusivei

SO 1

ALL TIME LOW Nothing Personal

(IllPf ll.'iS 710 H5 9Hi

41 H

THE XX n

A DAY TO REMEMBER Homesick

SLUG & MURS WITH AESOP ROCK Fell 3: A Tribute To Rosie Perez

RAEKWON Onty Buill 4 Cuban Ltnx Pt 11

PHISH Joy

■

GOVT MULE By A ThreaO

f VIL HEN l?OS? (U 98i

IV kon Regis Philbin ups his tally ol ctuMing albuins to thr«c as "Just
you. lust He." delHits it Ho. S4 on (bp McocmM Mtans. He first
raced a Billboard tally in 2004 with "When Vou're Smiling" (Ko. U
on tlie Billboard 200) and tlieo the neit year with "The liegis Philbin
(hnslmas Album" (No. 83 on the Billboard 100). this new stamtards
set is his lirst with his wile, Joy.

36 i Go to www.billboard.biz for complete chart data

TOP DIGITAL

^- Sg

ARTIST TitleSS H

llJI'.lltir OlSTRmuUIIG LABEL g

A
w

NEW

Wit LADY GAQA TiR! Farne Monster (EP)

HBSsTRrAMiiriE.KONLnLCHERRVTREeviNTERSCOPE .IQA

HEW

RIHANNA Rated R

LADY GAGA TTifi Fame
K.: . ',.^'ECHERRYTHtETNTEflSCOPt TGA

SUSAN BOYLE 1 Dreanred A DreaiTi

, Mi.'H .■■ -,riiY MUSIC

ADAM LAMBERT For Voui EnteitainriKiit

JOHN MAYER BatllO SludHIS

' .11. MUSIC

SOUNDTRACK The Twiligw Saja: r<ew Moon

AlLANIlC AG

SHAKIRA Sire Woll

•i'l.viuu.

THE BLACK EYED PEAS The E N 0

. .ir[ lUA

I •

OWL CITY Ocean Eyes

■ il REP..H;IC UMRG

■

JAY.Z The Bluepnnt 3

...UUNAG*

32 H

i;j

SOUNDTRACK Glee: Season One: The tL4usrc Volume 1

:Ti'R' 'Cl TV COLOMBIA SONY MUSIC

ANDREA BOCELLI My Chilslmas

NORAH JONES The Fall

I^ICHAEL BUBLE Crazy Love

JUSTIN BIEBER My World (EP)

itLAKO .'1DJU0

■

ANIMAL COLLECTIVE Fall Be Kind (EP)

THEM CROOKED VULTURES Tlum CrooMd Vutlures

TAYLOR SWIFT The Tayloi Switl HoMay Colleclioo lEP)

TAYLOR SWIFT Feailess

BIBDMAN Priceless

. '.1 1.. I'iiAL MOTOWN UURG *

JAY SEAN All Ol Nothing

■ ..."SAL REPUBLIC UMHG

VARIOUS ARTISTS Tlie 99 Most Essential Tchatovsky MasUipeces

CARRIE UNDERWOOD Play On

' IJ, VAS'Hiia HViri

WIZ KHALIFA Deal Ol No Deal

9 TOP HOLIDAY

THIS
WtEK

ARTIST

rinr ^■^^^^■A\■ \ : ^ DISIRieiillNG lABEl (PRlCt)

lUUlUJll ANDREA BOCELLI

n lifilTnalH MV rumiSTMAa sugar 01343r/DECCA (TS M) $

CASTING CROWNS

PEACE OH UnrH BEACH STUE'T FtEiJPilOtJ 10129 SOSV MUSiC 113 98i

•

TAYLOR SWIFT

THE miOH SWIFT HOLIDty COILECTION lEP) l)lG MACMIHE 071^ EX ^6 911

JOSH GROBAN

NOEl - ' i^ ill: ■ ."1- lo A4IIWER BBDS (18 9B1 •

STING

IF OK A WWTEH SMIQHr-. EHERRYIRtt DG UI33:!9' UNIVEnsU CLASSICS GKXIP (16 911 &

SUGARLANO

GOLD AND GItEEN UEI'.fURV UASH^ILLE D1J32b UMCN 03 9S|

MANNHEIM STEAMROLLER

CHRISTMAS »TH ANMIVERSART COLLECTION AMERICAN GRAMAPMONE ?5?S IIS M|

CHRIS TOMLIN

GLMnr m TRE highest CHRISTMAS SONGS OT WORSHIP SDISTEPS 93^1;SPARROW |I2 981

MICHAEL BUBLE

LniTWOWIEPI H3.REPRISE ?;9<I3G WARNER BROS irSBI

□AVID ARCHULETA

CHRISTMAS FROM THE WART 19. JIVE S7494 JIG |13 9B|

TRANS-SIBERIAN ORCHESTRA

IHt LOST CHRISTMAS EVE l AUA 9314B AG |IS 9B|

■

VARIOUS ARTISTS

MAKING MEHBT I I : : l-. VIAH- EIS B^btiH EX SIARBOCkS |12 9Bl

VARIOUS ARTISTS

NOW THATS WHAT 1 CALL A COUNTRY CHffSTIMS EM11AHI%'EHSAL SBTfiOSONV UtiSK 1 '

TRANS-SIBERIAN ORCHESTRA

CHRISTMAS tvt AND OlMf « STORIES . A V A ^ITlb AG ilS9fl|

VARIOUS ARTISTS

LETTERS 10 SANTA A HOLIDAY MUSICAL COLLECTION CUMIORO .'319064 EA |9 96l

THE CHIPMUNKS WITH DAVID SEVILLE

CHRISTMAS WITH THE CHIPMUHAS . 1 .-:h i ' i l-

VARIOUS ARTISTS

iMM^-1 mut.ju. :Ht<.VA&l:VtlMAAM.iinttW-iW<l'VIEiXWMIEIHlfiRVIMUORIIUlC ■ > ■•

MICHAEL W. SMITH

ITS A WUHOEHEOL CHRISTMAS RE'JFilON 10123 II39S1

STRAIGHT NO CHASER

CHRISTMAS CHEERS -■ - l - '.li'. :-?074O'AG |I8 98)

FAITH HILL

JOY TO THE WORLD /'ARSLR BROS iNASHVlLlEl SITSDO.'WRN 1 IB 961 •

•

BOB DYLAN

CHRISTMAS IN THE HEART fOLUUBIA S7323 SONY MUSIC (13 98|

CELTIC WOMAN

A CHRISTMAS CIIIHIUIION MANHAI IAN ;0I24.BLG IIB981

NEIL DIAMOND

A CHERRT CHERRY CHRISTMAS COLUMBIA 5U»2.'S0NV MUSIC |t1 9B|

THIRD DAY

CHRISTMAS OFFERINGS LSSENTUtl 10B?B (IT 9S)

ELVIS PRESLEY

ELVIS CHRISTMAS RCA SOW STRATEGIC MARKETING GROUP 5B9GGS0RV MUSIC |1

gai

Is Si

.yi^^g Tha wmk B mosL-cueamwl Bongs on AOL

ARTrSI ilUPRINT lABCl)

, , KM FALLIN' FOR YOU
^ ftSS CDLBIE CAILUT (UNIVERSAL REPUBLM:)

FIREFLIES

DWL CITY lOHlVERSAL REPUBLICl

FIFTEEN

TAYLDR SYVIFT i'.' t. M'.CmIHEi

ALREADY GONE

KELLY CLARKSOH , 1 .1 RMG|

REPLAY

lYAE illME IS MOKET BEIUGA HEIGMT&REPHISE)

WHATCHA SAY

JASDKOEflOtO 1:1. l.A IIEIGHTS.WARNER BROS 1

IF YOU ONLY KNEW

SHINFDOWN ...I .'ll, 1

BRITNEY SPEARS iJIVE JLG)

^»

SEXY CHICK

DAVID GUETTA rEATUMHG AUM |GUM ASTRALWERHSiCAPIIOLI

|lo"

DOWN

JAY SEAN FEATURING ETE WAYNE iLASH MONEY UNIVERSAL REPUBLIC)

TWO IS BETTER THAN ONE

BOYS LIKE GIRLS FEATURING TAYLDR SWIH . CCLUMiH.I

EMPIRE STATE OF MIND

JAY Z . ALICIA KEYS " n t...,-h|.,

SWEET DREAMS

BEYDHCE iM ■ I,'"!i;

USE SOMEBODY

KINGS OF lEDN .. AlU

PARTY IN THE U.S.A.

MILEY CYRUS u iit ..un

■§iii

jlj^g The wMk s moBI-MreamM videoB on YBhool Mull

AHEIST IlUPRINT LAGElI

K| WHATCHA SAY

HS JASON OtRUlO IBEIUCA HEIGHT&1WARNER BROS |

SWEET DREAMS

BEYONCE M . . H i .lll,'..-,.\

OBSESSED

MARIAH CAHEY ...L ..'.I' IIM'.'U

ONE TIME

JUSTIN BIEBER iluA',:i UJMU

PARTY IN THE U.S.A.

MILEY CYRUS iHOLLYAOOIll

i-'-e

DOWN

JAY SEAN FEATunMG Ul WAYNE (CASH MONEY .'UHruERSAL REPUBLICl

VIDEO PHONE

BEYONCE iMOSIC YVORLO.COEIJMBIA)

BRITNEY SF^ARS :r,i

YOU BELONG WITH ME

TAYLOR SWIFT ' HE UNIVERSAL REPUBllCl

PAPARAZZI

LAOT GAGA : : l . >.V IlL KONLIVE'CHERRYTREE.'INTERSCOPE >

CRAWL

CHRIS BROWN 1 . 1'. 1 i| u

BAD ROMANCE

LADY GAGA tSTREAULmE.'KOMLIVE CHtHayTHEE iNTEflSCOPEl

AGAIN

riYLEAF OCIONE IHIEHSCOPE)

1 DON T BELIEVE YOU

PINK . ..i ..1,1

ONE LESS LONELY GIRL

JUSTIN BIEBER ir.L'.'.:' lU.IVU

I^TOP MUSIC ifIS
18r VIDEO SALES W

3lii >£

TITLE

LASEL DISTRHIUTINfi LABEL (PRIWCIPAi PERFORUERi

WSt 1 AM. TOURS: AH INTIMATE PEHFOBMANCE AT VHYNN IAS VEO

Ma MUSIC WOHLD.'COLUMBUL SONY MUSIC VIDEO «E<UI|C[.

LIVE FROM THE ROYAL ALBERT HALL

ISLKNO UNIVERSAL MUSIC 4 VIDEO OISI u, ■ . . 1 .>

LIVE IN BUCHAREST: THE DANGEROUS TOUR

EPIC SONY MUSIC VIDEO l.'iu:-, .i' iTj

284

NUMBER ONES

EPIC MUSIC VICED SONY MUSIC VIOCO (MICHAEL JACKSONi

LIVE IN MANILA

JOURNEY 1 ■.

VIDEO GREATEST HITS: HISTORY

EPIC SONY MUSIC VIDEO ■) .1 ■ ■

ROCK AND ROLL HALL OF FAME + MUSEUM: LIVE

TIME LIFE .. ^1 . Ii ..■ 11 ,1 ...

LIVE AT READING

DGC GEFFEHUME UNIVERSAL MUSIC A VIDEO OlST iNIRVANAi

LIVE AT THE 02: LONDON, ENGLAND

HCA SONY MDSiC VIDEO ■ ■, ,: ,! , . .i.

196

HISTORY ON FILM: VOLUME II

EPIC SONY MUSIC VIDEO 1,' ,1: 1 Ai:kCUNi

FUNHOUSE TOUR: LIVE IN AUSTRALIA

lAFACE JIVE SUNT MUSIC VIDEO I'lUAl

in*

AMAZING GRACE

GiJtHiK HilSi: L'MlilMMAKlNcmeiBKL AUUlMGAnKR WIlH IHFin HQHELCMNG iKIP

HOW GREAT THOU ART

mi>«hmum: VAKUtWMHUNCMBOlBKl KaORAABAIIMNWITH INIIR H(lHECO*W« 'BIH

CABIN FEVER

SILVER ARROW .! Hi HACKCROWESl

CERTIFIABLE

AAM UNIVERSAL MUSIC A VIDEO DIST. (THE POLIGEl

Data for week of DECEMBER 12, 20(

IV SALES DATA
ORE D IV COMPILED IT

icn nlclscn
SoundScdrt

BillbMril

m 1 .^H2bog^H

]t HEATSEEKERS ALBUMS

ARTIST Tine ■
1 ABFl & flLiMBER OlSTnnuIIHe LABEL tl^tCE) H

ARTIST TliiH

LABEL t NUMBER / DtSIRNVTIMG LABEL IPRICE) V^^H

KIbLAKROC BlakHoc
■Bl . ii -iiK nasi- 1« lu M, oia«Moc

Abo kmmn >s Sotii
Draco Rosa, ttie

a 40

HEY MONDAY

;■ ! .M-lir- MlNV Mi.!>lC (It yOl

Hold On Tight H

WIZI^"*1-IFA D«alOrNoO»al

Hng«f/sofigwnter

rrfiirtK iirifh hk

< 2

REAL ESTATE g^,^ Wk

JOSHUA BELL^ , „3,., A, Home With Friends

fourtli entry on lliis
duit. alille also
bODifio at Ho. 11 on

8 B

COLT FORD

1. tX(I3 9eC0iWD)'*

Coumry Is As Country DoM

)

HH ^« yp °?2" *■! The Righl WrooflS (EP)

MATT & KIM

. 1 -.I,- - .ir 931

Grand

(

?!°'"v ^°!'looi II6MI Through The Country

Top Latki AHuiris.

5 23

TRAILER CHOIR

Oft The Hlllbtlly Hook (EP)

RANDY HOUSER »„,„hin„ f ™.

iiTHoii«Mim«i Anything Goes

TRIO LOS ANDINOS

Aniologia Navidena

THE XX

; K 114 981

ALEJANDRA GUZMAN

-.1.' ■i.r.r.A b:!ici.i .'ij qsi

Unloo

ORIANTHI

Lt- tN OIJbO!;MiA (9981 bwibtw

7 2

LA ORIGINAL BANDA EL LtMON

' -.iiVI ■ ! .-i . iiPilLi 9Si

Derecho Do Anliguedad

DRACO n„„

MARIACHI HERMANOS BARQIAS

-.iii VlNA |S98CD'DVD|*

Cantos Y Alabanzaa

^°"*''"i!?f.'!!^^.tl»'?^3'?,'?°'*""= ^^""^^ "P Betow

NICK SWARDSON

Swtously. Who Fartwl?

DAVE RAWLINGS MACHINE ^ P^end Of A Friend

ttift uiMM itiirinn

K-fMTItT

KEITH & KRISTYN GETTY

Awaken The Dawn

IMELDA MAY . roMftn

iirtvtK!BEC»SI0I3O82 »ail09B| LOVB lanoo

NPB'S No*. U
"Hofning Edition"
aiilsttiesetlofa
scumd ivMti. as It
gains SK«itli

9 5

ASKING ALEXANDRIA

Stand Up And Scream

FLORENCE + THE MACHINE . „„_,

■ ■ i.iHl.r O'liro UMBG 113981 lAings

JJJ

ERIC HUTCHINSON

1 ■■■H BROS n3«81

Sounds Like ITtta

L^l

THE AIRBORNE TOXIC EVENT Th. «i,K/,™. T„»i,.

" ,i . i.,:Tn«vBL«mi.i!j!7M0jU6ii!9Bi The Alrbome ToxIc Eveot

1 ID

GIRLS

iANTi?,* ifiASHCAfl OK'- TRUE PAMTHEH SOUNDS (H SB)

Album

ARTIE LANGE ^^ Jack And Coke

ncaity 2.000 told.

«-iiiTirf

THE LETTER BLACK

Breaking The Silence (EP)

TERCER CIELO ^^^^ t.liNO 6S3707 u»u ,.:9.i C""""-' S'-'-^s Extraordlnarlos

0 1

i-nmrr

JOSEPH FONSECA

1 ■ ',■ 1 ■, vfR>AL MiiSIC LATINO flS3753.'UMLE (1? 98)

Amante Bachata

SIDEWALK PROPHETS Th„.„ c:i™„i„ t,..ik.

. : i:K.J[. ,VMl,E«6»0S ,998, ThOSO Simple TruthS

c-am

THE VEER UNION

LlJiVEPsai MOTOWN 0I?BO7.UMRG |10 9«i

Againsi The Grain

NELLIE "C'<AY^ Normal As Blueberry Pie: A Tribute To Dons Day

!0 4

NILE

■ .-.i 1 1 ■ .■ ■.•?A 06 Ml

Those Whom The Gods Deteat

JOHNNY DIAZ More Beautiful You

■ ■ ■ S:03-( SONY MUSIC (1398) mum ooauiiiui .uu

4 4

HALFORD

■■■1 il69B|

HaNord IH: WIntar Sonoa

EVERY AVENUE Picture Perfect

Ttie Christian
sngn's third
Heatseelim-

NEW

INDIRA MONTES Y LAS FLORES

La Rosa De Guadalupa

HECTOR ACOSTA „, c, t„h.„

, , ■.,ir,,ci.i:(i06S3B»i uMLEii3 98, SImplemente... El Tonto

K-IIITIIT

BO BURNHAM

:: -.1. I J.'!) I'b 96 CB'ffVDI

Bo Bumham

THE LAURIE BERKNER BAND Hockeuhlp Run

chaiting set is a

MARK HARRIS

. - i.-O SONV MUSIC (11 M»

Chrtatmaa to

BARONESS Blue Record

iKMcsadiKlKilti

B-Eimti

FEVER RAY

Fever Ray

^ "O'JX La Roux
■viYTREE'lNItnSCOf't 013388-'1GA i'}^3t i-a nuu*

Hadtfeon.

NEW

MICHAEL FEtNSTEIN & CHEYENNE JACKSON

The Power Of Two

IMAGINATION MOVERS imagination Movers: For Those About To Hop (Soundlracio

■EW

MAKANO

MACHLTE 4eO0}6<'UMU IS 981

6 Super Hits (EP) H

^ HEATSEEKERS SONGS

nil

TITLE Jiill
ARTIST I'.irnirjT PROMOTION LABEL) JHBIH

» ■

KIrED LIGHT 1

■*>

1 DREAMED A DREAM

tWMBOVU '1 1 m-^'

4 S

IT KILLS ME

HEUWIEFtOM' iiN:vrnSAl MOTOA'N.

2 13

EIGHT SECOND RIDE

JAJCE own {RCA NASKV1LLE)

ITS YOUR LIFE

FIWKESU BATTHTUU (FERVENTi WORO-CURB)

WILD HORSES

SUSAN BOYLE iSYCO.'COLUMBlAI

9 3

ACCORDING TO YOU
ORHLMTHI ■ :■■ i.L't-:ri iSTEft&COPEj

5 11

1901

PMOEMX ILOVAUTE/GLASSNOTE)

15 9

1 LOOK GOOD

CHALK BOY lOiftTV JRO.'JIVE/BATTEBV)

13 9

HURRY HOME

JASON HICKAEL CARAOU : NASHVILIE)

3 18

5 STAR CHICK

YO Goni <:polo grounos/j/rmg)

8 7

KINGS AND QUEENS

30 SCCCNOl TO MARS IIMUORTAL.'VIRGIN/CAPIIOL)

6 22

AINT NO REST FOR THE WICKED
CA6E THE ELEPHAin lOSP JIVE j;Gi

7 IB

SAVIOR

RISE AGAINST M-' i n .

to 9

LOOKING FOR PARADISE

ALUANORO &ANZ FEATURING ALICIA KEYS IViAHNER LAIINA)

21 5

BREAKEVEN
TW SCRIPT ■ II

11 14

CITY ON OUR KNEES

12 11

MEET ME ON THE EQUINOX

DEATH CAB FOR CUTIE I'/MiT LHUP SHOP AILAHIfCl

POSSIBILITY

ITWILl 1 ■■IV itijk> SHOP.'AILANTIC)

16 16

SHOTS

UIFAO FEATURIMi LM. JON iPARTY RQCK.IiVILL 1 AAA CHERRVTREeiNTEHSCOPEl

14 12

CLOSE TO YOU

BEBE 4 CECE WIKAHS 1 1 f.'i'. bcr,;

18 20

YOU RE GOING DOWN
sitKPumts 1 ■. 1 I' .

ME GUSTA TODO DE Tl

SANDAEL RECOOO '.ISA)

19 21

LA LA LA

LMFAO ■" ■ (: ■ ■■> .1 1 AM.CHERRVTREE.'INTERSCOPEl

A LITTLE MORE COUNTRY THAN THAT
EAITON COmW (MERCURY NASHVULE)

REGIONAL HEATSEEKERS "1 ALBUMS

BlakRoc BlakRoc
BlakRoc BlakRoc

BlakRoc
BlakRoc

U'.M'.i'.tJXU

Hilary Waahs

ChflaOrms Once Again

BlakRoc

BlnkRac

Jon Schmidt

Bonus Tracks

Joshua Ball

At Home With Frl»n<Ss

WIz Khalifa

Deat Or No Deal

OrlanthI
Balisve

Every Avenue

Piclum Pwtect

Jenny Phillips

Strong And Courageous: Song8„.

Emily Osmant

Aff TIM niptrt Wwips fEPJ

tmatda May

Lov9 Tattoo

fiMl..!i:Uf.!!LJM

Ride Through The Country Deal Or No Deal

Colt Ford

SOUTH CENTRAL

BlakRoc

NEW ON THE CHARTS

Lykke LI, "Possibility"

The Swedish singer debuts on Heatseekers Songs at No. 19 with
the "New Moon" soundtrack song, powered completely by strong
downloads (16,000, up 109%). The tune is prominently featured
in the film, which bowed in theaters Nov. 20.

WIz Khalifa

MID ATLANTIC

Draco

T^car Clalo

Ganto Cotnun. Sumttoa Ei

Colt Ford

not Through Th9 Country

WIz Khalifa

Hector Acoata

Sknpiemenle... El Tofito

Joshua Ball

AtHom»¥miFrtenda

Trio LosAndlnoa

An to tog 13 Naiftdena

I Joseph Fonseca

I Amante Bachala

Emily Osment

All The Right Wrongs {EP}

ta for week of DECEMBER 12, 2009 1 For chart reprints call 646.654.4633

Go to www.billboard.biz for complete chart data i 37

BillbMrd.

^THE BILLBOARD HOT 100'

TMIJ

WEEKS t

ON CHT 1

P«

^'13

' IS

fir

' 32

ha*

IS)

!!■

I-'

] 44

^55

TITLE Arlist

PRODUCER (bONCA'mUHl IMPfllMI . PftOUOItOR LABEL

ISlliLiailS^W EMPIRE STATE OF MIND Jay-Z + Alicia Keys ,

BAD ROMANCE Lady Gaga

TIK TOK KsSha

DR LUKE B ilLAFJCO <K &E8ERI.L OOriWALO.B LEVIMl 0 MSI MONEY RCA. ItMG

FIREFLIES Owl City

A vUUVii U IHlEbSEN (* VOUHGt O UNIVERSAl ntPUBLiC

REPLAY lyaz

. Rl ilEW tJROIEMKJIMS HUlDfKSCW JIltSflOUEAWIlHERtW IIMtlMASl O I« 6 MW^EYBElUGA HEl&"TSPf PfliSf

WHATCHA SAY Jason DeRulo

iiOIEM .1 r.[|iiM * .ii;[iERS0i|.JOESROULEAUX,l HEAPl &0 HEIUGA '<FiauiS WARMER ER(1:;

MEET ME HALFWAY The Black Eyed Peas

GREATEST
GAINER AIRPLAY

David Guena Featuring Akon

HTI^^ SHElLanCK |K S M>RIlK.SHEUBflCK.I*M6EHt

Britney Spears

® JIVi -ILG

DOWN Jay Sean Featuring Lit Wayne |

" ■ :■ ■3Dii6V9A^S iJSUN.JCOTTEfl.Rl«iaW.JSKALLEHjpmm»tS.DCARUR> OO CA.vi V'..ra f :]r^lv[l^^M RLI'UfliiC

" 1
6

!,AGA (S 0 GEBMAKOIIA H FUSARII

Lady Gaga

E.'HOWtlVF.'CHERBYTRFi ifniRSCcrj

PARTY IN THE U.S.A.

W -■ M i .v.'.|' I 'iurjCORHlSMt
SWEET DREAMS

Bey once

■Vt lflKWCniW.ES JfiSCHEfFEHWWILIUWSftlCOlOVtl IB MU&IC WriRLD CDtUMBU

ALREADY GONE

Kelly Clarkson

I GOTTA FEELING

H ADAWS.A PItttDA J 60ME/ S ffftGUSQW.D GWEITA.f RIESTf -> •

The Black Eyed Peas

Drake Featuring Kany* Wasl. Lil Wayne & Fmlnem

A GRftMW K MSI.U CAKTtft W MAtKtSj » KtfiVtV MASOH70S:" t ..iKi \r ■.•;KSCnF';

NEED YOU NOW

I iD HAVWOOD.C KELLEYH SCOHj KFARi

YOU BELONG WITH ME

U rtUPMti'. -),W>\ it ■ iVlFIL ROSE)

Taylor Swilt

) BIG MACMIfit lJV(i,'[fiS*L atPUeL!C

HARD

r MfrtART t NA5;n <THftSH.C A STEWAST.R f EHIY J W JENKISSl

Rihanna Featuring Jeezy

Q) ZW mi JAM iDJMC

I CAN TRANSFORM YA Chrts Brown Featuring Ul Wayne & Swizz Seaiz

. ,Vi;; i I i ; ■ i .v. ■. ' !i L'va.H DEAHJ a BEWEfiL.D CAfllEBl Q Jl'.'[ JLb

USE SOMEBODY

■ lOWItl.J FOLLOWIlt.U FQUOftlU N FOUOWILLI

Kings Of Leon

9 RCA RMG

RUSSIAN ROULETTE

f ^^aF^Mrlrl■ fir smtH C llARMQUj

RUN THIS TOWN

f /.^' i Nil I ;i c tsniEfl.Ki

itSI t WILSQN.R FtmV.A AlAIASl

Jay-Z. Rihanna & Kanye West

ROC HATION

COWBOY CASANOVA

I.' r.i. ..nr iiM:[!lwriO[) M ELI^QNDO B JAMES>

Carrie Underwood

DO YOU REMEMBER

■J.': Ill ■ -<.'J ■ iiTEnlSltWWJSmUB.Bl^

Jay Sean Featuring Sean Paul & Ul Jon

1.WAHI IC A SIEWAHl.J eUWrON C COU.l NKMtRtAWVE)

Justin Bleber

® ISlANO,.njMCi

Taylor Swrft

O umvEHSAl REPUBLIC B'G MACHINE

EVACUATE THE DANCEFLOOR

l,( RFl'IfR 1 ^tlfft, iv:'!|Fi:i( A [■>U1,I& V P.tuTE

Cascada

GIVE IT UP TO ME

tlMB*LANO JKllC .;I VMOSLtrb I MEBAHAK HIPOLl A

TELEPHONE

MONEY TO BLOW

.\ GRAHAM.P CARTEfl.C GHQtSOW)

Shakira Featuring Ul Wayne

fRi © EPIC

Lady Gaga FaaturIng Bayortc*

I # tTl»EIWUIIWIWLI«.i:HPWyTWtUWtHlCOPt

Birdman Featuring Lil Wayne & Drake

a CASH MOWEV UNIVERSAl. MOIOAV

FALLIN' FOR YOU

S (C CAILLAT.H HOWtLSl

Colble Caillat

t umversal Rfpueuc

TWO IS BETTER THAN ONE

Boys Like Girls Featuring Taylor Switi

0 C01.UM3IA

BABY BY ME

f III lift DA DON |C J JACKSON, JR J

50 Cent Featuring Ne-Yo

® SHAOV AETtRMArH'iNTERSCQPE

BEDROCK

Young Money Featuring Uoyd

BODY LANGUAGE

THE WOVEMEHT (J BUNION C COLE J MCCARTNtV.T-PAIKi

Jesse McCartney Featuring T-Pain

L( HAVMOND IVS CARREIt X POISON A MAlHISl

Usher

O LAFACE JIG

CONSIDER ME GONE

- I,' :-,-ii - I, ■ I ■; AMOND MfiREENl

Reba

C STAHSTRUCK/VAUIHV

TIE ME DOWN

-lAi IIARi IE n BtMJAMiK V.D A THOMAS)

New Boyz Feat. Ray J

t SHOTrv;ASVlUM.WAHNtH BROS

SHE WOLF

S ! F/EBARAH RIPOll J HILL (S I MEflARAK fllF-Qll J DRiHEEft J HILL S tNQiCQTTi

Shakira ^

it SON> M1jS;C lATIN.EFiC ^

TRY SLEEPING WITH A BROKEN HEART

, yHflSiER iJ BHASSffl A KFYS.PHfyNDLDSi

TOES

K ^.tt'^ail J HHCrt-** (I 8R0WN WDUFiHETTE.J HQPKINS.5 MUl LINS)

Zac Brown Band

9 HOME SRDA'MAtlANIlCHlEGES PICTURE

WHITE LIAR

I ,i;itiiL. 'J rtWUCKt (MLAMBERI.NHEMflVt

Miranda Lambert

<D CCUiMBiA

GANGSTA LUV

: ,H/.~H riAiH )TNASH.C ASTEWARTCCBHOADUS J«)

Snoop Dogg Featuring The>Dreanri

O DOCGysiyiE.pfliDRn* cAnnci.

HEY. SOUL SISTER

U UREEE L^l'lLlNAGt tPMONAHAN t LIND A BjQRKLUNO?

LIVE LIKE WE'RE DYING

S MHNER A IRAMfTOn .b «>:PN£fl A IRAMPTON D 0 DONOGMUE N

IF YOU ONLY KNEW

--• I .•-■..inn r •irjirn,t)BASSETT|

I'M ALIVE Kenny Chesney With Dave Matthews

H [ .Ui-.MJ . [ w'-iHli IK CHESNEYDOILLON.H TAMBURINO) 0 aVA

OBSESSED

'.• '„ii L •■ r n.', ,H C STEWART IM CAR£yT«AS« C A STEWART j

Mariah Carey

M90 11^1 Ann iD;MG

SOUTHERN VOICE

H !.ALL1M0RE TMCGRAW.DSWIIH |IOOUGt.AS B DIPIERI

Tim McGraw

® cum

SMILE

h CAvALlO IM SHAFERfl OALY.J HAHDING J BOSE)

WASTED QuccI Mane Featuring Plies Or OJ Da Juiceman

FATitOI a DOUGIAS.H DAVIS.A WASHIHGTOW) Q m:A* bU ICEY WAHfi-R jiKOj

I INVENTED SEX

.UF'ISCAlES.TNEVEfl&ON A GRAHAWi

Trey Song2 Featuring Drake

® SCUG BOOK ATL'iMtC

SAY HEY (I LOVE YOU) Michael FrantI & Spearhead Feat. Cherine Anderson

M [RAin 'c IHinn;.^ R MIAKESPEAR iM rRANti.C VOUNCI <D QOO boo WAX,'ANTI-i'UNIveRSAL REPUBLIC

38 I Go to www.blllboard.biz for complete chart data

Z
IS
20

2
11
25
10
20
27
29
30
31
12
33
28
34
30
35
31
30
40
11
42
25
38
45
45
41
4«
12

7
41
47
30
54
U

Song, performed by
the singef on AB('s
"American Musk
Awards" (Nov. 22)
and on "Good
Homing America"
two days later,
malies a liuge jump
on this list wtiile
delHiting a( tto. 12
on Hot Digital
Songs (80.000
downloads).

Combination ot her
"American Husic
Awards" perform-
ance of ttits track
and tt>e release of
star's "StieWoJf"
album (Mo. IS on
Billboard ZOO)
piompts a 159^
digital jump lor the
title (61,000).

Title track from
record' breaking No.
1 album {see Over
the Counter, page
53) is its top selkf
(39,000 down-
loads), but received
only one ptay from
the 1,2S9 stations
on the chart's radio
panel, from gospel
outlet KOKA-AH
Shreveporl, la.

95 /

Song was featured
on Nov. 23 series
finale of TlC's "Jon
& )Ute Plus 8."
pushing song down-
loads up 440S.
Christian vocaltst
also posts Ifw best
album sales week ot
her career as "Hy
Paper Heart'' moves
13.000 (No. 97 on
Billboard 200),
more than double
its best sum in May

UST 1

WEEKS 1
OH CHT 1

TITLE

i'ROOUCER ISONGWRITERI

Artist

IMPRlin .' PROMOTION LABEL

Hit

THE TRUTH

U "Nil! lii .IAME5 A MONROEl

Jason Aldean

1 WANNA MAKE YOU CLOSE YOUR EYES Dierks Benltgy

RED LIGHT Oavid Nail

tJllM. MWnUCKE (JSINGIEIDNMPEIHCE.DMAIKOSKV) (3'.' ■v.L5

SAY AAH

■' ■-:jM.» ri CnflElL.TTAVlOfl IBM fEHEBEE , JR .TNEVERSOH,

Trey Songz

SCAtES N WAJjm.D COflELLi ® . . '.u L'-.-. -■-.■'ViC

BONFIRE Craig Morgan

F ~' .rvilhU C MORGAN (TSOTKIN K DENNEYC MORGAN M RQGERSi 9 BHA

FOR YOUR ENTERTAINMENT

Adam Lambert

1 DREAMED A DREAM

i.Mf •: r,' ."..Ia-.I t.i, ,1 -i. ,iiuiL HKHETiMEBt

Susan Boyle

UPRISING

1.1.1-,; tliUAMf 1

Muse

SPOTLIGHT

i -■ lA'-IS.yRAVMONOrU.JJONESi

Gucci Mane Featuring Usher

VIDEO PHONE Beyonce

-nBKWWlESlBKWnnES.SCRAWOROSG'UiltrrT.ABEVINCtl 9e MUSIC AWLD CIXUI/BIA

TRUE COLORS

■ 1 .. . n '.1 ^ MURPHV ilKfUVfl STEINBERG!

Glee Cast Featuring Jenna Ushkowitz

IMAGINE Glee Cast Feat Amber Riley. Kevin McHale. Cory Monteith & Lea Michete

f 3 MURPHV IJ WLtNNON) ® ZOTH CENfURr FOK IV CSLUMBrA

CRAWL

■■ ■■ ■, I" iC BROWN, A MESSlNGEfl.il ATWEH

Chris Brown

ONE LESS LONELY GIRL Justin Biaber

L ■A..: \ r: M -.■.M'.iJ.li S PKAMILION.MSHIN lE lEWlS 8 MUMAMMAD.S PHAUIlION.M SHIN) (D ISI ANO'ID.IMG

HAPPY

K UOOEH |H IEOD£R E K B06ARTL LEWISl

Leona Lewis

FUNH0U8E

r KANAt.J.HJWlRY (fNK TKAMALJ MAflftYl

Pink

HISTORY IN THE MAKING

( - 'I,-- . . .- t ■ .1,- ' . ;: MiLLSi

Darius Rucker

ALL THE RIGHT MOVES

(; IF "III ii- "iFi; i ^1

Oneflepublic

NEVER GONNA BE ALONE

R.t lAr,-L,t --'MM MCKELlfACK.H JIANGE.C KHOtGERf

Nickelback

IT KILLS ME Melanie Fiona

MORNING AFTER DARK Tlmbaland Featuring Nelly Furlado & SoShy

I'M GOING IN Drake Featuring Lil Wayne & Young Jeezy

EIGHT SECOND RIDE

J RIICH-V .;,l um\ t DUKRANCE)

Jake Owen

WHO SAYS

J F/ftVEH t Jf.lM[)AN ij MAYER.i

John Mayer

GE1T1N' YOU HOME (THE BLACK DRESS SONG) Chris Young

J ;.TFir.|in .r; yfltJliG C nAIIt»4,K BLA2¥j ® RCA KASHVILlt

1 WILL NOT BOW

OBENDEIH IB BuRNLET)

Breaking Benjamin

7S'

BAD HABITS

H 0AVI0.MUS7E <M DAVID UUSZEl

Maxwell

SOMEDAY

'.1 lifRl I'll IR IHCMAS M tiERLftiC CARIEFd

Hob Thomas

HALF OF MY HEART

1 lAI-yift 5 JUHDAN iJ UAVERl

John Mayer Featuring Taylor Swift

IMMA STAR (EVERYWHERE WE ARE)

M scmiii'.' (1 FFirnn .iamfsw schuii^i

Jeremih

e MiCK SCHULT; DEF .'AU idjmg

WHY DON'T WE JUST DANCE

[ m': I Hi.'.'-!'P; ,IM.1 ^ ion D BROWN)

Josh Turner

HAVEN T MET YOU YET

ii Ui;_*. tUSIEH A CHANG M BUBLit

Michael Buble

DROP IT LOW

.:'<^'. '.-^ DON <J JONES e DEAN.C BROWIHt

Ester Dean Featuring Chrts Brown

BREAK

■■ aEULXiri .THREE DAYS GRACE, B SlttCKl

Three Days Grace

■

4 MY TOWN (PLAY BALL)

r- 1 '!>.' Ill Will lAMS A GXAHAM n CARTER. U SAMUEISI

Birdman Featuring Drake & Lil Wayne

1 GET IT IN Omarion Featuring Gucci Mane

. ■ ilANK.vFIIANHS.BNfWI.Sfl ,0 MAMOBfWBr.J VAIWTM.B OAur. 0 ^•Ar;/. TO: |T Ml, --.r ATir><-. rn rArif;!

WHEELS

il VIG rriO flGHIERf, ifOO Fl&HIERSi

Foo Fighters

(IF YOU'RE WONDERING IF 1 WANT YOU TO) 1 WANT YOU TO Weezer

n,M,>H CIJi-MO U WAlKER) 0 riG!: tJlfRSCOPf

SPEECHLESS Lady Gaga Featuring Space Cowboy & Flo Rida

IT S YOUR LIFE

Francesca Batlistelli

[-■.■.■■ 1 1 -in [; M JKi

DOESN'T MEAN ANYTHING

Alicia Keys

WE WEREN T BORN TO FOLLOW Bon Jovi

WILD HORSES

Susan Boyle

ALL 1 ASK FOR ANYMORE

Trace Adkins

THAT'S HOW COUNTRY BOYS ROLL Billy Currington

BETWEEN THE BULLETS

GAGA AND BEYONCE DIAL UP A HIT

Lady Gaga and Beyonce team on the Billboard Hot lOO's top debut as "Tele
phone," from Gaga's new The Fame Monster" set, opens at No. 30. It i
one of two debuts on the list for each; Lady Gaga's "Speechless" enters a
No. y4; Beyonce arrives at No. 65 witli "Video Phone." Tlie latter track unite:
the songstresses once more as a remix, featuring Gaga, that appears on th<
deluxe edition of Beyonce's " I Am . . . Sasha Fierce." on iTunes a la carte o
as a three-song digital single along with two other new tracks. Of tlie 28.0(X
downloads sold. 93% are of tlie new remix. — Silvio Pietroluongi

Data for week or DECEMBER 12, 2009 i

CHARTS LEGEND on Page

oupyhy;i,L:u ii. abulia

BillbMril.

HOT 100 AIRPLAY

B
S

ssil

TITLE

LAST t

&£

TITLE

AOIUI .I'M "IN! »*ROMOnON LAREL)

TITLE

ARTIST (IMPRINT ; PROMOTION LABEL)

d EMPIRE STATE OF MINO

WBS JAY I * ALKM art IROC NAIION)

CONSIDER ME GONE

BEB* .'<U:;H>I

EIGHT SECOND RIDE

JAKE OWEN Rrt PIA^.HVI. i [

PAPARAZZI

LADY r ,'iij««timM.o*flRm€t«insaKi

RUN THIS TOWN

JAT : RIHANRA A KANTE MiT iROC NAIlOR)

SPOTLIGHT

GUCCI MARE FEAT USHER |)A;AV ASVIUM V)AR»i[R BROS I

•

WHATCHA SAY

iASONQfRUL] 1' 1.^ HnQMlSjWARNEn enOS 1

BABY BY ME

MCENTfEAl NETO AFTERMATM'INTERSCOPE.

GETTW 'EOU HOME (THE BLACK DRESS SONG)

CHRIS YOUNG '.iSHVILLtl

SWEET DREAMS

BEYONCE I'.i : ' : .'. KL^ COLUMBIA)

DO YOU REMEMBER

J» SEAN FEAI SEAM nuA A U AM US< MKKYlAMRStl. FB^JBIX)

OBSESSED

MARIAH CAREY :--;; l\M:.

SEXY CHICK

DAVIO GUETTA FEAT AKDN tGUM ASTRAlWEnKS.CAPHDL

EVACUATE THE DANCEFLOOR

CASCADA iRPSBIVSl

SAY HEY (1 LOVE YOU)
HDWlFWTiASFEAifrlEAll ' it'i

DOWN

JAY SEAR FEAT Ul MM ICA91 MtyCVUiVBISAl. REnjGUD

HARD

RIHAMNA FEAT JEEZT ISRPCIEF JAM IDJUGl

two IS BETTER THAN ONE

BOYS LIKE GIRLS FEAT TAYLOR SMIFT iLOLuMSlAi

REPLAY

lYAZ lU'M 1:1 MONEV.'BElUGA HEIGHTS/REPOISC)

COWBOY CASANOVA

CARRIE IIRIHRWOOO ' 1 H ARlSIA NASHVILLE 1

ALL 1 ASK FOR ANYMORE

TRACE AOKINS JA^lUJL '.~^>-b.LLE)

ALREADY GONE

RELIT CUIRKSON HQ'^CARMG)

1 CAN TRANSFORM YA

CHRIS SROWN lEAI IIL WATHC t tWUl lEATZ IJlVE JLGl

SMILE

UNCLE KflACKBI (TOP D0& ATLANTIC)

BRITHET SPtARS |J'Vl<'-ILG|

BONFIRE

CRAIQ MOROAM (tiRA>

TWANG

GEORGE STTUr iLICA NASHVILLE)

FOREVER

1 WAMM MAKE VOU CLOSE YOUR EYES

DiERKS lEMTlET {CAPITOl NASHViLlEi

SOMEDAY

ROB THOMAS iFUBl EU.'ATlANTICi

YOU BELONG WITH ME

TATLOR SWIf T ^^(t kfJ^C^tNt U'VtVE^SAL REPl/flL'Cl

RED LIGHT

DAVID HAIl '-'[ X ■vASHVILLEl

BEDROCK

^OJK HOC m iim J'OMi UXYCA9^ toe WUB^SM. UOtlUM

FIREFLIES

OWl CITT 1 1 ''iii'Tl^ ''.Al Hf Pl.'itl I'"' 1

GANGSTA LUV

SHOOP OOGC nAI THE-OfCIN ilXXjCVSTVUWOnTVCAntOLi

RUSSIAN ROULETTE

RIHUIHA 1' 1 > '- ' '.'1 : 1

MEET ME HALFWAY

WASTED

GUCCI HAKE FEAT PUES (MI/AV^SO ICEVrWAflUER BROS 1

WHY DONT WE JUST DANCE

USE SOMEBODY

KIH{>S OF L CON . ' - " I'

1 M ALIVE

KENNT CHESNET WITH GAVE MATTHEWS (SNA)

THAT S HOW COUNTRY BOYS ROLL

III liy CURfl^NGTDH '"

PARTY IN THE U.S.A.
MIIEY C 'f^US ' II ■ ■ 1 II.'

BAD HABITS

NEVER GONNA BE ALONE

TIK TOK

SOUTHERN VOICE

TIM MCGHAW ' Ml i 'i 1

REGRET

ICTOYA FEAT LUOACRIS (CAPITOL 1

1 GOTTA FEELING

THE ElACK ErrO PEAS . iMFB^m^'f i

ONE TIME

JUSTIH BIEBER ' 'j LAND.IDJM&I

1 GET IT IN

OMARnn FEC GUCO HUK iSIVTVOILBMSCWORK^

FIFTEEN

TUnOfl SWIFT i.tJiVEPSai ftfPl,QilC BIG MACHISfi

WHITE LIAR

MmANOA LAMBERT iCOLUMftlA fNASHVILlEll

1 WILL NOT BOW

BREAKING BENJAMIN iHOLLVWOOD}

BAD ROMANCE

LWrr GMiA ■'^tMW^KIUAOCWmVKfUiSOan.)

TIE ME DOWN

NEW SOr: FtAI UV J tSHOTTY ASVLUU'WARMEn BROS )

BREAK

THREE DAYS GRACE |JIVE.<JlGi

NEED YOU NOW

LADT ANTEBELLUM : 1 'I'JL NASHVIUEl

SAY AAH

TItll SOMflJ iilSI> BOOKiATlANTICj

AMERICAN SATURDAY NIGHT

BRAD PAIStEY (ARlSIA NASHVILLE)

1 INVENTED SEX

TREi SDNg: (W drake >bONC BOOIC/AtlANtlCi

HISTORY IN THE MAKING

DARIUS nUCKEH i^&PiTOt NASHVIUEj

WHY

RASCAL FUTTS iLYRIC! STfiEETi

FALLIN FOR YOU

COlBlE CAILLAT ■. . i -i. ;^ RtPUaUC)

THE TRUTH

JASni* AIDEAN 'S^IOKEN BOW|

DOESN'T MEAN ANYTHING

ALiCUMYS l>.!H>. , SMHi

PAPERS

USHER ILAFACEiJLGl

IF YOU ONLY KNEW

SHINEDOWN "Tl ANTIC)

LOOKING FOR PARADISE

Alejandro sak; feat aucia keys lAAsur^^ l.atin&i

00 1

LUKE BflTAK iCAPtlOL NASHVIUEl

IT KILLS ME

MELANtI flOHA iSRCjVNIVERSAI MOTOWNI

LIVE LIKE WERE DYING

KHlSALLEh . i"..

MONEY TO BLOW

■10

•b

TOES

;ac BROW BM iKM Gnotmmjvnic WGffl

HURRY HOME

JASON MICHAEL CANRQLL lARlSTA riASHVI.Lf |

HOT DIGITAL SON

il KS

TITLE

ARTIST HMPRINI ' PROMOTION LABEL)

LJLST
WEEK

TITLE

ART]ST ilMPRHtT / PROMOTION LAREil

niBAD ROMANCE

BEgLACTijiy - -iMnawENaa*)

RUN THIS TOWN

JAY.E RIHANNA A KANYE WEST iROC NATlQNl

•

EMPIRE STATE OF MIND
JAYE . ALICIARETS H , '..V t,'.

DO YOU REMEMBER

.^UNIFLl! iUKHUL 1 LL JW ;-n<r,;. r,-, ■ ..li' -(■

TIK TOK

KESMA I'J . LlrjNEY'HCARMCl

TWO IS BETTER THAN ONE

BOYS LIKE (ilHLS )EA! lAYLOH S*I)T . .. '.Hi..

FIREFLIES

OINLCITY . VIVERSAl REPUBLIC)

YOU BELONG WITH ME

TAYLOR SWIFT VAi h '.bi

□

REPLAY

lYAZ - Vl 1. MCjEV BEUJGA HEIGHIS REPRISti

BODY LANGUAGE

JESSE MCCARTNEY FEAT IWN (HOLLYWOOD)

MEET ME HALFWAY

THE BLACK EYED PEAS i III !)fl SCOP) i

EVACUATE THE DANCE FLOOR

CASCADA (ROBBINSi

WHATCHA SAY

JASON OERULO lUllUt^A HEIGHTSVIAHNER BRO:^

, BEDROCK

YIUC )«HY FEXI UJm K )IYr< YA3< IfYf^ IKi-ERA lADINA^

SEXY BITCH

DAVID GUETTA FEAT AlUN (GLRA'ASTIUIWRKSCAFKTOI

, 1 DREAMED A DREAM

SUSANBDVLE rSYCl! :UL'.IMBIA|

BRITNEY SPEARS (JIVE JLGI

SHE WOLF

SlUKIRA :SUFrY MUSIC lAllK'EPIC)

•

PARTY IN THE U.S.A.

KIILEY CYRUS "OLLYWODDl

FOR YOUR ENTERTAINMENT

DOWN

AST SEAN FEAI LA.1HRIC(CA9IDaCV.l]MR»LREPljBiri

THY SLEEPING WITH A BROKEN HEART

ALICIA KEYS l.'^', "U^

HARD

RIHAHMA FEAT JEEZT iSHP DEE JAMlDJhIG)

TRUE COLORS

CUE [AST FEAT JIMM UVNOWC (aTH CSrjlY KM IVCOUAMA'

NEED YOU NOW

LADY ANTEBEILUH >'< l' )OL NASHVILLE)

•

HEY SOUL SISTER

TRAIN lAVlAREXOLUMBIA)

1 GOTTA FEELING

THE BLACK EYED PEAS iMERSCOPEl

IMAGINE

aEE CAST TOIH CTn,RY F(a iv.cauMMj

RUSSIAN ROULETTE

RIHANRA :l)M0)

MONEY TO BLOW

HRJMWi HAI LA AKYK A UftlAl A'^IOCXUMBKNOICMN

■

, TELEPHONE

iAmr^<illBErME vLKHMAeoswiiaMcnsare

BOOM BOOM POW

THE BLACK EYED PEJLS (WUl 1 AAl lNTERSCQPf )

PAPARAZZI

lAITfGAGA ■ .^'.M;.' fJJAt>eWYTT««lWSara

HAPPY

LEOHA LEWIS 'MU J'RMG)

)

ALL 1 WANT FOR CHRISTMAS IS YOU

MARIAH CARET i i >,'-■ .-.

•

LIVE LIKE WE RE DYING

)

GIVE IT UP TO ME
SlUKIRA FLA) ItL Y.KTNE ■ PIC.i

TILL 1 COLLAPSE

EMiCM FEAT KATE ODGC iV.E)>AfTBWAJH*fIBISCCB¥>

)

FOREVER

DRAKE / l-JTREAA«ttl1ERS(mi

BABY BY ME

50 CERT FEAT W YD i ^llAJY) tJ )ERkWIHNlEIfiCCPE)

1 CAN TRANSFORM YA

CHIBS BIYMN FEAT U NWINE A SMS BEATZ ;P4. AUi

USE SOMEBODY

KINGS OF IE0N 'RCA,RMG.

■

,„ ONE TIME

JUSIIN BilliiH 1 ,! -'jii i

TOES

ZAC BHJWH SAND IFAAF (^VKMEKOAMICflOGBTFCnH)

)

,„ ALREADY GONE

KELLY CLAHKSON . ' A R)^G)

HALF OF MY HEART

JOHN MAYER FEAT lAYLOR SWin |GOLUFABlA)

COWBOY CASANOVA

CARRIE JNdERWOOO (19 ARISTA NASHVILLE)

CRAWL

CHRIS BROWN IU(. JLG)

SWEET DREAMS

BEYONCE I,' -ir WHRID CniuHBlAi

•

FIFTEEN

YAYLOR SWin iBIG UACHINE)

a£
si

TITLE

ARTIST (IMPRINT ' PROMOTIOM LABEL)

TIE ME DOWN

HEW B0Y7 FEAT HAY J (?»«)n\'ASYVLAAVt»flFAR Pflns

VIDEO PHONE

BEYONCE Mi.-l -■- pk- .r ii i ll.tl^A

4 MY TOWN (PLAY BALL)

IBCNMFOCOAUEALUIVArHL . i . '

21 GUNS

CRFFN DAY iF:-" — l^.fi

•

MORNING AFTER DARK

IIMKRJJC FIJI WJT njKTOt » aOff WEL^' EiAIiiP.iJf. R~i!i.".

ALL THE RIGHT MOVES

ONEREPUBLIC LM' I L v IMERSCOPL

SMILE

UNCIE KRKCKER cUAtjl I.

SINGLE LADIES (PUT A RING ON IT)

HErONCE iMii : V.i.NLD.'CGLUM)|JR

WHO SAYS

JOHN MAYER li ' .L'Mg)A)

SPEECHLESS

AJlEAiJ'UUNCCWO'l'JMK "i.'.") ■

FUNHOUSE

PINK 1 AiA..:: 1 1)

WHITE LIAR

MIRANDA LAMBERT (COLUMBIA (NASHVILLE)I

POKER FACE

LAOY GAfiA (STfitOAUtWHAtOeiETFIflaiNtHtSCOPFi

WILD HORSES

SUSAN BOYLE (SVCO COLUMBlAl

FALLING FOR YOU

EOIBIE CAILLAt I'. UERSAL REPUBLIC)

UPRISING

ONE LESS LONELY GIRL

JUSTIN BIEBER ,l n'.D IPJf/l,

IT S YOUR LIFE

FHANfJSCK BATDSTILLI (FERVENI.'WORDC. - (•

LOVE DRUNK

BOYS LIKE GIRLS I T HI UURIA)

•

LOVE STORY
TAYLOR BWIFT )S I) MACHINE)

BIG GREEN TRACTOR

JASON ALOEAN F OunN BOiVi

•

OBSESSED

MARIAH CAHLY A'ci I : .Mn

SAY HEY (1 LOVE YOU)

MOY(fiHV«ll»ifEA(l(EJD ■ ' ' ■ •.■ .t^.LU.,

GANGSTA LUV

SNOOP DGGGFEAI IREEKAM EKXAj>SIYlE.F*CHT'.JFl'l.l(

SOUTHERN VOICE

TIM MC6RAW Rh.

a lor week of DECEMBER 12, 2009 I For chart reprints call 64E.6S4.4633

Go to www.bi.

for complete chart data

ALBUM CHARTS

Salo« d.H.i compiird Irom .1 coiriprphcsive pool of U.S. music
morchantt by NIolscn SoundScan. Saiei data Eor R&B/Mp-hop
retail ctiarls is compiled by Nl«l&cn SoundScan from a national
subtel of core stores that tpocialize in thoM g&nrot
0 Albums with the greatest sales gains this week.

wrtere irrctuded, this award indicates the title
with the chart's largest unit Increase

Where included, this award indicates the title with
the chart's biggest percentage growth.

IrKlicaies album entered top 100 of The Billboard 200
iind h.15 been removed from Heatseekers chart.

PRu. i ■ ■ I T V

CD/Cassettc pnccs are sugqc-stc-d list or equiv.^liMit prices, which
are protected from wtiolcsale prices D after price indicates album
ooly availAblc on OuolOisc CD/DVD aflor pflcc indicates CD/DVO
combo only available 0 DualOtsc availab4e. * CD/DVD combo
avAltablo. ' Irtdicatcs vinyl LP Is available. Pricing and vinyl LP avail-
ability are not IrKJuded on all charts. EX after catalog rmmber IryJi-
cotes title is eKclu%ive to one account or has lirrxted distntxition

SONG CHARTS

Seo logonds on rrspoclivc chart pages tor the Billboard Hot lOO
arKl Hot R&a/Hlp-Hop Sor>gs.

RADIO AIRPLAY CHARTS

Hot too Airplay. Rock Soogs. Hot Country Songs, Hot Rap
Songs. Christian Sorvgs. Hot Latin Songs arvd Latin Airplay cfurts
are compiled from a national sample of data supplied by Nielsen
BroAdcatt Dat.i Syttoms. Charts attt ranked by number of groii
impressions, computed by cross-referencing exact times of air-
play with Artwtron listener data, Mairwtream Top 40, Adult
Contemporary, Adult Top 40. Alternative, Tnple A. Active Rock,
Heritage Rock. Mainstream R&B/Hip-Hop. Rhythmic. Adutt RftB.
Hot Chrlttian AC Sortgs. Hot Gospol Sor>gs, Hot Donee Airplay,
and Smooth Jazz Sortgs are rar>ked t>v total detectiorts
0 Songs showing an increase in audier>cc (or detections)
over the previo*is week, regardless of ctvtrt movement,

■ Where included, this award indicates the litle
wrth the chart's largest airplay increase

RECURRENT RULES

Songs are removed from the Billboard Hot 100 .ind Hot 100
Airplay charts simultaneously after 20 VYeeks on the Billboard
Hot too arvd it ranking t>e(ow No. 50. Songs are removed from
Hot R&B/Hip-Hop Songs after 20 weeks if ranking below No.
SO. Songs are removed from Hot Country Songs after 20 weeks
If rankir^ below No. 10 in detections or audience, provided that
they are not still gatning enough audience points to bullet or if
they rartk below No. 10 and post a third consecutive week of
audience decline, regardless of total chart weeks &or>gs are
removed Irom Mainstream Top 40, Rock Songs, Mainstream
RAB/Hip-Hop. Rhythmic. Hot Latin Songs and Latin Airplay
charts after 20 we^-ks if ranking below No 20 Descending
songs are removed from Adult Contemporary. Adult Top 40
ar>d Adult R&B after 20 weeks if ranking below No. 15. after 26
weeks if ranking below No. 10, or after S2 weeks if ranking
below No 5. Dctceriding songs .ire removed from the
Alternative. Triple A, Active Rock. Heritage Rock, Christian
Songs, Hot Christian AC Songs, Christian CHR. Hot Gospd
Songs, Hot Dance Airplay and Smooth Jazz Songs charts after
20 weeks and if ranking below No. 15

CONFIGURATIONS

CD single available, ib Digital Download available. O DVD
single available. O Vinyl Mavi-Single available. O Vinyl single
available. O CD Mnxl-Slngle available. Configurations are not
included on all singles charts.

HOT DANCE CLUB SONGS

Compled from a national sampte of reports from club DJs.

• Titles with the greatest ckJa play ircrejtvo over ttw prevKxn week.

[Jjnn The award IrtdKates the title, currentty betow tfie lop 20 and on
IZIlB tlw ch.v1 tho vv<?ok bcfon.', with It« largest jncrdMC m points.

AWARD CERT. LEVELS ^

• Recording Industry Assn Of America (RIAA) certification for
net shipment of 5OO.OO0 alliums (Gold). ■ RIAA certification for
net shipment of 1 million units (Platinum) ^ RIAA certiftcatfon
for rwl shipment of 10 million units (Dtamorvd). Numeral wltNn
PlalirHjm or Diamond symljol indKBtos album's multi-ptatinufn
level For boxed seti, and ctouble alt>ums with a running time of
100 minute* or rnofo, the RIAA multiplies shipments tjy the f»um-
ber of discs and/or tapes. Certification for rwt shipments ol
100.000 units (Oro) Certificailon of 200,000 units (Platlno),

1: Certification of 400,(X>0 units (Multl-Platino).

SINGLES CHARTS

• RIAA cortincaUon for 500,000 paid dowmloads (Gold).

■ RIAA certftKatxxi for 1 million paid downloads (Platinum).
Nunwral wittiln platinum symbol indicates song's mufbplatinum leveL
RIAA cerimcat>on for not shipment of 5O0/X>0 singles (GotdX

MU'-ir V i[:>F o = Ai r s ch apt*-.

• RIAA gold certitKation for r»et shipment of 25.000 units for
video singles RIAA gold certification for net shipment of
SO.CXW units for shortform or longform videos. ■ RIAA plabnum
certification for net shipment of 50.0O0 units for video sir>gles

RIAA platinum certification for sales ol 100,000 units for
shorttorm or longform videos. Numeral within platinum symt>ol
Indicates song's multlplatirwm level.

DVD SALES/VHS SALES/VIDEO RENTALS

• RIAA goid certificatton for net shipment of 50.000 units or $1 mil-
bon m sales at suggested retail price. ■ RIAA pIMInum certlflcatlon
lor sales of 1(X).0(X) units or $2 miUon in sales at suggested retail
price. IRMA gotd cerufkraOon tor a minimum sale of I2S.O00 ixilts
or a doHar voKime of S9 mitlnn at retai for theatricaMy released pro-
grams; or of at kNtst 2S.(X}0 unKs and $1 milHon at suggested retail
for norv-ttteatrical titles. IRMA platinum certifKation for a minimum
sate of 250,000 units or a doftar voiumo of $18 million at retad for
theatrfcaly mlnnnnfl programs, and of at least 50,000 units and S2
millkon at luggestad ratai for nor>-thoatrlcal titles.

Cc-

iterial

" BillbMril.

ACTIVE ROCK

TITLE

AHllST ijlMPfllM PHOUOIKM UBEl)

BIWHATCHASAY

•RITUV GPfARS iJIVt liG)

FIREFLIES

GWL CnV ;;;MVCnsAL REPUflllCl

PAPARAZZI

UWY QUA iSIREAMLiNLKDHLM CtCRFmREtmiRSCOPt

REPLAY

irU 'IWt IS MOtjEV BELUGA MDGHIs nEPHIStJ

ALREADY GONE

AEILT CLARKSON ' '* HCA.RMG)

PARTY IN THE U.S.A.

MtlEVCTRUS ,H llvWOOni

DOWN

JAY SEAN FEAI LIE WAVW iCASH MONEY,lflWERSAL REPUSLC

SWEET DREAMS

BEYOUCE Vi" II '.Vii^-.li i.i'.Uf/iliA!

;©

MEET ME HALFWAY

EHE 81ACA EYEG PEAS l"; t._..'t

SEXY CHICK

DAVID GUCTTA FEAT AKOM (CUM. ASinALWEK^^ L -pi I I

^<D

TIK TOK

AESHA , Mr-,! 1 "U'RUGI

BAD ROMANCE

LAOYGACiA II I inM -ONLrvt'CECRRYTRfE INTfRSCDPE

n-Hi'Jtll EMPIRE STATE OF MIND

[irilLHiH iAT I • ALICIA KETS iROC HATIOR)

lED

EVACUATE THE OANCEFLOOR

CASCADA K h i '.

! ia

USE SOMEBODY

KINGS Of EECN ' l I MU

VOU BELONG WITH ME

TATLOR SWIFT iFI ; OAlHIM U'l ^EHSAt REPUBLIC*

FALLIN' FOR YOU

COLBIE CARLAI HHIIVt H:>Al htPuHLICl

1 GOTTA FEELING

IHt aiACA EYED PtAJ lllHEflSCOPE)

3
5

FIFTEEN

TAYEOR SWIFT M.UIIIM MMvERSAL REPUBEICJ

TWO IS BETTER THAN ONE

BOYS LIKE GIRLS FEAT TAYLOR SWIFT (COLUMBIAI

DO YOU REMEMBER

RUN THIS TOWN

JAY-Z RIHANNA A KAFIYE WEST HVL NAtlUH

BODY LANGUAGE

JESSE lACCAHIHEY FEAI T-PAIM illC 1 LVLVUOli'

iS>

IF YOU ONLY KNEW

SHINEDDWH lAllAiniCi

ONE TIME

JUSTIHBIEBER I I' M

I-

RUSSIAN ROULETTE
RIHANNA 1 ■ 1 !■ ii-t.i M._

GIVE IT UP TO ME

SKAKIRA FEAT LIE WAYNE lEPIGI

ACCORDING TO YOU

OflUIIETRI iTtL SFFIEN INTEflSCOPEl

3
5

FOREVER

MS m Hit m lAMK 1 w> .w«n lYnwic A~t. '

NEVER GONNA BE ALONE

HICAELBACA il.ri ^ I I'P.i 11 nHI'

f©

HEAVEN CAN WAIT

WE THE KINGS ' | i i.:

LIVE LIKE WE RE DYING

AHIS ALLEN : i,

FUNHOUSE
PINA iltfACE JLG*

OBSESSED

HARIAR CARET |ISLAND<IDJMG|

ONE LESS LONELY GIRL

JEISIM BIEBER llSLASD ILUMG.

HARD

RIHAWU FEAT. JEEZV iSRP DEF JAM.IOJMGl

LIFE AFTER YOU

OAUOmUT 119 RCAHMGI

RAIN

CREED i'Aiuri III'

ALL THE RIGHT MOVES
OREHinJBUC IMOSLEY.INTERSCOPEi

Susan Borle ml only nukes a rnont-bmking ntiaiKe atop Uie
Billboaiil 100 (stt slOTy, pagt !!). bill she also bows on Mult
Cmtenponnr at No. 29 with "Silent Night," the dosing track on
her debut set, "I Dreamer} a Dream." WDOX Clevelanil leads all
(hart reporters wllh 16 detedlons tor Ihe song In the survey's
tracking week.

Also Mutbig on the Isl (vlewAle bi hil al MllManl.bii/durts)
Is seasonal taie Iron Irans-Sibefian Oidwstra ("Nulrocker," No. Z3)
anil Straight No (hasei ("The Christiius bn-<aii," No. 26).

OntheMMfcpW
(had, Train diugs lo its
seventh top 10, as "Hey,
Soul Sister" rises I1-«.
Among groups litis de(ade,
Train lies I Doors Down ami
Maroon S loi foudh-most
top IDs. Since 20O0, 6oo
Goo DolK lead all groups
with 10 visits to the top tier,
lollowed by Ni(kelba(k
(nine) and Halchbox
Twenty (eight).

TITLE

ARTIST I VIPP

INI PROMOTION lABEi)

.;j

KIyOU BELONG WITH ME

BSS TATIOR SWIFT lEilG NEACHIHEEMVERSAL REPEJOUCI

FALLIN FOR YOU

COEBtE CAilLAI , ,■■ M flEPUBUCl

HAVEN T MET YOU YET

MICHAEL BU6LE ' I -i - niSt)

l«

HER DIAMONDS

HOB IHOFAAS ; IJi.^! I.I ATI ANTICl

PLEASE DON'T LEAVE ME

PINK .1 .'.i-M F llGi

THE CLIMB

MILEY CYRUS iVIALl HbNEY HOLLYWOODi

NO SURPRISE

OAUCHTRYil'-HCAIMGl

YOU FOUND ME

THE FRAY 1 ■ ,

COME ON GET HIGHER

MAn NATHANSDN . V, l .VRO CAPITDLl

1 WANT TO KNOW WHAT LOVE IS

MARIAH CARE

CHANCES

FIVE fm FIGHTING lAIVARE COLuUBlAi

BEAUTIFUL WORLD (WE'RE ALL HERE)

JMINNCAMUN A AOAAICHOtSIfY iSOVEri^n^R'Coir'J^E P-HtZlt

KISS A GIRL

AEIIHOROAN iZ^-' Til. %ASt'Vi|LE CAPlTC'l i

USE SOMEBODY

KINGS DF lEDN ,-

ALREADY GONE

KEELT CIANASON ■ ^ HMii

WE WEREN T BORN TO FOLLOW

BOHJDVI -M'

CHERRY CHERRY CHRISTMAS

NEIL DIAI*OND il ' - Mr ■■-

SAY HEY (1 LOVE YOU)

MCWa own A snAlfCU i • UIHI KJXM-I 'jmERSMHEPJALC

1 GOTTA FEELING

THE BLACK EYEOPEAS iMERSCOPEl

CLOSER TO LOVE

MAT KEARNEY nVi-.A^f tiUi, LIBIA

SMILE

UNCLE IRACKEfl 'nP lnPi All Atjl..*

CHASING PIRATES

(tOHAH JONES I I : '.i ^l 1 ',1 .1 1

©_

T»

GKEATEST
OAINER

NUTROCKER I
TRANS SIBCRIAM DRCHCSTM |ATUNT)C) |

WHEN IT COMES TO LOVE

FOREICNfR ■■!■■■.■■

SWEET DREAMS

Mi,

wni

LAST
WEEK

WEEKS
ON CHT

TtTLE

ARTIST l.UCRiNt "flOMOTION LABEL)

<>»

WSW ALREADY GONE j

FALLIN FOR YOU

COLBlt CAiLLAT ! ', ,;i--*L HtPUBLlCl

SMILE

IHtCK HIWCKtn |10P DCiG.ATiawlIC;

USE SOMEBODY

KIKS OF LEM !nCA.nUGl

FIREFLIES

OWL CITY 1 'Jt'.TflSAL REPUBLIC)

YOU BELONG WITH ME

lACLOR SWIFT m MACHINE:'UNIVCRSAL Rf PUBUCi

SOMEDAY

HOe THOMAS '['.IBL-M AILANIICl

1 GOTTA FEELING

THE BLACK (TED PfAS I'.'f FliCOPE >

HEY. SOUL SISTER

TRAIN ■

WE WEREN T BORN TO FOLLOW

BOMJOVI 1

NEVER GONNA BE ALONE

mcKiiHAi:>; ■ ■ ■ ■ ■

SAY HEY (1 LOVE YOU)

Mcnwt iKAun* »n*f»«-ui i. .'i aakamte-uiwhisai ntKBuC:

HALFWAY GONE

LIFIHOUSE L'Hf, MiRSCOPE)

PARTY IN THE U.S.A.

MILETC-»HUS .HOLLYWOODt

PAPARAZZI

UWT<M!A iSIHtAULmtKWJl'VE'CHEflftVTnttlKTERSCOPEl

CHANCES

rin FM FieHTWe |AWAHE 'CCilUf.ABiA)

MAYBE

MOWMKMUKM iLAltlh I't <l*l>..nH ^JbfM.i1JNMRSAL UOFOWNl

LIVE LIKE WE'RE DYING

KRISALLEN * '.''JIVE. JLG>

COME ON

GOEEN RIVER OAOMAMCE iVIRGIMiCAPIIOLf

IF YOU ONLY KNEW

SHIHEDDWH -'.Il -.M '"

HAVEN T MET YOU YET

MICHAEL BUBIE ■■ ; . f;. "isti

GREATEST
GAINER

LIFE AFTER YOU 1

auKHTtn ii^ncA.'ftM6) I

BREAKEVEN

THE SCRIPT Mil-, i.F f^lCi

ALL THE RIGHT MOVES

0MEREPU8UC ■'.If)-,; f 'r .MERSCOPEl

SEX ON FIRE

NIMGS DF LION IRCA HMGI

WEEKS
OH CHT

TITLE

ARTIST IIMPRINI PflOMOIIMt LABf L|

HI BREAK

■DS THREE DAYS OlUCf lIRfl JlCl

1 WILL NOT BOW

flREAKING BENJAMIN IHQILYWOODI

WHEELS

EOD FIGHTERS i ' .VILl RCA'RMG|

CHECK MY BRAIN

ALICE m ClUINS I '.IRGIN CAPIIOLt

UPRISING

MUSE I'll .llir.- 1 ■.V^Fr.iit LRiV.

6
10

15
12

IIP ran RE WONOCniNG IF 1 WANT VOLI 101 1 WANT YOU TO
WEEZER .rirj: UIERoCU-;

UiljtllJjU IF YOU ONLY KNEW

[iMliRlH IHWDinNI (AILAKliC)

JARS

CHEVELLE lEPICl

SAVIOR

RJSEAGAINSI :':,[ iTfn- li II

KINGS AND QUEENS

Sn SECONDS 10 MARS ill, " ■ , - '^i\ CflPlIOtI

YOU'RE GOING DOWN

SICK PUPPIES iHUR VlRGlFl'CAPITOLl

THE FIXER

PEARL JAM il' \hEVlVRENCHI

NEW DIVIDE

IINKIN PARA '-il M.Nt SHOP'WAHHER BROS |

USE SOMEBODY

KIHfiSOfLCON.RCAHWGi

1901

PHOENIK UlitiHE GLASSNOIEi

OVERCOME

CREEO -'i

NEW FANG

THEM CROOKED VULTURES V^C IRTElStOPEi

MEET ME ON THE EQUINOX

DEATH CAB TOR CUTIE li;.,yi/II CHOP 5H0RAILAHIIC)

SNUFF

SLIPANOI ihi.M 'RUNNEHHRPi

BACK AGAINST THE WALL

CAGE IHE ELEPHANT (DSP JIVE'JLGI

JUST BREATHE

PEARL JAM VliNKEYWRENCMI

24
25

6
14

SPACESHIP

PUDDLE OF MUDO iFLAWLESS GEtEEN.INTERSCOPEl

AGAIN

ELYEEAf ifiSM ^ :lnSt IHTF RSCOPE I

26
27

10
15

EAST JESUS NOWHERE

GREEN DAY iHlrRi^i

INVINCIBLE

ADEEITASWAY .'IRGINCAPITOLl

MEDICATE

ATI fli.l IJIFi-'-.l I- ^E

MONSTER

SKILLET ..M. IT I. 1 11.

3
6

SCREAM WITH ME

MUOVATNE . E 1 i:

CRASH
CA«0 if.i^iii' 1

HARD TO SEE

FIVE ElKeER DEATH PUNCH .PROSPECT PARK|

SUBSTITUTION

SILVEHSUN PICKUPS .riAtii.i RET Ei i

BROKEN. BEAT 8i SCARRED

METALLICA l AiRNcK liRUS 1

FUGITIVE

DAVID GRAY iMi RCER STREETDOWNIOWN)

CRAWL BACK IN

DEAD BY SUNRISE i WARNER BflOS.I

WHO SAYS

STORM TO PASS

AIREYU iiri , . .';n j

FOREVER IN YOUR HANDS

ALE THAT REMAINS F'Hi. S IREIi; R^^UR & Uti

HEY SOUL SISTER

TRAIN I.UV.U.E RR.,ll/n i

JUST SAY YES

SNOWPAIROL .IlEIHGEFFENilNIEHSCOPE)

CHASING PIRATES

NORAH JONES i h . 1 H ROIE ^APlTOLI

EYESORE

JAHUS .Rlilir .. bi

MESS OF ME

SWITCHFOQT .. I . AIITICi

FIREFLIES

OWE CITY III. .;R;.*1 REPUBLIC |

CRAWL

KINGS OF EEON iRI A RMGl

SLOW POISON

IHE BRAVERY 1^1 AUEMOJMGl

MAYBE

nKHDANOMALSCil 1 Alin.'LIKFiAIAl SIGN(L.LNMnsAL UOTOWtl

SAY HEY (1 LOVE YOU)

HOWL 1 HWn 1 IPtWMAll lUJO ttlHI WAA'WIlnANMPSAL ACIAalO

FOREVER

RED iE:.;^in.AL RED.

■ITTTa

TOO FAKE

HOCII£Y IVIflCIWCAmOU

ODD ONE

SICK PWflCS iHURViRGIttCAPimEl

Dim Days lirau cllmlH to the summit on
ladt Stags OS.! million audience
impEesslons, up kSvt Rock and the
Mlllxiant.bii-eHluslve IWetiean hdi
iliarl with "Break." Tlie stmg is tlw lianl's
nnii Ko. 1 on botli ol tlw latter two lists.

5 TITLE

5 ARTtST ^IMPRINT PAOMOTWN LABEL)

H BREAK
THRtt OATS SBWI ^JIVLJLCj
I WILL NOT bow'

BHEAKINIi BtNJAMIH Hi . ■ .■.iijL'j

CHECK MY BRAIN

ALICE IN CHAINS i , -h '. .li-.IOLt

IF YOU ONLY KNEW

SHIHEDOWN i-I.Ati

INVINCIBLE

AOELITASWAT lUlifG VtAI

WHEELS

YOU'RE QOING DOWN

SICK Plfffiq (HMU'VIRGIH.CAPITO; i

MONSTER

SmiLET -AHDEin/IHO.'ATLAiniCi

SNUFF

SPACESHIP

CUUDIE OF MUDD .■ . AA'LESS.GtfFEN. INTERECQPfj
JARS

CHEVEUE

SCREAM WITH ME

I (tPICj

HARD TO SEE

fflU HIIStR OWH WWCH PHLy

BROKEN, BEAT & SCARRED

MtTAUICA t>VAfilJfR BBQS I

AGAIN

FlYlEAf AMI

OVERCOME

CREED

CRAWL BACK IN

DEAD BY SUNRISE i.'.aRNEH flHQS i

STORM TO PASS

ATfltTU .iti^UYTJFJOP]

CRASH

FOREVER

;nt al fiedi

NEW FANG

THEM CHOOMD yULTURli iDGC IHTtRSCqPEl

SAVIOR

RISE AGAINST •D\j': .Wlf'.l-La^i

KINGS AND QUEENS

36 StCOHDS TO MAflS I'MWOHTAL VIHGm.CAFilOi.|

IT S NOT YOU

HALESIOHM li'L.AMICl

YOUTH OF YESTERDAY

THtyttR UMWfl |'..M'.'tRSAL MOTOWNj

Is $S

TITLE

ARTIST IIMPRINI . PROMOTION LABEL 1

1 1 16

Kl CHECK MY BRAIN

Ifl^ AA.ICE W CHAIM (VIRaiNiCAPItOLI

BREAK

THREE DATS GRACE ..iVL .Lb

1 WILL NOT BOW

BREAKING BENJAMIN "III .> iVOO'Jl

icJ*..

OVERCOME

CREED ,'. Ml ■

WHEELS

FDD FIfiHTERS n .M.l RCA'RMGI

WHISKEY HANQOWR

^SnUH GODSMACA iLlN'VERSAL REPU8UC)

IF YOU ONLY KNEW

SMlHEUQWIIi.

YOU RE GOING DOWN

SICK P,1PPIES 1 '.' , ' '■. run

1 •

BURN IT TO THE GROUND

NICAELIACA lUliAIlRi.HriER RRP.

NEW DIVIDE

LINRIHPARA I'.UCIIIVE EHOP IVARRER BROS j

SOUND OF MADNESS

SHINEOOWH iL-L'-M".

SPACESHIP

PUDDLE OF MOOD il LAWLESS OEFFEN INIERSCDPEl

CHAMPAGNE

CAVO .HEPHIbt.

JARS

CHEVELLE FPlCl

SEXY LITTLE THING

CHICKENFDDI |RE:uIREi

NEW FANG

THEM CROOKED VULTURES iDDC IMERSCDPEl

THE FIXER

PEARL JAM I'.li)'.. » AHf il: HI

BROKEN. BEAT t SCARRED

METAELICA 1 i.'l 'Jf H ^iROS 1

STILL UNBROKEN

LTNYRO SKYNTRD • 1 fllO A PRDUOlROADHtlNNERHRI

SNUFF

SLIPKHOY IROADRUNNER'RRPI

MONSTER

SKILLET liHDENIlNO'AIEANIICl

CRASH

CAVO l^fPRiSd

SHAKIN' HANDS

NICKELBACK • Mm lJN£n RRP,

INVINCIBLE

ADELITAS WAY ..III., Ill LAPIIOl'

MODERN DAY DELILAH

KISS iKISS.

40 I Go to www.billboard.biz for complete chart data

HOT COUNTRY SONGS'

tH iSONCnftllDtF

NEED YOU NOW

^'3

Lady Antebellum

DO 1

.r.:. .:L BRV«)tC KULEVO HAYWOOD)

Luke Bryan

G CAPITOL HASHVi ■

CONSIDER ME GONE

Retj.T

O SIARSinuCKVALi:

COWBOY CASANOVA

Carrie Undofwooci

0 19 ARISTA NAGR'.i:

BONFIRE

■ uaoGERsi

Craig Morgan

1 WANNA MAKE YOU CLOSE YOUR EYES

' 1 E> IS BCAVEFtS P OtMUrv,

OiertAS Benlley

® r-APirOL NAStl'.ii

FIFTEEN

. 1 " ITSWIFT)

Taylor Swiii

O Bl<i UAtlll-.'

RED LIGHT

•E iJSIHGLEION.MPtinCCDMAIKOSKVl

David Nail

& MCA NAGHUILTE

1 M ALIVE Kanny Chesney \

>> V h '-[SNEYDOIUONMIAWBURIW)

IVIIh Dave MaRhews

• CM

•

SOUTHERN VOICE

• "^M . :,UlTH (TDOUGLASeDIPIEfiO)

Tim McGraw

e i:i:t..

WHITE LIAR

: ■ , ■ - E iM LAMBERIfl HEMSYl

Miranda Lambert

e COLUMPI'-

HISTORY IN THE MAKING

■ ■ i:, 'l.-EKER f ElOOEEfS.C MIlLSl

Darius Ruclrer

O CAPTIQI NASITVII

THE TRUTH

• 1 .'iMEi * MO»IE)ilE>

Jason AldeaiT

lb BROAtN Ell.'

EIGHT SECOND RIDE

Jake Owen

ALL 1 ASK FOR ANYMORE

Trace Adklns

e llAWOl S.VST,II..-

TWANG

■I ' ' 1 ■ .11 E k MAfiVE, 1 Ei.lTEEIEVi

George Slrail

WHY DON T WE JUST DANCE

I '■III/ . . ^1- ■■■ . .i; . I .ni;.( lori n unuwn
THAT S HOW COUNTRY BOYS ROLL

Josh Turner
Billy Curnngton

HURRY HOME

AMERICAN SATURDAY NIGHT

Jason Michaol Carroll

O iini:,!* «MbHVIl.lt

Brad Paisley

e AHISTA hMHVlLLE

CRYIN FOR ME (WAYMAN'S SONG)

Toby Keith

® snow DOf. KASHVa^-t

A LITTLE PVIORE COUNTRY THAN THAT
TODAY

Eoston Corbln

Gary Allan

) Ml. A -

20
21

DIDNT YOU KNOW HOW MUCH I LOVED YOU

. iii'i ■■ y i;c ll^nsEy,* M«vO iVEHG^s,

Kellie Pickler

With spins i\ n of
the m stations
monitored for the
chart, second single
from UndHwood's
"Play On" set
dtiws Hot Shot
Debut applause-
Album moves
124,000 (opies in
Its fourth ctMtt
nfeek. ranking at
No. 2 on Top
Countrv Albums and
No. 9 on the
Billboard 200.

§i

»s

TITLE

■fi.| .!H -SONOwmtEBi

Artist

iMPRtKi h mam i ntoMorKix itsa

BEER ON THE TABLE

Josh Thompson

0 i:i:.i!P.ni ■■■

TIL SUMMER COMES AROUND

Keith Urban

O CAfHOl (lA .".I, 1 -

KEEP ON LOVIN YOU

Steel Magnolia

OUTSIDE MY WINDOW

' ■ \\ . Ki,lDSOMGBlI''R;

Sarah Buxlon

»'

HILLBILLY BONE

■■■■'^i^LAItlOl

Blake Shelton Featuring Trace A 1 1 m n .

W»RNEC -

SARA SMILE Jimmy Wayne Featuring Daryl Hall & John (j tT : .

BACKWOODS

.! .:. i.MiL»(,JSSIOVtft)

Justin Mr.df*'

HELL ON THE HEART

'Ml 1 ii; Wfij SPitLMANj

Eric Church

9 CAPItOL MASHVILLt

GIMMIE THAT GIRL

Joe Nichols
® UNIVER v* 1

WHISTLIN DIXIE

Randy Hou^pi

EVERYWHERE 1 GO

Phil Vassar

9 UMIVERSAL SOUTH

LOVE LIKE CRAZY

Lee Brice

0 CURB

LONG AFTER 1 M GONE

... 1 ii :iL>N,a bUPAi

Big Kenny

O LOVE EVERVBODV/GLOTOWN BIGGER PICTURE

19 AND CRAZY Bomshel
1 JN iM IRWtN.J KEAH,K-0SMUNS0N-KSH£PAROl Ql CUflB

HIP TO MY HEART

The Band Perry

REPUBLIC NASHVIllE

■

HOW FAR DO YOU WANNA GO?

Gloriana

e EMfitEUWUNER BROS WRS

LOVE LIVES ON

r i -| aNS.MViESTi

Mallary Hope

©MCAriV,HVI.lF

THE MAN 1 WANT TO BE

1 1 IIGLSl

Chris Young

THERE IS A GOD

Leo Ann Womack

■. ■ 1 . 'l-DISi

©Mi'.iNAMM 1!

HIGHWAY 20 RIDE

H ■ ■ . . ■ ■(■(OWM.WDUflflETIEl

Zac Brown Band

42 44

STUCK

■i ■ 1 MOMIAW)

Ash Bowers

48 43

THE CALL

':riR[iON J CAMPBElli

Man Konnon
O eAMAjAM'STRniinv. .

. TEMPORARY HOME

WBH'..H- .■ ■■!-.■. 'lif' : L'.i-rW MAIOV)

Carrie Underwood

9 IS M/ ^i'. 1 ■

OUGHTA BE MORE SONGS ABOUT THAT Montgomery Gsntry

h ii.-.:i-. 1 (■ i;, .ii.vr -i 1,. i-"'.f.AN PO-nCVNfkl »; I'llBBLEl ■ ."i'-

CHASIN- GIRLS

r H-.Wiri ft ATKINS iR AlKlNS.IKtWITTS nt*N)

Rodney Atkins

^TOP COUNTRY ALBUMS"

sill

ARTIST Title

NUMIiEH . OlSiniliurittG LABEI (PRICE)

ill

^^^^^^^^^^^^^^^^^^^^^^^^^

ARTIST Title ti

1-.'' "I'll i UmbiH 'OtSTRtBUTt^ LABEL iPAlCEl 5

2
1

□

27 2

VARIOUS ARTISTS^ N(»t1,m«*.ICaiC<,ut»W !

CARRIE UNDERWOOD Play On

26 25

CHRIS YOUNG The Man 1 Want TO Be

3
4

LADY ANTEBELLUM Lad, Antebellum

■

28 29

BILLY CURRINGTON ^Iflle Bit 01 Everything

TIMMCGRAW Southern VOTCe

29 30

RASCAL FLATTS y^,^^^ ,

^"°*'"-*"°,,„„3,„ Gold And Green

31 31

JUSTIN MOORE j„^„„

ZAC BROWN BAND ^ _^ ,heFoun«»on

■

37 39

GLORIANA r-i„„,„.

TAYLOR SWIFT ^ Taylor Swill

□

■ITTt

^.'"''^"^Tt"?., Sar. Smile

f .^"f* , Wide Open

•

63 73 57

l^jlffl ^.aMiWMlJlHiTd!, '>"l>"«M*e«fc*8«fa» •

SOUNDTRACK Hannah Ma«naE The Mrwe

■

30 28

SUGARLAND , n„ Ti,. in.iH.
.■ -. wiiH^cWTO. ♦ LIVE On The inside

DARIUS RUCKER Learn To Live

■

33 3

1 ''^'-'-'^ . Kellie Pickler

)

MIRANDA LAMBERT Re.olu.ion

32 34

, . OM.«iu,.i Natural Forces

)

VARIOUS ARTISre^^ NM11«ffl,.lMACo,«,Cl«r.s

35 35

°'"^.' ".^",'.^,1J„.,„ Feel That Fire

'Ii
1

)

. c..ri,.«, American RI.C

34 32

COLT FORD Bide Through The Country

)

. E , .™iit» * '^0 °" '^""9

39 38

MARTINA MCBRIDE j^,^^

SUGARLAND ^^^^ Love On The Inside

38 42

KENNY CHESNEY Lucky Old Sun

RASCAL FLATTS i ,„.,„„„,hi.

EE T 1 i^i.jA ,:«iis Unstoppable

■

•

40 41

RANDY HOUSER ^ Anything Goes

)

GEORGE STRAIT^^^^ ^^^^ Twa.,fl

S6 az

^'r"""""", ,E..R0..3,.E ^•««-<"'

)

17
?0

18
15

'-^,'^E BIRYAN ^ Ooln' My Thing

1 lj»eSe!<ionsEP|miwE»di<*«|

a
u
4

I^EITH URB*" , Defying Gravity

•

47 55

WILLIE NELSON ^ _ American Classic

)

KENNY CHESNEY q^,,^^, „

43 44

ERIC CHURCH Carolina

)

ROSANNE CASH 1^,^,

•

44 45

TIM MCGRAW q,,^,^^, 3

' 1
2

r* M,^^-'°"''?°'', . ,„ That Lonesome Song

42 43

^*''^°™^nE,« EasyDoesIl

BROOKS & DUNN ,u ...And Then Some

1 RASCAL FLATTS ^ Unwrapped

ALAN JACKSON Son„ 0, u„ w i«««

■15 46

VARIOUS ARTISTS , NOwn^MalCaConr,

)

BRAD PAISLEY^ ^ American Saturday Night

41 40

^°.^.'"'="°'-o!.,„,,„s, Old Things New

□

TOP BLUEGRASS ALBUMS

2 41

1 9

3 12

6 57

4 62

11 11

5 6

15 20

9 66

IMPRtfiT .>. tJUWilt n OiSTHinuTIHG LABEL

PMSTEVE MARTIN TIvChm: New Songs For The Fw^a^)

BBS wawm fiioM^'wuctfi

PATTY LOVELESS

THE ISAACS

i.,'VTH.- 1,' -4 i, I F wan

STEVE IVEY

Thebaacs. rMunlr.AflAhtElACappttCalecttn

: lAL PROnuCrS 53659 MAOACV

Ultimate Bluegrass

IMountain Soul II

OLD CROW MEDICINE SHOW

RICKY SKAGGS
SAM BUSH

Tennessee Pusher
Solo Songs My Dad Loved

Ciicles Around Me Hj

SARAH JAROSZ

3LillJ%^-«1ff}<TWI0B(WCna(E ElGMPimCllllftlTialtnsiWlM

uAI-ittli MIL-;ii_ liH'JUP iim

Song Up In Her Head Jjjjj^

Doors And Windows

BETWEEN THE BULLETS

THE LADY IS LARGE

Up l,i million imprt?ssions in
its third week atop Hot Country
Songs. Lady AiUebellum's
"Need You Now" collctts 39.3
tnlllion inipressioiis durint» tlie
tracking week, tlie largest weekly
snni siriteOrrie Underwood's "[esiis, Take the Wheci" stacked
39.8 million on the Feb. 4, 2006. chart. Meanwhile. Tim Mc-
Graw claims his 44Ui top 10 on Hot CouiUr>' Songs, as "Soiitli-
ern Voice" improves 1.9 million impressions (1 1-IO). ranking
him second among artists with llie most top 10s in theciirifnt
decade- Tliat list is led hy Kenny Cliesney's 28 top lOs. while
Toby Keith ranks third witli 25. — Wade jfsscn

a for week of DECMBER 12, 2009

For chart reprints call 646.6S4.4633

Go to www.billboard.biz for complete chart data 41

120091

m -fA :

BillbMrd.

TOPR&B/HIP-HOP
ALBUMS

ARTIST

?3 9o TITLE i*/PRINI DI^TRIDUTING lABCl

^. ,-J WIbihanna

* ' BRS lUTED H ^^RPi'DEf JAM OiaTSUDJIM

1
■

MICHAEL JACKSON

wmii ^vth; ixe D IT itauoMOQUiieTC «R«Mr«ac

■

50 CENT

itfCMisaJMSTiui ♦

■

LUIUIU THE BLACK EYED PEM

n^lmi^ T«[ HJ) iHTERSCOfE 01 ZU7*/1IM

JAV-Z

THE BlUEPRINT 3 KOC M*IIOM S?0fl56* AG ♦

BIROMAN

maiiHr.vjiM-fr('M.i^viMi''v.'. 1 i ■

BEYONCE

WHITNEY HOUSTON

1 lOOK TO YOU JKI ."i l'"'r (j -Mil

■

JANET

HUMSERONES J^.V M l"' ' Mf:'l

MELANIE FIONA

THC BRIDGE ■ : i .tn^;.L U'jluWU ur J 150 ..VRb

TREY SONGZ

ntJlDT - III, ! ml. ATlMiTTC 5IB794 M

DRAKE

MAXWELL

HLICKSUMMEnSNIGHTCntUUilLAKTUZWrUUSIC *

UWn BOYZ M MEN

miH:l LOVE OECCA 0133913$

EMINEM

liELAPSE .'.I . ■ 1 ..■ ii-ii,'.-. irirsk/'.tt i:i.v»..r ii.t

VARIOUS ARTISTS

•

ANGIE STONE

UltE«PtCIEO ■ lUi Kll

BEBE & CECE WINANS

STIU ■ -.'-I

MARIAH CAREY

MEU0IR5 W AN IMnnriCT MOa GLMIOI322MJUG

JACKSON 5

ULTIMATE CHnSTHAS CttlECIIOil UOTOHN 0t34«LM

BLAKROC

HLAKHOC !■! -1 1 i m?' f»

PRINCE BRIA VALENTE

LOTJS TLOWSR MPLSOUNO Elina ilt'G 09^19 EI

KID CUDI

wxifmiTf Bivi*.<E«Ka:ajMiuHmmm *

RAKIM

THE GtVEHTH SEAL RA 3E?*;SMC

WIZ KHALIFA

DEAL OR RO DEAL iHlRHDf* 24

WALE

AIIERTIONDETICIT -LLIDQIWIEflSCOPEOti '

LIL WAYNE

iMACAITTEmi - 'M'Hl*MTl6AiyCI0Wl':i

TINA TURNER

UNA! ■ li . I.'2

TECH N9NE

K DO ' li>"'.I.E C.I R8C

NEW BOYZ

lAHlY JUS MO A MC 'HDHY Ah^UM UMSWEKR 94£

PRETTY RICKY

PRETTT RICAT ' ' i ' A1 U2 TOMIKY IWV

CHRISETTE MICHELE

MARIO

PITBULL

HEMIUIKM MH ^IJS POLO GHOUND&J SI991/nUG

■

K'JON

IGCTmiWUP&Ui'UMVIKSM HtPUBUC l)l31SaUUR6

LETOVA

lADT ItJWf cftpnoi 9r?b9

JEREMIH

JERIHIH MrCK SOiUIT; Dtf JAM OI309S*i'IOJIK

LIL- eoosiE

SLrmU TIC miM tf RDX W UI iSVLII WMI pa

AKON

F^cfoow n- JiyonwMoizwuwe

MARY MARY

iMtsouMJ' ': ■• ■ .'tcsr-.'stKi'Muac*'

BRIAN MCKNIGHT

EVOLUTIOH OF A MftN H., - ,. .-, jRK ^,^^Z•l^

VARIOUS ARTISTS

hM' T-4n M 1 'jm oisxivjiimtujsta^msainieK

INDIA.ARIE

MICHAEL JACKSON

THE DEFtNinvE COllECTION M JItiWII OHWlVIU

AMERIE

ID LOVE A WAFt I > t NiK RlSWanf JMU 013Z?UUIQ

JOSS STONE

COLOUR ME EREEI viRGHl i7(M EXrCAPITOl

FABOLOUS

mn WIT [iOuwTHioij ttSBn ^mue m imtVM *

T.I.

P»PtllTI»HGfiJlN0MlKIltAtlANTCS1??fM- nc. ■•

BEYONCE

SLUG a MURS WITH AESOP ROCK

FHT3 ATniUIETOM»IEPERUnHVt^('.'i.t>^ i "i

RoE-a-FelU Eo-founder Damon Dash
launcfies his new venluie, Blakftoi, ffjlb
an album of the saine name. The title
bows al No. 21 on lop tU/Hlp-Hop
AJbums (7,000 copies) and features guest
lurns Irom Jim Jones (pictured). Q-Tip
ludacris, RZA and Hos Del.

I EMPIRE STATE OF MIND
AAT-r . ALICUIIEmiHElC RATIOHl j

I INVENTED SEX

TRET sour.; EEAI IIHAKE iSOIiG BOOA AUAMICl

MONEY TO BLOW

WOWIEEAtmglKIWWIAJiaHOCVLfftERtAWTCWTWei

PAPERS

USHER -J|'.':t .11^1

BABY BY ME
so CEHT FEAT Ht VO i

-.HADYAETEItMATH.'mTfflSCOPEl

a 5 13

6 9

a 7 15

Q 10 7

10 9 19

tP «>

14 3

12 5

16 26

JTPAKt . . ' ' : 1IIE6TJLITIE IRTERSCUPEl

I CAN TRANSFORM YA
CHRIS CFIOWH EEAI LIL WATHE A SWIZ3 BUn tJtvE JLCil

REGRET

LETOTA FEAT LUOACHJS jCAPITOLl

IT KILLS ME

HEIATIIE FIORA .^RC UMVERSAl MOTOWN, UMRGi

WASTED

GUUimWLIEAT PmOHCUDAAl

BAD HABITS

MAXMLL iC:.'LUA'F,IA

HARD

R1HAHHA FEAT JEEIV t

iHP DEE jAM IOFMCn

^ 21
© 18

SPOTLIGHT

GUCCI MANE F»T USFM iMIJAY ASYLUM WARNER BROS i

BREAK UP

MARIO FEAT GUCCI MARE A SEAN BARRETT IJ RMGI

SAY AAH

IREYS0NC2

I LOOK GOOD

CHALli SOY - .

17 7
20 0

I GET IT IN

QMAfnOHFEAIGtJCCIH

I i^AfflWTLi>MjsCA1»fflHlG.CIWai

GANGSTA LUV

SWOOP DOCC FEAT TTCOWAM AWGSVSTVltHlpinY.wna I
UNDER
eilABUREPi'

■

NUMBER ONE

R AELIT FEAT KERI HILSON II'.'F rl

^^22

Q 30
'^^26

2
5

FRESH

6 THE G '.'1 '. I' r.[ BAIURV

■ni BEDROCK 1
lial TDIRG KlffT .J tie TOCnCmUEIMBflSILWIDMWWM

TIE ME DOWN

HEW BOYI FEAT RAY 1 illi'DIlY ASYLUFA.WARNEH BROS i

RUN THIS TOWN

JAY 2 RIHANNA A KANTE WEST IROC NATIONi

THINKIN' ABOUT YOU

MARIO < ilMUi

VIDEO PHONE

BEYONCE "ii' i. wnw.ri COluMBlAi

SEX THERAPY

ROBIN THICHE ■ . ' .' A. INT£ RSCOPE 1

GOTTA GET IT

JUVENIIE 1 . . : ..1 -III r

EVERYTHING. EVERYDAY EVERYWHERE

FABOtOUS FLAF KERI NILSOH .ni It^l Mi>^l' "fl ..'.'.n: iM^i

1 M GOING IN

Wf!.!! .LAA'YiFILiCJiEIY fi ; - ^

TRY SLEEPING WITH A BROKEN HEART

ALICU AEYS i'.lhK I HMl..

HOW LOW

lUMCRIS ::''P Ul* JAM |].iAIC.i

I AM

MAHYJ BlIKE iM*ttil6

ICH bUttrt.lflTLH^COI'il

O LET S DO IT

FIOMA rUHtt .SO ICEY.'ASnUWWARWtR BROS

I GET CRAZY

NICtllMIHAJffAT III WATK | vDl|^^■ V'OSi ' i

LOVE COME DOWN

DIDDY OlHTTMOHtT 9*0 BOV IMIERSCOPEl
MEDICINE

P11ES fEAT KEBI HUSOW iBiG GATI5 ATLANIICl

FED UP

iijiwmBfwuaeLCWMii.HXMjBHiiK»iPM-«Tna5tth
TRY IT OUT

BIG SANK BtACK FIAt UMM'OUCT TAPtDEf JAM IDJMGi

TITLE

ARTISI 1 '.'''n IJT PROMOtlDN LAB(l)

■II

Kl EMPIRE STATE OF MIND

BSa J" 2 . AIIUA KEYS |ROC NATION)

SWEET DREAMS

OtVQNCC ■■ CCi.UMBl*l

■

WHATCHA SAY

JASON OEHULO ^ "f liHlS-WmUffl BROS >

FOREVER

DRAKE u;.- '. ,'uliE IrSTRtAMllNt'lNTrRSCOPEi

SEXY CHICK

OAVm GUETTA FEAT. AKOH <GUM ASinAlWERKSiCAmOL>

REPLAY

IYA2 ■ ■ l.'t 1 P.'i iliXfltLLGA HtKiHISRtffllSLWWHtR fiHOS 1

DOWN

JAY SEAN FEAT UL WATNI (CAiH tjH>itVUUVtRSi>i HlPljeuCl

PAPARAZZI

lAOY GAGA i .Il i.ir,';i'.L^r:ri[MCH[ll«vjBELf(ItRSCOPtl

MEET ME HALFWAV

THE BLACK EYED PEAS r.M--' ■'-■f.i

TIE ME DOWN

NEW BOYZ FEAT HAY J -..H'. : ' v is : VLwM WARMER 8R0S I

GANGSTA LUV

SNOOP DOGC FEAT IMEWCMI lO0GG¥Sm£PRBfimr€*f1IOLI

RUN THIS TOWN

JAY 2, RIKANNA A KANYE WEST iROC riATION»

1 CAN TRANSFORM YA

CHRIS BROWN FEAT HI WAYNE 4 SWIZZ lEAn (JIVE JlGj

DO YOU REMEMBER

iXrSEWfUt SEAM niA ill. JON iCAaiMOCY.UMffiAL'SPuaCI

BABY BY ME

iO CIHT FEAT N£ YO r H.vn* AFTERMATH.'lHTERSCDPEl

BREAK UP

MARIO FEAT GUCCI MANE t SEAN GARRETT (J RMG)

THROW IT IN THE BAG

FAHOLQUS FEAt IHE-OflfAM lOESERI STORMVCf JAWKUNCi

ONE TIME

JUSTIN MEBER [f-'i ■ i'.' Mi'.:

ISilCIlIH RIHAMHA FEAT JEEJT |SRP>'DEF JAMilOJMC)

TIK TOK

KEIHA • : ■.! ■ . ,■ . '<..

SPOTLIGHT

GIKCI MANE FUT USHER . - . . ',1 A'1 = NtR BROS 1

MONEY TO BLOW

BAD ROMANCE

LAXIY GAGAi .i: ■.„■ .! n-,(ilNE CHtRSVlREtmTEHSCOPt)

SHUT IT DOWN

PIIBUIL FIAT AKON ■■.'■i i'OS.'POLO GROUFtDS.'J.'RMG)

BnilHETSPUflS 11 V> Ihi

EVERYTHING, EVERYDAY EVEHVWHB1E

FABOLOUS FEAI KERI HILSON LflYfRT SIWUDET .1A;aiOJMG)

WASTED

GUXl HUIE fEjn PLU Ofl U U JUOMH iVEAY so a> Kl<MR VOS 1

1 INVENTED SEX

TREY SOMGi FEAt OMKE (SONG BOOtC' ATLANTIC)

BEDROCK

VDUNG MONEY (\ar£ MOCY CASH MVCVlMfBISA. MOTDM)

HOW LOW

LUOMRIS m JAM.KUUGi

PAPERS

USH(R il .MtL.' JlCi

GIVE IT UP TO ME

SHAKIRA FEAT UL WAYNE <[P1Ct

3«

1 GET IT IN

OHWON FUt GUCCI MANE '^lAflwonQMUSCMlAKS'TU G CAFda 1

OH YEAH

JAICKD FEAT SNOOP DDG6 ICAPITOL)

HOLD MY HAND

stun p«ui ■.■[■ .■ .-. rr ir 1

YOU BELONG WITH ME

lAYlOH SWIFl ■ . . H".[ UTIivfH&AL RtPUULICl

I'M GOING IN

SUCCESSFUL

nui FUt ti! ' itk; 4 Li 1 -rijc wcYcwMimiM^

GOOD MORNING

CHAMIU IQNAIIli i: " 1 1 -lARY UKVCRSAl RtPUBllCl

1 LOOK GOOD

CHAIIEBOT iDIHTf JHU.iJIVL BAITEHY)

BETWEEN THE BULLETS

RIHANNA RULES WITH FIRST NO. 1

Aitcr d liinuilluoiis year. Rihamia rises triumphantly to
her first No. 1 on Top R&B/Hip-Hop Albunis as "Rated
R" debuts with 180.000 units. Tlic same total nets the
singer her best sales week on tlie Billboard 200. debuting
at No. 4. Her prcvioiLs best sales frame on tlic big chart
came when "Good Girl Gone Bad" entered with 162,000
at No. 2 in 2007. while on Top Rt;.B/Hip-Hop Albums,
her "A Girl Like Me" posted her previous chart high witli
its No. 2 debut in 20O6.

Leading up to the album's release. Rihanna per-
mit formed at the American Music Awards (Nov. 22) and on
'■Cu<jd Morning America" (Nov. 24). Eyes were also tuned in to her "20/20" interview witli Diane
SawyiT to discuss the February assault by ex-boyfriend Chris Brown. — Raphael George

21
11

IQ1 10

MILLION DOLLAR BILL

WHITNEY HOUSTON I "VIG|

PRETTY WINGS

84AIWHL 'I 'i-.i-..

CAN T LIVE WITHOUT YOU

CHARUE WILSON ■■ ■ .IlG^

DOESN T MEAN ANYTHING

AIICIAKEIS ■■' ■ ■ ■■ II

WHAT I VE BEEN WAITING FOR

BRIAN MCANIBHI .H/iH;> Vi;.tHK |1|

PAPERS

USHER 11 '-.■-■■I I n :,

AINT LEAVIN WITHOUT YOU

JAHEIM ■■ . ■•II ■ ■■<■- I

CLOSE TO YOU

>E8E * CECE WtNAMS iHM MFtLACOj

THIS IS IT

MICmtL JACKSON FEAI THE MCXSORS iTdLLliPICCaLM

ll'J.'iVili VESTERDAY
[^JyliH ^O") BRAXTON FUl niETS(Wg|ATLAN
IT KILLS ME

MELANIE FIONA -i : LlSIVifl^AL MOTOWN HMRGi

RELIGIOUS

R KELLY I vr M.,i

KEVON EDMOHDt .MAKE .

GOIN- THRU CHANGES

LECtsi vif-v! iiinn .1 -t vravti

DON T MAKE EM LIKE U NO MOR

RUBEN STUDDARD ■ . ■■ i - . l;v jjjm

TRY SLEEPING WTTH A BROKEN HEAF

ALICIA KEYS .1 iit/G<

I LOOK TO YOU

WHIIHEY HOUSTON ilHIbtft "MUi

THIS TIME

uiiFuiiHBajWii(JuunKuifCi-'i^c'.i/.'."A-

I AINT HEARIN- U

AKGIE STONE , TAI CMGI

DONT STAY

LAURA IZieOR i-^lLArjTICi

CAN T HARDLY WAIT

N'OAMBI I - f ■■ ■ 'i' ■ UGl

BULLETPROOF

HAMEEM DEVAUCHN FEAI LUOACIBI iJIVE.JlGl
STAYING IN LOVE
RAPHAEL SAAOIQ Ml-i;.i

FISTFUL OF TEARS

MAXWtll ilTil :iUL(IAi

title

ARTIST ilMFHiNI PROMOTION LABELl

Vn EMPIRE STATE OF MIND

OSS JAY-I • lAICtt urn IROC NATIONi

FOREVER

DRAKE . ■ .. . 1,1'.' nU.'nilF J ^ipFAMII'll iMH;

4
3

8
11

Hfl MONEY TO BLOW

Igil ■*a'<ARIIIAMITIlMBIl.lAViU»'' .J. .
BABY BY ME

50 CENT FEAI HE YO Af TERFJAIll I'lUi. L ,1

WASTED

GUCCI LUBE FEAI FUE3 Lit OJ MJUEEIIW iLKAr^ OY'AWT^F 1

GANGSTA LUV

SNOOPDOOGFEATTHE OfVAlE iITOQeYSTVltfWOWV, W

THROW IT IN THE BAQ

FAMtOUSFEAI THE DflEAAl illF^FII STTMAOCE JAUT: '

RUN THIS TOWN

JAT.Z RIHANNA A AANYE WEST iROC NATIONi

TIE ME DOWN

NEW boy; FEAT HAY J ".VAHNFRBR

SPOTLIGHT

GUCCI AMNE FEAI USHER ■, , ' ' .v.'.ilM II PR

1«

BEDROCK

TOONOINIHF' .

I'M GOING IN

lAAI! ISA' IL ANTE t iHT \kll. ULAEl U> UM'. Ji£F^ W .'

1 LOOK GOOD

CHAIIE BOY .I'lin 1- IH'.) Ji^t 6ATTERYI

EVERYTHING. EVERYDAY EVERYWHE

FABOLOUS F(AI KEHIHILSON . i -FHI SIOP.MIKf .AHIl

BEST 1 EVER HAD

DITAAI ir:i rib L» '*£ > t-ASlI LWAVLINFrtRyL UOTCWNUl

HOW LOW

LUDACRIS il'TP riFF .lAH lOJMOl

SUCCESSFUL

;ii.. !r'i[ri\i..|.i«mi,Taiewc»9i«iE. •..

JL-

5 STAR CHICK

YO GOTTI il'liLU GROUNDS.'J.RMG|

FRESH

fi TRE G iMOONSIONE. JIVE BATEERVF

BE ON YOU

FLO HIDA FEAI NE-TO IPOl BOY. ATLANIICl

SHUT IT DOWN

PITBULL FLAT AKDNlMR JOS POLO GftOUNOS J RATI

1 WANNA ROCK

SNOOP DOGC 1 i.ilVSIYIi PRIflHIIYCAPIIOL I

WE BE STEADY MOBBIN'

LIE WAYNE FEAF GUCCI HANE iNOI IISUHl

GOTTA GET IT

JUIFENILE 'iri tl .LtiANIIC.

1 GET CRAZY

NICKI MIHAJ FEAT LIE WAYIK [YOUNG AlUNiYi

42 Go to www.blllboard.biz for complete chart data

Data for weak of DECEMBER 12, 2009 I CHARTS LEGEND OEl Pagi

g^HOT R&B/HIP-HOP SONGS

■fil

TITLE Artist

cwuowCL'i i'>oN(jWHiieiif IMPRINI ; PROMOIIOK LABEL

0 PAPERS Usher

■ i;..- f;( I ■ JAY-li. r-i (U HAYMQHQ tV.S.SflftWETT.it 0QT&0W> MATHIS i Q I flfAC£'.H.G

I INVENTED SEX Trey Song? Featuring Drake

■ ■ I i .::a[ES l MEVERSOtt ft GRAHAMi O . . . !■ ..ri-ii

EMPIRE STATE OF MIND

■v^B^a^3auRl>^3EW^^A^B<;A^u^^EA^gl

MONEY TO BLOW

-J

1 Keys

Birdman Fe i

iHAHAM.D CAHILR C GHOlEDNt Q C*:-

BAD HABITS

Maxwell

® C0LUU8IA

PRETTY WINGS
BABY BY ME

Maxwell

COLUMBIA

GREATEST
GAINER/URPLAT

iaCkSON jr J jones.s smith
~ IT KiaS ME

JHJ*U.WHTtl |Ai4IWKHLJITL£JQW F L&WUStUWS)

50 Cent Featuring Ne-Yo

) !]i-.in¥ AF'EHVUTH INUHSCDPE

Melanle Flora

FOREVER Drake Featuring Kanye WgsI. LI! Wayne & Eminem

,;GIWIiMKW[STOCAflUflMIA*rH£H&l 0 Kl-HvEY UaSCiiONE 4SI8E*ilL«E,»tI£RSC0Pt

■

WASTED Gucci Mane Featuring Plies Or OJ Da Juicaman

1 CAN TRANSFORM YA Chrls Brown Featuring Lll Wayne S Swizz Bealz

HT'lVfl J hOVD.K OEAX J A BEREAl 0 CARItRt ® JtVt'JLO

SAY AAH Trey Songz

1 iK-;[n nAVU)R.:RMFrHfBrr,.IR TNEVfRSOHlSCAlESNWAlKAOCORFlli 0 MW6 BOOH'AILAKTIC

GOO IN ME Uaiy Mary Featuring Klatra -KIKT Shaard

" • 1 .'.VCAWrflEll £ AIKItlS CAMPOrtl TAIKIMS CAMPBEll) O MY flLOCtCDlUAABlA

REGRET LeToya Featuring Ludacrls

■ 1 r.r<K,KSTtPt«NSO«,JVALEflTINELlUCRniflR£WISR JfHAWimCEiliOaS^ O CAKTOl

BREAK UP Mario Featuring Gucci Mane & Sean Garrett

l.><:Mf.mORD(&GAnRETT.SCRAWtORDRDAVlS| |»

HARD Rlhanna Featuring jMzy

TRASH ft RASH C A SIEWART R rENTVJ WJCNKIRS) « SRP.DEF JAUnOJMS

DOESN T MEAN ANYTHING Alicia Keya

K4ILLION DOLLAR BILL Whitney Houiton

NUMBER ONE R. Kelly Featuring Kerl Hilson

■

1 LOOK GOOD Challe Boy

.: WiUFAMSI 0 'i;! ■ .H'.: ; .'i :;r.r ' i

1 GET IT IN Omarlon FealurlFig Gucci Mane

SPOTLIGHT Gucci Mane Featuring Usher

BEDROCK VfTlinn Unnov F.--,11l!f.nfi I Fiyd

AIN T LEAVIN WITHOUT YOU l i i

UNDER Pleasure P

■

THIS IS IT Michael Jackson Featuring The Jaclcsons

■■ 1 M:aSOK PARAAI MJJ EPIC COIUMBIA

■

CAN T LIVE WITHOUT YOU Charlie Wilson

I'M GOING IN Drake Featuring Lil Wayne & Young Jeezy

■

GANGSTA LUV Snoop Dogg Foaluting The-Dream

■

5 STAR CHICK Yo Gotti

CLOSE TO YOU BeBe S CeCe Winans

■

TRY SLEEPING WITH A BROKEN HEART Alicia Keys

TRESH 6TreG

ON THE OCEAN K'jon

HOW LOW Ludacrts

■7, iiFMSCRIOENtFOURESADLERHSHOCALEE) OTPITEF JAM/IOJIHG

THE POINT OF IT ALL Anthony Hamilton

THROW IT IN THE BAG Fabolous Featuring The-Dream

■

WHAT 1 VE BEEN WAITING FOR Brian McKnIshI

' F '. 1 F' ■ Ml O HARD waflRFEl

■

1 AM Mary J. Bilge

F,L IASERIIFSEN.IEt<nrAANSll4JAUSIIN.E0EAR.MBEITEF UAlRlARCHQUrEliTrVtERSCC^

■

RUN THIS TOWN Jay Z. Rlhanna & Kanye West

VIDEO PHONE Beyonce

■ ■.F i: ■ -FlFBHROLMESLBKROrtUSSCRAWTORDSGAIIRETTABinHtE) (WD ViUItU COJMtt

SUCCESSFUL Drake Featuring Trey Songz a Ul Wayne

SEX THERAPY Robin Thlcka

LAST CHANCE GInuwIna

■

WE BE STEADY MOBBIN' Ul Wayne Featuring Gucci Mane

i ■ ' 1 ■ 1 ..; ,lj|| R FLAVIbl ROT LISTED

TIE ME DOWN New Boyz Featuring Ray J

1 GLi CKA^Y Nickl Minal Featuring Ul Wayne

. li YOUNG T^ONFY

0 LET S DO IT Waka Flocka Flair"

' ilFlflFi Sn iCfY AF.yLlJU;WARREfi F"

BLAME IT ON ME Chrlsette MIchele

COIN THRU CHANGES LedlSl

■

YESTERDAY TonI Braxton Featuring Trey Songz

1 1 , J -IF'.KS J ARMSTRONG M WHITE. TBATTLE 1 HRAXTONi AlLANIIC

EVERYTHING. EVERYDAY, EVERYWHERE Fabolous Featuring Kerl Hilson

GOTTA GET IT Juvenile

RELIGIOUS B, Ken,

□

Wilhtiotidav litin
entering r^tlto
rotation In lieu of
uinm lite,
particubfly at adult
Ml. Fiona's
audience iiKteax
ol 1.8 milion
InipitiSloiislsUK
snaHestlota
CieatestCainR
Kinnet an year.

2 WEEKS
AGO

411

TITLE

FLEX

Artist

tUPRWIy PROMOTION LABEL
DJ Mr, Rogers Featuring The Party Boyz

SWEET DREAMS

' I IB KWOWltS J G SCHErHft .■■

Raheeni DeVaughn Fealunng Lud.irriR
.'.'tUGMN.C BBIWiES.C UAVdL.tii 0 ■ ,

ALL THE WAY TURNT UP

■ '_ __. _ . II '■ •>;ij\..iu.C ARC£0)
ECHO

Roscoe Dash Featuring Soulja Boy Tell em

V (R HtlLYJ SUECOFO CAMKR.C KEILVI

R. Kolly

DROP IT LOW

prunw M im \.\ jQNES.E OIUN.C BBOWWl

Ester Dean Featuring Chris Brown

9 HARVfV MASO«.'ZONE ^.'SIREAMU'Jt.ir. IbKblUPt

I AINT HEARIN' U

I M GOOD

Angie Stone

AMS G THORNION I IHOHKIONi

Clipse Featuring Pharrelt Williams

SAY SOMETHING

J ItAWAm A GRAHAM TCUVTOKJ lUULfSflt i

Timbaland Featuring Drake

□ iclriy ■ Dirlv Wnnoy

LOVE COME DOWN
OH

(iliCURliS 3^ iG b '„URIIS SH .K.tDMONDS.JMEIILEMEVi

WANNA ROCK

6.DtyiUE_^C C BHOfcDUS M l MtltIN* R CIWVAWl, JB )

MEDICINE

CUUI'tV I't hii'i I ,v.Vi"irii;;ii'ii

•

i
■

•1

in'

Snoop Dogg

# DOCfiySmE/PHIOHITV/CAPIIOt

Plies Featuring Keri Hilson (J^l

FED UP

Ii-fei-i;;,- I'.

DJ Khaled Featuring Usher, Drake, Young Jeezy & Rirk Ross
I ■ '.liitfcRISIAawVWAWffli.t^i iMi-tij', (H ^V: \ ■■ ■ ■ •

TRY IT OUT

3ig Bank Black Featuring KAindi

THUG

Slim Thug

INDEPENDENT

J huEy iVSMoriFS;

Candi Redd

® («FVIBE:'HALL-A-fAME.'UWAUIHQfllfEO, ASViUM V>'fl"^h" !i"ii .

FISTFUL OF TEARS

Maxwell

d COL' Mhii

Snoop iai, placed ii
two tkbuts on
ii!^ chart each year
sifKe1998. In total
h«owis57
•tiiMarances. the
fd-mtjstbyarap-
-(aftefJav-Z(9J)
mi UIWaYT)e(&4).

NEVER KNEW 1 NEEDED Ne-Yo

Cf r-,' ..r.ViN) DEF JAMiWALI DISHEv.mjWG

DON T STAY Laura Izlbor

' i ' ' 'ii:i e AIIANTIC

75
1

HEADBOARD Hurricane Chris Featuring Mario + Plies

!■ .'1 ■■.■t'iTLii_!!i-.H|i.iA.!',v ."'1 rj., ■ ■. ■■■MUmaStfCttKi ®P0L3tm«Kifl»;

■

EMPIRE STATE OF MIND (PART III BROKEN DOWN ADcla Keys

' • V ! ) S ROBINSON) MBK'J.RMG

86 -

DON T MAKE EM LIKE U NO MORE Ruben Studdard

TIP OF MY TONGUE Jagged Edge Featuring Trina & Gucci Mane

Ni ■ 1 .! I .(, : : 1 --III Q 5L1P-H-SLIDE

■i

93
75

CAN T HARDLY WAIT N'Dambt

■! ii ■,i.'.',V' i. i IK RLBflEAU<SMtLMEHO*0UILlSnVtHSIHy ® COCO RED'blAVCUG

■

1 LOOK TO YOU Whitney Houston
. - . 1 WaSON JR IRKEIL*) 0

PRETTY BROWN Amerie FMturing Trey Sn

flat

CRAWL Chris Brown

19
ii
70

\ ATWEH |C BftOWN.A MESSIN6ER.M ATWEH.l BOVD?

MY HOOD

BETTER BELIEVE IT

B.G. Featuring Mannle Fresh & Gar I

Ul Boo8l« Featuring Young Jeezy & Webble

.it-amr JR.JWJEHKlHS.WWimAMSt 9 IWILL'ASVlimWARNrii rrjn ,

H.A.T.E.U.

MCARtVi: SILWiiifll I NASH i» CARtVI HA.SH,C A STEWART)

BREAK UP TO MAKE UP

» SCH'JLi; <,l KLTON M SCHUU^i

HELL OF A LIFE

flAMA ,;i: ■ HdHRIS .IH ,F U MILt;

Jercniih »

MICK SCMULTt Ptr J^M 1: .Vlu

9 ORANU HUStLE, AlLftSIIC

US O KENNEOY.J JONES.J PCMNOCK J KUGEU.T M HCCARTHV.K UAHimi

STAYING IN LOVE

Raphael Saadlq

•iSfthg ill niASftr S't'AART -ri.aSH C fl SIEWARli

The-Dream

) RADIO KJILA DVr JAM OjMU

FtnxHutes little
time making his
chati return. One
tnonOi After hb
monster tnash
'BtanMrienOK
bt— moving to
Kcwnnl status-he
debuts HPKh the
leattoflsln^hom
htsne]tlanium.(kt«
m ^-((uarter 20)0.

HEY DADDY (DADDY S HOME)

IH( H !■ .1 v ■ ■ u- 4 HAHft,J.rAC«SON,U RAVMONO IVt

Usher Featuring Plies

HOME GURL

Clh UNDER SEIGL DEF

SLOW DANCE

j^Pfl this tFme

U ^ J HAPMOH K S UXiiWJ 0 Smtn^

Keri I til'
»M06IIViTO€4r,i

K'Jon Featuririg Lee Ertgland Jr. & Augustine Alvarc

9 UPtUP. UNIVERSAL REPi f Li . i

SAY A COMMAND

0 E - :■ L ■ '.rr-i ■. 5 smith s smith c uaimiE.E heahda.

Pretty Ricky

O BluESIar lilt, CAT i~.'m: ■ nn

SPEAK FRENCH

^ liAflWfcl r S [IfHAWfORO H OAVIb)

□ LIL' FREAK (UGH UGH UGH)
n.i PAHL..ii]tCV ■ tPHEAIIRFGAftO.] HOUSTOW WGRADWEV. JR )

Jamie Foxx Featuring Gucci Mane

Three 6 Mafia Featuring Webbie

O HVPN0II7E MIMCi. ' ■

93
41
«
H
ST
BS

NOVEMBER 18TH

NOT LISTED (* GR/iMAM P CARTERj

V0I;NG MONEV 'CASII UONEV UHIVERSAL MOT'I ■'.

BUY YOU A ROUND (UP AND DOWN)

n THDMAS SIMMOWS.

Verse Simmonds

G nARKCHiia.'iNIERSCOPE

BETWEEN THE BULLETS

PAPERS' GIVES USHER 10th NO. 1

Uslier s first single from his uptoniiiig album registers his 10th career No.
1 oti Hot R&B/Hij>-Hop Songs and breaks a tic with R. Kelly (or the most
thart-toppers since the tally Iwgan using Nielsen SoutidScan data in Decem-
ber 1992 as "Papers" lifts 2-1. His eighth No. 1 since 2000. tlie track also
moves Usher past the chart's former leaders )ay-Z and Alicia Keys, each with
seven, for the most chart-toppers in the same span. On Adult R&B. "Papers"
(No. 7) is Usher's second career top 10 after his last visit to the region. "Here
I Stand." spent seven weeks at No. 1. — Ruphat-i George

a for week of DECEMBER 12. 2009 1 For chart reprints call 646.654.4653

Go to www.billboard.biz for complete chart data 1 43

BillbKir«l.

niclscn P.i.V|sv:

BDS Sounds,

CHRISTIAN SONGS 1

□

TOP CHRISTIAN
ALBUMS'

ITii

TITLE

iflllST iMI'nUil ' I'ROWDimN l*Btl
lyiCITY ON OUR KNEES

B^SlOiTiUC (CiiU'HmT (Ml CMC,

1 1

ARTIST

TITLE IMPRINT A MiMetR < OlSTRlBUTIM UBEL

K| CASTING CROWNS
lWHliwwiMi«iw ti. -w^nmmm'

UNTIL THE WHOLE WORLD HEARS

CSSTIHC CHOWKS ■■ i 1 V 1 i ■ K PUi

gijl^iy CHRIS TOMUN |

WHAT FAITH CAN DO

VARIOUS ARTISTS

HUIltSS 1 ■ ■. '.'ii

»o*itfTiaiu .' ■ .1

THE WORDS 1 WOULD SAY

SiDtWdLK PfiOPHdS 1 L , > !.I WORD-CURB

SWITCHFOOT

G 28

HOLD MY HEART

lENTM HVENIIE MOHTH ' 'il PLG

FLYLEAF

MEMENTO WORt ' ■::TO^E Ullit? iWI ; l>

REVELATION SONG

FHilliPS CfliliO i Of AH r.i)

STEVEN CURTIS CHAPMAN

llt*UTT wiu RISE lARROW 6516 (Ul Wb

BORN AGAIN

IHKID ant MAI lACEV MOSltV tSSENTlAl.PIG

FRANCESCA BATTISTELLI

MI PAPER HE*R! ' • • .'1 M H^~--.:h iVl'iRH fiiR-i

SING, SING, SING

CHHIS TOMUN SUSTCPS^PARROW.tMl CUG

SKILLET

HE IS

MARK SCHULTZ .Mmo CURS

CHRIS TOMLIN

HELLO LOWE .. >:,I!Rl. ^cAiiiMi.V J^bH [M ^l>.

LEAD ME TO THE CROSS

CHmS AND CDMfUO V'i"

MICHAEL W. SMITH

ANEWHIIU£ULMHHE'JtE«ti tO'33n<(Till]t'J!flltGR;t*

HOW HE LOVES

DAVIO CnOWOEfl BAND ':iX^IfP$.'SPAnROW'EMI CMG

KUTLESS

IT IS WELL I'fC ri:i [Ml LMr,

18 n

FORGIVEN

SAMCIUSREAL .■JKHOA f Ml CUG

DAVID CROWDER BAND

CHtJItCH MUSIC IV bPAHHOrt EMi CMG

ALIVE AGAIN

MAII UAM(« ■ ■ ■ "l^Ul PIG

;©

THIRD DAY

REWEEAIIDN 1 , ' ■ 1 1 rj*53 PflOVIDE Ml .^^^GRIIV

LET THE WATERS RISE

BARLOWGIRL

LOVEAWAH' .1 .1 H37S6IWORO-CUBB

HEAVEN IS THE FACE

SIlWfM CURIIS CHAPMAN 1 J.flHUW IMI CMG

RET

SELAH

YOUOEIIVIRME ' 1 -giiaWOBO-CUHfi

SALVATION IS HERE

LINCOIN BflEWSIEH I'l"! . H:v

PURENRG

THE REAL TIRNG i ! .[NT B47;95 WORO-CURB

I D NEED A SAVIOR

AMONG THE THIRSTY REV

SARA GROVES

RRf FL1E5 iWa SDtCS ' .ME »JQ iniraCNIllHTWECHIV

21 8

ON AND ON

CNASEN .:i<

THE PRIESTS

lURMDNT 11 . . i.'rR imsjfm

19 17

FOLLOW YOU

ItElANO WITH HHANOM HIATH ESSEN1IAL<P| G

HAWK NELSON

LIVE LIFE iClltl' 'll'< EMI CUG

ALIVE

POCtiH H)U (11 ROCKS HVHHH. WORD CURB

PHIL WICKHAM

REAVER A EAHIR . . [n M r.-i i r ,

ITS YOUR LIFE

IRAHCESCA BATTI3TU11 fERVENI WORD-CURB

PHILLIPS. CRAIG Si DEAN

lEAHlESS ' ' ■ .

ALWAYS

SWnCHfOOI CiitUtNIIAL ATLUIIIC.EMI CMG

VARIOUS ARTISTS

n« ™e llEE THEAil.Rl 0' [xuhaws "wcrKKS

SAFE

PHIl WICKHAM TEAT BART MIIUUIO INO

RELIENT K

fE«iT «] WIT Si3A

22 17

HE ts WITH you
MANDISA ' .'. ! ' t.'..

THOUSAND FOOT KRUTCH

WELCOME TO rW HASOUtRAOE • ■ .

YOUR HANDS

JJ HHKH ■ 'i^ 'ien

luNCtRnmMAsaLLS ■ '

GLORIOUS

NEWSBOTS '

MARY MARY

GIVE THIS CHRISTMAS AWAV 1

MAnHf W WEST HM AMT fiRW |fflAN0li|ffMi CM6 1

MARK SCHULTZ

COMEALIWE ■. ' 1

SOMETIMES

TENTH AVENUE NORTH

MATISnauwER -': >■ -HI

OWESA«Ol*DfllMArR i . , ■ ' ■

BEAUTIFUL ENDING

BARlOMfOIHL MH.iiM V,-i!nl1 CUMB

fi©2

KARI JOBE

KARIJOBE l.'i-j.iH:' l^sc .""R-v r'f.nij:E' .'i .i '

29 8

THERE IS A WAY

MEWWOHIDSON Ui-lW

NEWSBOYS

IN THf HANDS OF GOD IRPQR EMI CMG

FROM THE INSIDE OUT

SIVEMIM DAY SlUMBEfl ■ ■

BRITT NICOLE

IRE LOST GET FOUND iPAHROW^SSS EUl CMl,

EMMANUEL (HALLOWED MANGER GROUND)

CHUIS tOMlIM ■ ■ ■ ■ '/I,

THE ALMOST

MONSTER MORSFER HFh ft NAIL 4M3.'EUI CMG

I'LL BE BRAVE THIS CHRISTMAS

Bm IJADDY WtAUt .'. ' H Li.

DIAMOND RIO

THE REASlll. KR ASJIlBS

36 7

HEARTBEAT

HEMEDT DRIVE .'. ' i < > |.

VARIOUS ARTISTS

.Krl . mOM

35 4

WALK ON THE WATER

BMIII MICOLE ' ■ ' .'. iM ..Mli

BRANDON HEATH

II *i 1 . (mtwTV

AGAIN

riYlEAF M'.U 'h, '■■/ii HHEflSCOPI

GAITHER VOCAL BAND

REUNITED , " GROUP fiOJE EMI CMC

JOY TO THE WORLD (UNSPEAKABU JOY)

CHRIS IDHLW I^KSKPS SPARROW TWI CMG

JEREMY CAMP

SPEAKING LOUDER FHAN lEFORE fii. b/SIKM CMG +

HEALER

kARI JOtE ■Um.HUf

NEEDTOBHEATHE

THE OurSFOCRS >1i.AFlFll. biU 'R.' A'OHO CURB

GLORY TO GOD FOREVER

DECYFER DOWN

CRASH , IFSiPHCWIDERI INItGRIIV

NIGHT BEFORE CHRISTMAS

BFtANOOH HEAIH ' iTl' . M. . .. i HEUHIOW PIG

RED

AMKEHU A KSTVCT f ■ • ■ •

WINTER SNOW

AUDREY A»AO FEJ<t CWOS WUI SKSItPSSPOAROA'tU CMG

PILLAR

CDNFESSFOHS :

CHRISTMAS TIME

CHILIS AND CDNHAD

MANDISA

FREEDOM ztiRROiVerriEMlCMG

FORGET AND NOT SLOW DOWN

ntllENr K l/ j(JU MtRJU l.iJH i

©^

LEELAND

EflWISC«TNEMOKi;:'.iNFlAi t3%P(47iTtNl-fF-[ >■ : ■

■13

DONT YOU KNOW YOORE BEAUTIFUL

SEABIHO CRfDftaiAt EMI fv:,

VARIOUS ARTISTS

WMtNEDVI WAS lORN iSFiR ') EllRFI 11^7 A?

GOO-SHAPED HOLE (2010)

PlUMB

VARIOUS ARTISTS

SONGS J WURSHIF- SO iNTfGRlIi .' irG.' F M- H

FOB THE FIRST TIME AGAIN

JASON GRAY 1 .

ES&3

FAMILY FORCE 5

FAMILY FORCE SSCHRFSFUASPAGfArFT !K' ' i " iM : l.'^

THE MEANING OF LIFE
HAWK NELSON ' ■ i ■ - •.

TRANCESCA BATTISTELLI

IIS lUUR LIFE EP 1 ■ '1 !■•:(! llRH

LIVE LIKE WE RE DYING

KRIS ALLEN ' -i I'.l Jl

ERNIE HAASE S SIGNATURE SOUND

ETEFTF ijUfl SHMS IF ;*t:FWS

HANDS

THE AIMOSI ;ii'.-H fl. riAii

MERCYME

WHEN LOVE WAS BORN

HILLSONG

UAflN SCHUn kV('i'l.> 1

FNTFI . Han . U»E LIH ■■

(nmns' new akmi (Do. 1 Ml hp CMsliii
MniH) is IlK act's eightli trip to IIh Hot
ClirlsttM K Songs suminil. pluing II In a
thre€-wav ti« Willi HeFcyHe and Tlliril Day
lof the most (hait-toppers since tl>e tally
launctwd in July 200!.

Mddl NlMB SGMCI to MMl kp Wi Mtf

M k moR Hhii Mm (tin, as Hn I

Cot dm" rtsts n-8 on Hoi 6i»p<l Soivs.
Slie peateil al No. 2 in Mobei 2006 mth
"tt's Alfigtit." Featured artisl Tim Bowman
Je. also logged a solo top 10 witti "Hy
Praise" in April 20OS.

S TITLE

ES ARTIST IMPRINT PROMOTION L ABEL

o >

Ql UNTIL THE WHOLE WORLD HEARS

HUBflcASTritG cnCWNS H-AI H ::.IRitl<REUNIOMi'PLG

CITY ON OUR KNEES

TDBTMAC ' I.' -'.

•

THE WORDS 1 WOULD SAY

SIDtWAlK PHtlPHtIS ■ 1 H ,( M rt'DHO CLIRfl

REVELATION SONG

PHilllPS CRAiG A DEAN im

■
6

LEAD ME TO THE CROSS

CHRIS AND CDNHAD ■ n

WHAT FAITH CAN DO

KUTLESS 'fliHM l^ riAll

BORN AGAIN

IHIRDDAf FUT LACETMBiUTESSEMIALPLO

HOLD MY HEART

lEMH AVEMUE MOttTK HtUNfOfl Plli

HE IS

Man* SCHiJii; ,',ri-.:' i"..i'iB

SING. SING. SING

CHfilS lOMLIH ■ l-'-li : r-fAHflCrt. tMlCUG

II*

GLORIOUS

NEWSBOYS iNPno

MORE BEAUTIFUL YOU

JONNT DIAZ I'.O

LAY EM DOWN

HlEDTOBRfATHf *IL*VIIC WORD-CURB

||«

15
17

18
IS

ITS YOUR LIFE

FMNCESCA HAI1ISIEUI -'IRVENIi-WORO-CURB

HOW HE LOVES

DAVID CflOWDEfl HAND i k^TEPSF SPARROW.EMI CUti

FOLLOW YOU

lEELANO WIIH BnANIKHI HEAIH ESSENTIAL.PLG

r —
IT

ALIVE AGAIN

MAII MAHER ( "-.SENTiAl Pit

HE IS WITH YOU

HANOISA - RCA EMI CWI^

20
19

12
9

HEAVEN IS THE FACE

STEVEN CUnilS CHAPMAN I^^AKRQW.iUI CMI^

SAFE

PHIl WICKKAM FEAT lART MILLARD l>.0

GLORY TO GOD FOREVER

FEE tJU

FORGIVEN

SUKIUS WAL SPAHnOWiEUI CUG

LET THE WATERS RISE

MIKESCHAin f'-H-i

lainnm chru tomuh sixstEpa.»moiwaitci«

WHAT DO 1 KNOW OF HOLY

AOOISON RflAO i!l<J

IRISTIAN CHR' ^

TITLE

ARTIST M-R:M PHOUOTIQtJ [ ABfi

KIWHAT FAITH CAN DO
JBJrutless hi:. -tin-H >.

1 16

CITY ON OUR KNEES

I06YMAC ■ 'i -■M/,' rl.' M.

FORGIVEN

SAHCIUS REAL SPARROW fUl CMb

HEARTBEAT

REMEDY DRIVE .'. ' 'l i i ' I I '

UNTIL THE WHOLE WORLD HEARS

CASTING CHOWNS 1 : - i ' . ' < . i,

ON AND ON

CHASEN '. '

BEAUTIFUL ENDING

BAHlOWtilHl !■

FORGET AND NOT SLOW DOWN

HELIf HI » ■ : . , " LL

•

THE MEANING OF LIFE

HAWK liELSON < IH A NAk

HOLD MY HEART

lENIII AWEHDE north y.\ 1 Mn\ -••KKi

LET THE WATERS RISE

MIKESCHAIR ' h

ITJ'iVlll DONT YOU KNOW VOUTEBEAUnRM.
[ninniiH SEASmO UdEOtNIIALlMCUe

FROM THE INSIDE OUT

StVEKTH DAr SLUMBER lU MH 4 fJAIL

13 8

OUR TIME

GRCIUP 1 CHEW K'.l M L'.:il- Rh

FORWARD MOTION

THOUSAND FOOT HRtflCH rODIM h, flAIL

HEAVEN

JARS OF CLAT KS-.f.t y\h\ UflS.ESSEHTIAl PLG

IT S YOUR LIFE

FRANCESCA BATTISTELLI 'ERVEHI 'WORO-CURR

AGAIN

ILYlfAf i-.M ■ li il.-i^^F i i

THE WORDS 1 WOULD SAY

SlUf t'HOCMtIS 1 . : 1 . ■ ||, 1.

20 8

BEST OF ME

THE LETTER SLACK ICOIH & KAIL

ANTIDOTE

BREITH <[-F

HOW HE LOVES

DAVID CHOWDER BAM :;i>STEPS SPARROW EMI CMG

ALWAYS

SWITCMFOOT : RL DENIAL AIL AllTC'EM CUG

SAFE IN YOUR ARMS

ANANDON 1 ilMICitlM if.*. CUl"!

SECRETS AND REGRETS

PILLAR : 1 .1. - . ,

3S SS

ARTIST

TITLE IMPRINT & MUIHCH OISTRIRUTINO ElStt

IbEBE « CECE WINANS

1 ■ 'J

MiMm

FRED HAMMOND

IftVt UNSIOPPULE 1 HAUUOND.VERIIT Ll <:' II '.

TAMELA MANN

THE MASFEF1 PLAN IFLLTMANF. 8ti!i

MARY MARY

FwE5ouF«'.'i l■.n.^^:FllUFL^£t^*?SD8;•,s«Vl«l£JC.■*

nil.'iVtU VARIOUS Awmrs

THE WHISPERS

TIIANRFUL ■ r.

VARIOUS ARTISTS
G;T»HiiE[«?iL':F«rnii ■
SHIRLEY CAESAR

A CITY CALLED HEAVEN FI J SEE 7;i4<VI0in

BYRON CAGE

FAITHFUL TO BELIEVE I ' M i .11 I . . . .1 i.

HEZEKIAH WALKER & LFC

SOULEO OUT . :

VARIOUS ARTISTS

WIW GOSPEL niCFt , , ..-I . .1. 1 ;>

THE BROOKLYN TABERNACLE CHOIR'

DEOAFE FOm FtU* IM WF9V

BRIAN COURTNEY WILSON

JUST LOVE 1' i .1 ' m; 1 ■ 1 •', :i .'. i 1 '

J MOSS

JUST JAMES M i

ISRAEL HOUGHTON

TMEPOTWnof p« f: i . i I'.ii. ..L,..r.i F,. VI l .

VICKIE WINANS

HOW 1 GOF OVER : : -i 31211

VARIOUS ARTISTS

GOSFtESeEST MENWOMBlIMMSBklGEISfLSEBOT !<

LECRAE

REBEL M • . '1. 'JFIfl.l'.

126

MARVIN SAPP

FFIIHSFT . . 1 .

DONNIE MCCLURKIN

WE All ARE ONE iLIVE IN DETROIT) VERITY TGlOa A(.

TRIN-I TEE 5;7

ujrtfua jiiTtfaifleFu« vrr«K.aB»M6i:«RB •

VOl/THFUL PRAISE FEATURINQ XJ. HAKSTON

RESTING ON HIS PDOMISE 1 , 1. - ■.Lt UJSPEL VULWi'

SMOKIE NORFUL

LIVE ■ . i ■ ■ . I ■ 1 :'6J2 EMi OOSPEl

YOLANDA ADAMS

VARIOUS ARTISTS

KnaEfniuaniituriMWHiim].. -

(

£tS
3x

r_ WEE^S
^ OH CUT

TtTLE

AHIISI IVrmi PftOMOnOK LAEStL

KItHEY THAT WAIT

no MMino Fin ON e IS r HMMOcmm

CLOSE TO YOU

BEBE ft CfCE WINAHS e.'.i. V'lf^UJ

JUSTIFIED

SMOKIE NORfUL T'Tf WYL{.="- IMI (.(Ism.

1 WOULDN'T KNOW YOU

M3nnHI'^1(lCIBTmSHrJHBIIIIinifllik-<»>i'*

GOD FAVORED ME

tlEZIUM WUJIER i tEC FW HMflN SNT 1 01 nOGBB -T II

GOD IN ME

MARTMAflY fEAT RIERflA Hm- SHEAHU r.'- tim'.X'JM

WAIT ON THE LORD

DONHIf MCCLDRHIN FFAt KAISH CLARK-SHEMU '.liturY

HOW 1 GOT OVER

VWKIE WINANS lEAI TIM BOWMAN. Jfl ^EStlKV JQV

PRAISE HIM IN ADVANCE

MARVIN SAPP -IIIV JLG

RESTORED

J MOSS 1 11 1,' '.illiPO CENTRIC J16

RAIN ON US

CAflNtST PUGH ( i'M fllACSSMOfct WORLDWIDE

ALL 1 NEED

BRIAN COUHIIKY WILSOH .t'lHII RISING MUSiC Vl-:

FAITHFUL TO BELIEVE

BYHONCAGE .. .> ij ..fi Ki'./VERIIV jlG

GRACE

BEBEACECE WINANS ^I^C MALACD

ALREADY HERE

BRIAN COURTNEY WILSON 'PIRII tlSiriG MUSIC

o
e

?8
17

9
1

NOBODY BUT JESUS

SHiniLV CAESAR FEAT J MOSS SHU BEL LIGHT

ll'j.ffltU "^^^ MASTER PLAN

OjCIdiH TAMELA MAM [UVMANN
LORD DO IT FOR ME

AlVIH DANlliyri '.':i I -I

BROKEN VESSEL

Jtff MAJORS FEAT LASHILL r.HlFFlH .' .i

THIS JOY

«<F y fi t ElW raEiO-J *.T«UIt 'US FW TIKI sw ;.

EVERY PRAYER

ISKAil HOUtiHKW FEAURMG HART HUV [FClI/llly 1 < .<

AWESOME GOD

THE BROWN SISTERS KIHGOOU

BREAKTHRU

GftlG O-QUIN A IPflAI2E IT'.;>1IIUM

1 LOOK TO YOU

WHIINET HOUSTON .ll.|r,I,-. (-.Mi!:

RESTING ON HIS PROMISE

TDUIHFUL PDAISE FEAT J J HAIRSION llitriL.t

44 Go to www.binboard.biz for complete chart data

Data for week of DECEMBER 12, 2009 i CHARTS LEGEND on Page

i^LJp^ I ly; l.L J I 1 .aiLl IL

^ Billb^rd

HOT DANCE CLUB §ONG§

niclscn iiicNcii

i isis

AHIISt ■.■■ HIM PPOMDIIOPi LABEL

ABTIST ■■ nil.- "(tPM'JtllW iMtl

wSm PERFECT 1
BSfl DfPECHI MODE MUTEMIGM.'ClfrTaL |

WORKIN' GIRL

Ktin kin:, ■ ■ ,!. ■ i.v:,

HANG ON

ANGEL ON THE DANCEFLOOR
OAit NUnHMS FUIURWG IUTIU.U FIOMS CAflRJLLO

1 WANT TO KNOW WHAT LOVE rS

•HAKE UP

Simi PtIEKIOJS'rt'AHNfH BP'JS

^ 6 M

SMOKE

jjK iUK Mill rw GMWT furufliHG MTWk pwsi m:>:u

PAPARAZZI

uot GAGA ^-r"EM^JM.«D^t.^ECrfB^v^iEE*iTEnsccp^

SEXY PEOPLE

.■*(^.|

MANOS AL AIRE

HtLtT riMIAOO ^^[.SIAN It'ltvEf^Al tfUilC .AKM

1 .

MAKE UE

GIVE ME LOVE

snpHEn ims Mirtfi.vv

I."

FIGHT FOB YOU

MOHliflN PAGE ■. "V ^Sh

ONE LOVE 1
MwD ouEHA Ff numn amu AsnwiwEmswiTOL I

} «

BAD ROMANCE

Llil;Yl*i;^fl ' ■.■.•rUftJ-t'CMtflRVTHEEWIEPSCCPt

MISS YOU

flow i-Em.Qv ■

<|l5

OUTTA HERE

ESMEE OEimn llHHUAMKHft&COre

DOLLHOUSE
CHISCIIU flUlU i.i:'i' 11

0: t

F'CK YOU

LILT miiN rtpiroi

COME BACK CLEAN

THE CKtm. vma fomm bhj hub rh> t'Grji^vr.

P|»

PUSH N PULL

HEY BOY

lUDU M'li- f,vl^.lt

2 1?

DID VCU SEE ME COMINQ?

fll SWll' l'3 L.l.i^aaL

SAD SONG

BUM lEWISlCMMVii.lh

3 1

S-0,S- (LET THE MUSIC PLAY)

22 1t

MILLION DOLLAR BILL

WWTMT MU3TH ''V- ': T.i "'J..,

4 5

WE ARE GOLDEN

RAIN

MItA ■ ■ .■■■I'.'iHS*! MOtOWti

AHJIJlIf ■■ r, ■•. (1 ■■■ 1

5 19 8

WISH U LOVE

CHAD JACI A m IHTtER VI. UW HADES

ON THE FLOOR (OH BABY PLEASE)

KATLAKHARtM r.

BAD HABITS

LOCA

ilAAIHY FEAIUnWG MU* FlOWtW ROCKSEflRV

9CAT Dl 1

MVD Gunu FuruniHG um OM'tsmuMWitmui

a 7 ti

TURN IT OUT

11 TAH FIATUHlin lUHII TIMEY MAMAHOUSE

STRIPED SOCKS

WLOBBffl&n bM JM' l^:ll.lS£

9 !0 6

MISTAKE

PARTY IN THE U.S.A.

MIlEYCYfnjS 1. ■ .^■.i'' 1

J 30

FRESH OUT THE OVEN

LOLAKA'uHiNfi [■iiiyii ■:i-i':

[

HERE WE COME (READY OR NOT)

ROD CARSilin A ShtfAll . ..r.^ii i h

I »

DRAMA QUEEN (TEXTINO U)

i'Moni gtuHf - uniiY hmris '. m'i* •ia^R S

KEEPING SCORE

KANMAII

DO WHAT U LIKE

IAD BOf H It ILAIUKillG AIISIAMIHIR KETTWERA

MEET ME HALFWAY

IME BIA:-I fifl) f^AS

BODY LANGUAGE

JtSSE MCtAHIHfUAtumJK, 1 MIN - JL . ■ .-. L' JLi

■n

1 LOOK TO YOU

WHUrar MUuStC-J ■ 1 ■ i v ,

BSD 3 1

[3u9 MvrHV irUM JiVLJLG 1

DID fT AGAIN (LO HECHO ESTA HECHO)

SHAKWA r- ■ !.' -.li 1 it "l

{) 31

191

]»

HEAVY CROSS

IHEMSSli" '.n!.i

AIN'T NO STOPPIN- US NOW

lUOMH I URim. DMWUM) Dl

PiB

I ! 20
^ 7 7J

I 9

y 6 10

ARTIST

titLE & NUMBER /OlSlRIBtfTHIG lUSL

LAOY OAQA

LADY GAGA

OWL City

DCFAMnj BEIMBUC 013H

VARIOUS ARTISTS
IMOGEN HEAP

}

FAMILY FORCE 5

FAUI11 FaHCl SI CTHIITMAI fl

TIESTO

SOUNDTRACK

WIEHSCQPt ai?SOJlGA

MOBY

WAIT Fw III iwtBii)unu mWT OgtAL {X>».n
MOBY

WAJT FOR HE IITUE PIOT BAIf.'MUTt

DAVE AUDE

(itVi ALIM PWSFNTS WTIUtMia ULTH* ?18f

DJ SKRIBBLE

lOTAl ClUE NttS 3 I Mtn'.-jOAWCE W«14,^lMR(Vt

TITLE

ABTISI I'H.'l.'C'lOKLABtl

. , d SEXY CHICK

KISS ME BACK

AIM su//i : ■

EVERY MORNING

MEET ME HALFWAY

THE BLA:t t'SD tlAS .Ii" -'1

5fllIhEY SPiARS . F

1 WILL BE HERE

IieSTO A UiAAi SOUND SYSTm UHRA

SMOKE

Alt MCA WITH PHH GAUNT fWURIHG WnunmSI ATtU

1 REMEMBER

DLADNAU) - AASKADt M.'.l,:.1iKAI>.AM POES^'IaTRA

HANG ON

RELEASE ME

ABWS ■ . 1 . ■■ ■■ STAI.-UrM

EVACUATE THE DANCEFLOOR

ascADA

©•

HOT

INHA ■li.--.f. v.ii.f

©.

TIK TOK

(EiHA ;Mii\:y ar»,r-Ui:,

THE SOUND OF MISSING YOU

AMEE^tAil

FIGHT FOR YOU

WMDAM n&l M ' U',^'-

1 BELIEVE

:ti«utw lunw* jlu mavUN tr ^-iitciLv ■■V'-v

SWEET DREAMS

BEtMLl 1. -■■IL. LUlJMllin

TIE ME DOWN

HEW boy: FfArUFJW RAT J .t;iiry,Ai-iMjMW»WtRBB£lS

READY FOR THE WEEKEND

UIVIH KUniSJiTflA

COME BACK

%vm MAYNuviOu;

RSI

SEXY PEOPLE

lOlEHE L^^illlL

SAD SONG
BEAM LEWIS 'Jl.iyr ao-

SID

00 YOU REMEMBER

in sun pjrtfM iM nu A LL joi cisi HKY tMKM ieuix

ifii

REPLAY

BROKEN STRINGS

CAHfFflif ■

■ for WMk of DECEMBER 12, 2009 I For chart reprints call 646.654.4633

JAZZ/
CLASSICAL/

^TOP TRADITIONAL

WJAZZ aLbum§

■

ARTIST 9

TITltll.'1'n'lIiM.MBEi' nSIRlSl-'KHUABIL |B

Kl MICHAEL BUBLE 1

lj^^;n«.Tii^/i -.■ ^■■^ra.*

VARIOUS ARTISTS

MMw:; wi^j^T ■ ■ ■ ■ ■■^->'t>

HARRY CONNICK, JR.

Various artists

LfTTBe m imi A ton- [ I ) 1 .

BARBRA STREISAND
DM IS THE HHiVfK

•

WYNTON MARSALIS

PINK MARTINI

SPUionc 'ir»i GRASS

TrANK SINATRA

DIANA KRALL

oyifT Hitms ■ 1 ■

FRANK SINATRA

U^rU «Tt MTV IM -.tuii

MICHAEL BUBLE
leeHLiietwniiuianBi ■ •

THE BRIAN SETTER ORCHESTRA

SnMS FROM IIMELY AlttNUE '.' ■\t "■

NELLIE MCKAY

ii)n«uA.'iijjrww*(jTwuniOKiB[in. ■

MELODY GARDOT

Ml ONI AKO DMI THHILL '.>>.,'. :i 1 -

MIOUEL FiHSTEIN i CWYENNE JACKSON

THE POWER Of TWO i-'."^'!li:Hi ■ .1

TOP CONTEMPORARY
JAZZ ALBUMS

S P ARTIST

PB IIILE >Wf: '11 i UimiH WiJfllHiJTIHr; L*i!

IcHRis Born

BONEY JAMES

tlND UM 'OUIl LOVE : . . >. ' '

PETER WHITE

oowinAi

EUGE GROOVE

SUNOA) HURWIHG < . <ii ' .'U

EX-.

NAJEE

NINO OVtP MAMin i'_ . . Lr ^MA

BRIAN CULBERTSON

IJVE FROM THE aSIDE i --" niirjJ.WG ♦

KENNY G

SUtflMTS-.i'f-i.l.'.. "'"<■■ VA'*ETM;caXP«H

I©"

THE RPPMjTONS FEATURING RUSS REEMAN

HMEfiHABT--;- '

"PAUL HARDCASTLE

TMttOUECilMi^ ir.

KENNY Q

W«BI«rtWKSTGF«(rStftS.'J->.-'"l4i- -. ■■

DAVE KOZ

GREAitnHFis ;;»^-nm wn

EVERETTE HARP

FIRtlLOVE ■■Mi.U'.C.m =,('1

SPENCER DAY

VAGMONDi^j^AOAaffOADJAZr j1]tTi:c«A..^<i.~

MOOTH JAZZ
ONGS

TITLE

ARnsTivpu !n pmnnnioii LABti

KE BRIGHT

BS9 nnR mm peak CM

TROPICAL RAIN

JtSSIJP-.", ['.^G

SONGBIRD

CAAIG CHUUCfi SmA\AL»|[

BURNIN

MUl lAYLOH . ■ 1 «i.

TALK OF THE TOWN

OARPf K RAHKi ',

I*-

SWEET SUMMER NIGHTS

NAJEE

CHASING PIRATES
NORAtt JOIlE S . --'IIJIO

BOGOTA BY BUS

TIJUANA DANCE

mCK B|tAi.iH

RETRO BOY

ninHARD EiLim ■

LIVING IN HIGH DEFINITION

r.tDRGE BEKSOH

WHO WILL COMFORT ME

TOUCH

BilMTJlMES ■■. '

' 14

NIKKI S WALK

GO FOR IT

(iiSi.IL Kil. !/!»-■! . RIDGE

^TOP TRADITIONAL
V CLASSICAL AlIbUMS

ARTIST

mu mm} a luusii ■ oiEin*uiiw iasei

cim

nflTHE PRIESTS

EBE HJUMONY RCA VICTOR HBI^WC

2 S4

THE PRIESTS

THE PRIESTS -1 ■ > 1 I'll ■( ;;rii Mi.^ii;

1 5

CECILIA BARTOU

MicnnciJM ' . ■•.a;,-):;, tprif

POPE BENEDICT XVI

ui tir= Kit ~s r-. M-f_*i •

-t 38

PLACIDO DOMINGO

iu:i; iR\-; i:us nip«:
RENEE FLEMING

vimm ; ■

THE CtSTEROW MONKS OF STFT HEIUGEWHEUZ

6 3

LEIF OVE ANDSNES

■1 55

LUCIANO PAVAROTTI

miWER:'-. ^J.'-M.^ . - . ■ h .1-

B. FLECK Z. HUSSAIN E. MEYER

T)f mac !r wrm tvu axBti t kie if tw

d 65

JOSHUA BELL

mo nfWsusw " < -

a 6

LANG LANG V REPIN M. UAISKY

10 8

JOYCE DIDONATO

HOSlWt OXBRMr !>€««( V«'*i[l','M'»:;>«'i^f»ir.

13 3

INGRID FLITER

CHOm CtHWUTI WAtr/Et 1 "

12 3

MICHAEL JAMES BATTLE

CHOPIN AFTER MKIIWHI

kTOP CLASSICAL
'crossover ALBUMS

il
o

ai Is

ARTIST

KE ANDREA BOCELLI

MY CRMS (MAS ' •

2 5

STING

ANDREA BOCELLI

3 9

JOSHUA BELL

A'HMWT-fi^fS ■

4 IS

MORMON TABERNACLE CHOIR

5 55

IL DIVO

•

Tilt PRDMIi-l ■

e 56

ANDREA BOCELLI

INOANIO •

HAVLEY WESTEMRA

to 31

PAUL POTTS

7 26

DAVID GARRETT

Wl1Dim«t" '

e 38

SARAH BRIGHTMAN

SYTAPHllNY LIVI Ih VIlfJUA •

19 29

SOUNDTRACK

17 23

~NEAL E BOYD

mi AMLRtCAN DREAM iL' '

n 3

GREGORIAN

CHRISTIUSCHIIimciIIH

9 8

CHARUE BAQOETT

lOHlT DREMIOFYOU P'T. trSH

V^RLD ALBUMS '

ARTIST

TITLE IMPRIRI A H.twtiiii ri|f.Tii--,;iri!,r, lABEL
RE THE IRISH TENORS

CM<f 'MAS 1 .'. _

RODRIGO Y GABRIELA

2 31

VARIOUS ARTISTS

nA>KFORCHUBf KMUUDdlBIWWmD-'^i ' <i •

4 20

CELTIC THUNDER

TAKE VI MOM[ -■■ T"

b 57

CELTtC WOMAN

l>«-«imt.(tH«r IWNIlUltJLULlW " ■ . -

6 63

CELTIC THUNDER

ACT 1*0 'Il '

7 «

LOREENA MCKENNITT

AMUHEHHAWAn OlHSltT J.mV, ■IJ^J•>\M li-MJ-Jj^

a 9

BEBEL GILBERTO

AIL mow .nr.; ■:■ i!;3 VG

FELA

TVt BEST m THE BJKXPRES10Ein^.'H.'J.rt.l t/NL' •

11 52

RODRIGO Y GABRIELA

LIVE W JAPAN 4

10 9

JESSE COOK

IHt RUMBA rUUNDAhON COACH HOUSE »>£>E1

12 g

THE VERY BEST

WARM HEART OF AFfliCA ..F.I i 1 OWl M?

9 7

DANIEL ODONNELL

PtACE m THE VALLEY ■ ; . .L fil 'DmiKOIfe

JAKE SHIMA6UKUR0

SSS3

THE 8ABV EIKSTSN MUSIC BOX OROESTRA

BABY tlNlTEIN WOHID MUSK .'. ■ I IJiSHi ' "■: IV"'

Go to www.billboard.biz for complete chart data

Cni

LATIN

BillbMrd

BDS SounctSc

HOT LATIN SONGS*

0 '

LOOKING FOR PARADISE

ETIUJiUri WISIN a YANDEL

ME GUSTA TODO DE Tl

AVENTURA .jj

ESCLAVO DE SUS BESOS

ANDREA BOCELLI

n-J?iVtU GRACIAS ATI
^QOli^l WISIM I IINDtL iVWr'NUCHETE)

ANAMI

tf.UillHlP -1 ■■ -I'l-.-. ^

HAY OJtTOS

PATRULLA81 ^

TE IRA MEJOR SIN Ml

LARRY HERNANDEZ E

TE VES FATAL

tl raOMO OE Mexico i'<.^' I'.'i'- ' Ml.; I'lbiii

JENCARLOS B

LA CALABAZA

MARCO ANTONIO SOLIS ■

SU VENENO

TONY DIZE H

LO INTENTAMOS

EL TRONO DE MEXICO K

111

DERECHO DE ANTIGUEDAO

lA OfWBINM BUnH EL IIMON > 1'.

DRACO m

i<D

Nt ROSAS Nl JUGUETES

EDNITA tm

Nl CON OTRO CORAZON

TITO EL BAMBINO'

r^i4

Ml CAMA HUELE A Tl

IIIO 'tl tuniM' '1 tii/^IMGndl A LEMMOI if.ifilit

GILBERTO SANTA ROSA fRP

im
90

Ml COMPLEMENTO

VICENTE FERNANDEZ

FELIZ

K«ITURri» ■.' Mr .■- -Ij

ALEJANDRO SANZ ^

PARHISD KPWSS l..-:'ja S?J3]9 Kl

MANOS AL AIRE

LUIS FONSi mk

LOBA

ESPINOZA PAZ

ratc-UM'o mtjLanTpniwos -■ . i-i - ];■-■' v.:

SUFRE

LOS DMtVES E>E LA SIERM 1 ^15 At

1ft

LOS RIELEROS DEL NORTE

CiVIVC '■Jft^Tt 'uiv<SAjj'lbl'LVLt* JHjH'

ME ENAMORE DE Tl

CHArAliNt ^tii.i

LARRY HERNANDEZ 9^

EOUIVOCADA

DON CMETO &

U KIKE E( USItDES T'. 'Illi'T S8J;

SE UE VA LA VOZ

VICTOR MANUELLE K

YO mSWQ ■ ' ' 1'.^ ' ■ J ■ - ' \- >.TL J pC LAIIti

ERES TODO TODO

JUUOM UViMU Y SU HOnTlM UUBI L': i<i tSl:

LOS TIGRES DEL NORTE M

11 CiH«\JA il.tll t-

\i>

GRITO MONDIAL

D^ODY VANKfE < ' 1

EL TRONO DE MEXICO

»1M»S CfMI'JS .1 . . l.UMLE

SIN EVIDENCIAS

BAhDAWi .'1 '< ..1

VARIOUS ARTISTS

HW.IU L). i.ii 3 .tj Lt. 11.1. xot as* muriMU

•sif

EL DOCTORADO
TOirr oia ■

TIERRA CALt

Wfi

DID IT AGAIN (LO KECHO ESTA H£CHO|
SKum* ' - '.'.'1' uusic L^'T '<'

TITO EL BAMBINO*'

»'

ESTUVE

UttJAHL'lO ll'IOJINllli ■ ^..^Hi

TERCER CIELO

CAMINOS DIFERENTES

ROtOttOUPM ' Ml MVISAi

&
>*/

LAURA PAL■^^1NI

SIN QUERER

lUMm HJUDHIO . .'1 1 MUSIC lAIIKt

HECTOR ACOSTA

PAPARAZZI

LLlTUifa i- .1. :',! • :M M CKHfMRftWIEHSti i-'-

DAVID BISBAL

SEXY CHICK

tMW GUEH* FUt «KW :f.!l'.1 A;<IH:: Wt(i«H ::Up-'i\

EL CHAPO

COR l.» DEI CORRBO [IISJ ^:n]J L :

COMO VOLVER A SER FELIZ

lUIS FNP. ai.E ■

JUAN GABRIEL

IS'

ENCONTRE

COHJUHTO ITJkROiC£n

/!»>

RICARDO ARJONA n

ilOPISO -'• ■■h-A SI.-..-..-.-. '

1 GOTTA FEELING

TME BU;> E'iD PE« 'f'^U

LUIS FONSI

SSUK" tlTTs Xf, . ■.■,L-:^L H.'ii:L*HhL D^!(,\i

'in

TU DEFECTO

IIIIIWMIIWIIIII IllllllllimillW IIWIHW wn <

MAHISELA

;a tiiros iHMDnTALES im ggm

EMPIRE STATE OF MfND
Mr-i - '■noAtns ■

JOAN SEBASTIAN

SOY TODO TUYO

lOSntCAMFSMllJHAtl* ' . ■ -I. .

LUIS ENRIQUE K

. ■ . . ■

EL BORRACHO

DRUPD MOMtC; DE OUAKNC^ 1

EL COMPA CHUY H

G(N1( PEuCHim jOtO -^uUI. iAnH5-tn9 ^1

CIELO AZUL, aa.0 NUBLADO AKA CtELO NEVADO

PEMDO | .

TRIO LOS ANDINOS W

ANtoiiKiA lunoENA 1 i V isii: :if> p

tUMtinE HOflTEM ML'SIH : ATIM

Al C lAUnOA mi7AAAM
ALCJAnUnA uU£MAn

UHICOE" -E.Ev-i-Ty.;! |^

AMOR OUEDATE

VARIOUS ARTISTS K

DILE AL AMOR

IkUEHIIIIM

EL TIGRILLO PALMA Sj

Fl 1I> DE lAIUEK '['.M^'ISA ;.M^».UMLE HP

HOTEL ROOM SERVICE

OLGATANON

■1 W- Mlj>>C lAIlN ♦

CELOS

MMTLU MUSIC : tI!MII<

LA ORIGINAL BANDA EL LIMON

DtB-inMii n= aritir,iiFO«D friKi'ivi'j rf,*. - ■.- 1

!£>

LLUEVE POR DENTHO

Liiii":'»isi ■ II lMiwi

EL TRONO DE MEXICO

MSDE a fvm It .'-■lO ■ -

VO ME CONFIE

«HMttMMOUU U NUCIZfi* |3ISA<

MARIACHI HERMANOS BARGIAS

rahTHS r AlAEAM.'A.'i .A , ' I'l , '4;^ ♦ ■ ~-i

SENTIMIENTOS DE CARTON

DUtLO

NELLY FURTADO 81

HiPib-j : . . - .<rNOi)i:iiti.uWLf

FELIZ NAVIDAD
mo iifl*MBmo M!i,'-i

PATRULLABl BS

Stna DIAMANTE JnSSinH EKTOS ■ ■■ r,l;-

■

TENGO UNA AMANTE

VICEKll 'EHUintii . ,■ MUSIC I'.'i'tl

LA ARROLLADORA BAFIDA EL LIMON

M>!i AHfl ANTE '

Uratallsmieitslnitlilk.ld^tjMnl ,
Mtoad Ob ir44(. M Top Regioflal Mexican
Wat at -aiTi Ho OK" Kits 4. CO
avki.llwacl'1 "QuMntiM Nk" I'pei.f j

IhlwrntlKltafdllssiie. lnM>,cn .It
Met pair o( dun-lappm, dw lu.id aho
pbod m MB Kts aidiii tit w 20.

Ulln inp supmtar CIuyanrK adilms hb IStti
top Ah W 00 lUin Pop tJnilai K "Ht
ffumon ife n" jimilK 9-S (5.2 miHoil listener
■niirKSions, up m). He now ranks tojrtli
aiKKiD iftists wlHi Uie mosl lop nws ^ the
duit'! t-nai IMwy belM Entve IglestB
(SI, (ibttai (istiD (S) iJis Kdwl (21).

ii iiii

DSSQilinilB UN(UUMCOO0'CViju:iA

HAY OJITOS

INTOCMLt . "

TE IRA MEJOR SIN Ml

JOAN SEHASTIAH MUSART flAlHOA

, TE VES FATAL

" 1lTIUM0OfMEIIC0F0r.OVIS*,yUS[VlSA

LA CALABAZA

LA AHnoUACOflA BANU & UHOH OlSA

LO INTENTAMOS

ESPIMOZ* m CliA AGL

DERECHO DE ANTIGUEDAO
LA aneiHU. sahda u umon rDntovrs*

Nl CON OTRO CORAZON

PtnROFEHIlAMD«i.Jt.J--iif,

Ml COMPLEMENTO

LOS HUflACUCS Da mWIE QISA

SUFRE

LOl OWYES Of U SICRM OlSA

ERES TODO TODO

JUllOM klVtKl Y SU HDRTEHD MMM DISJt ASL

SIN EVIDENCIAS

YA ES MUY TARDE

LA AflnnLADOM BANOA a IHKW □ISA.'ASl

CAMINOS DIFERENTES
HOURTOIAmi '. - Ml .i;.J

ENCONTRE

tONJUNtO AtUDECEn 1 .-^ '.'>!

TU DEFECTO

t« CaUOtPO Uk OUIMSIMi H WMa MMMZ DBA

COMPRENDEME

DtniAAH MOMTEftO ■T'HOvlSA, hkJS|-/lSA

SOY TODO TUYO

LMIIiCANES HE : HUM I' lh.::-. >AMUSIVISA

EL BORRACHO

DRUPO MDKTEZ DE OUUHUO C ^A

CIELO AZUL. CIELO NUBLAOO AKA OELO NEVADO
PESAOO aiSA, iSi

: ■ T

TITLE

ABIISI . v.-^il,' -nrii' irir't .t^ii

RImI CAMA HUELE A Tl

EQl T'To f L BAMwir an am a LiMin •mhu ,

SU VENENO

J ._j DILE AL AMOR

, COMO VOLVER A SER FELIZ

^ iiii; i^nlGl■^ ■ ■ - ■

l1-J.!iVfl] GRACIAS A Tl 1

WISIX A 'AWEl MACHfTf I

as--.

ABUSADORA

LOOKING FOR PARADISE

AiElA^D^^o sa^i; feat aiicu «eys aarneR iatin*

GRITO MUNOIAL

DAIie- ^A^^fE l. .-LIl'.

7 CARITA LINDA

^flUPO MANIA FEAT DlCll tUKM ZM&'SaW MUSIC LJttlM

COMO 5ERIA

SEXY CHICK

DAVIU GlIEMi (EAI AlOh . ' ' . ■ ■ -IfiLHIflKi CAPIlft,

,-, HOTEL ROOM SERVICE

p;rau-it ■- ■ . .. - n . rvg

1 GOTTA FEELING

TH! BLACt; ElfO PLAi ■

NAVIDAD BORICUA

OlUTAhON

RECUERDAME

lAOOIN?* ESTACjDN -. -. . .'.d .-.Til.

VOY A PINTARTE

Nr.; -.-I',. " '..r

BARTENDER

Aims A rion mi..- -c lafiii

CHINITA

HHK mrv tu r-K WO fix KMm awra «n .n« w vuk laih

SE ME VA LA VOZ

A1.EJAHOH0 ftHHAAIOEZ . Mi'in -.il Hi = " i iTINm

ADICTG A TU PIEL. HOLDING ON TO LOVE

FHAMWE NEQEIW.' ^r.r

I TITLE

I AimjT I yrfliKi

1 LOOKING FOR PARADISE

I AlLMNOnO suit f IA! AUCIA KEYS AU^tlM LAI

ESCLAVO DE SUS BESOS
DAvra BISB.I I'.'.u 1 'II'...:.... '^UjI^ .s.iwt

GRACIAS A Tl
WII.N A TUnU MY UACHEtE

FELIZ

KAHY DKnC. . '.'1". ; LM.N

ME ENAMORE DE Tl

MANOS AL AIRE

Nftl> FL'n.ADO 'T' l.NIVtRSAl MUSIC tAtIM

EOUIVOCADA

Nl ROSAS Nl JUOUCTES

PBULiH. KJHIU . '. UUS.C UIND

LOBA

SHUutu :.L.^' vuiii: turn

SU VENENO

AVENTURA - r.!...IL.M LAT.N

SE ME VA LA VOZ

(ERVlNDi/ .ifUBSH MUSIC IM.W

'IP

SIN QUERER

EDNir. uima : : lm.h

DID IT Km ILO NECHO ESTA HECHOI
SHUm* .fl" r it-.j

EL AMOR

Tire f. HAMtlHO :

AMOR OUEDATE

1«

CELOS

FMlMT LU ii'.tKb*. UijSiC UKIW

PAPARAZZI

LADt aU : .aLAM.NL «aMLALC.CRIWTIIEt.WT£nSf

LLUEVE POR DENTRO

LUItEOHSI JWTi'EflSAl MUSIC lATlHO

CREERE

r(liaBC«lO"A5A

COLQANDO EN TUS MANOS

CARLOS BAUn .MIM

mm,

* 1

0 3

O '

O '4

ii'

^ 13

^ t

^ 19

IS 12

^ 23

IS 10
IT 11

^ 33
IB 21
^ 24

n|.Ur:iIiOH LABill

GRACIAS A Tl

WtSHtTAHOEl AV MACHETE

NAOIE TE AMARA COMO YO

EMPIRE STATE OF MIND
FOREVER

ESCLAVO DE SUS BESOS

3AVID BtSSiL

SOLO TE PREGUNTO

WIIAl a ALEI ' -:

Nl ROSAS Nl JUGUETES
PAui ina mhio ■. '.' ■■, . [ y\(i
SU VENENO " "

AVFNTIIBA -■ -■■ M ill,

HOTEL ROOM SERVICE

Plimi; ■.. 1 ■■I'-itJWPS.'J.BIli

PAPARAZZI

BETWEEN THE BULLETS

WISIN & YANDEL RETURN TO THE TOP

Due to the reissue of their chart-topping "La Revolucion: Evolution," featm
itig eight new songs and bonus DVD material, Wisin & Yandel's "La Rev
i_ lucion" catapuhs 10-1 on Top Latin Albums (selling 10,000 copies, u]
^bi%). This marks the album's first return to t]ie summit since its No. 1 de
l>iii in the |ime 13 issue. "Gracias A Ti" also adiieves new peaks on Lath
l^hythm Airplay (2-1. up 9%), Utin Pop Airplay (7-3. up 22%). Hot Latii
Songs (7-4. up 28%) and Tropical Airplay (20-5, up 95%). — Rauiy Ramire:

46 I Go to www.billboard.biz for complete chart data

Data for week of DECEMBER 12. 2009 CHARTS LEGEND on Page

^ JAPAN .

1 »•! inr:T:iVi:4:T>^ •mt

t;S IHUNSHIHSOUNDSCAIIJAPAN.

2% PUtfTECHI DECCMBEn 1 28114

»EW
NEW

: ICO DVO LTD f DtTIOMI utFIUILLION

NEW

HEW

NEW

HfSI' lll« ?0M J

KOU SHIBASAKI

LOVE nuUWOlA ICS DVD UV EDmOM] UNNERSAL

UNITED KINGDOM

Al DllkJC

(THE OFFICIAL

UK CHARTS CO l NOVEMBER 29 290^

HEW

SUSAN BOVLE
1 DREAMED A DREAM

! *

JLS

JLS i .

THE BLACK EYED PEAS

IHEEH-OIMLhSCOPE

QUEEN

ABSOLUT! GREATEST PARtOPHONE

LEONA LEWIS

ECHO vr r:

MICHAEL BUBLE

CRAZY LDVE ' : ■ -liPRlit

LADY GAGA

SNOW PATROL

UP 10 HOW ii ,-U POLVDOfl

ROBBIE WILLIAMS
REMITYKIlLtD THE VIDEO StAR '

WILL YOUNG

TW HITS ■ j FC-i,

NIW

ALBUMS

(MEDIA CONTftOLI OECEMIER 1, 2009

PINK

FUNHOUK LAFACE

I FRANCE

O CANADA

AUSTRALIA I

ISNEP IFOP TITE-UVE) OECCHStR 1 1909

f *

wastNMttsuioKMO mcawmtMS

lARIAI NOnMIEN ». 20M

NEW

RENAUD

MOLLY MALDHE ' BALAOE lALAHDAtSE '. mm

NEW

SUSAN BOYLE

1 OREAMtO A Mim SVCIKOUJMM'SOKt ^'

HEW

SUSAN BOYLE

1 Oflfft'^en * anEAM v-ro

NEW

EDDY MITCHELL
LRANC ECRA* PIJL13W

LADY GAGA

TWFM. ■■■■-^XWBSCCft'JftfcU

MICHAEL BUBLE

CMZY LOVE U^ HEP-ISf

DIAM'S

SOS HOSTILE

ANDREA BOCELLI

MY CHHIStMAS W.h--' i.A UNIVERSAL

POWOERFINOER

COLOEH RULE I'M'.'f f^i^Al

JOHNNY HALLYDAY

TOUR ii iSTA:)f 01 FRANCE JOM) MERCURY

HEW

FRED PELLERIN

SILENCE SARaWifiE OEP

SOUNDTRACK

THE TWILIGHT SAGA- NEW MOON bl'^AUriC

GERALD DE PALMAS

SORTIH HI

HEW

RIHANNA

RATED fl r-^F' :.EF .-.VM liri.winSAL

NEW

LADY GAGA

THE FAME :■ " r ? I .1 r.T QCaiTiT^L m ^scm

DAVID GUETTA
ONE LDUt 1, M vmCM

ISABELLE BOULAV

CHU9K rauR US WK OWtCt (^tC JUOOGAUKaiCT

' 6

SOUNDTRACK

6L£LTHE MUSIC SEASON ML VOL 1 COLUMBIA

MICHAEL JACKSON
MICHAEL JACKSWrS TWI IS IT V

MICHAEL BUBLE

CRAZY LDWE ' "EPHISE WARMER

FOO FIGHTERS
OflEATESTHlIS il'' :i ''Jfi

SUSAN BOYLE

1 DIUAMED A DI>TAM .'1 li

JUSTIN BIEBER

THE BLACK EYED PEAS

THE E»t D i'.'L ■ . ■! ;

NORAH JONES

THE FALL i ■ :l

VARIOUS ARTISTS
MUCH OANCE 2010 ' ' i

ROBBIE WILLIAMS

REAilTY AlUf a THE VIDCO STAR uHFr!yiU.VFiG«

NEW

RIHANNA

HATED R SRP.'OEF JAM

NORAH JONES

THE (ALL tLLL '.jrtEMi

TAYLOR SWIFT

FEARLESS dVIVERSAL

5 SiS

IFIMI'NIEISEM)

MARIO BIONDI

NOVEMBER 30 2099

rr CVtHRYIREt.OC

O SPAIN

O BRAZIL

(PROMUSICAE MEDIA) DECEMBER 2. lUm

sffi

lAPSO'NIElSEKI OECEHBint »01

JOAQUIN SABINA
VUUOAE Y ROSAS i.C'w ML'SiC

VICTOR & LEO

AO VIVO E A CORES SOnv MUSIC

EL CANTO DEL LOCO

RMIO u ULMA PREsaiA a UHTO oa ^ tfua:

VARIOUS ARTISTS

VrVER A VHIA HACIONAL ^OM LIVHE

NEW

EL CANTO DEL LOCO

POH Ml T PDR TDDOS MIS CUMnuevn SOW ML»C

VARIOUS ARTISTS
PFIOMESSAS SOM LnrtE

JOAQUIN SABINA

X ANIIIVERSARIVM Sm- MUSIC

BEYONCE

1 MI . SASHA FIEItCE MUSIC WORLDiXOLUMBIA

ALEJANDRO SANZ
PAFUISO EXPRESS U-0

ROBERTO CARLOS

EUlS CANTAM RDBEflTO CARLO! SONY UllSlC

MECANO

SIQLOXn SCJ' MUSIC

HBH

IRMAO LAZARO
VAI MUDAR SOM LIVRE

FITO & FITIPALOIS
ANTES OE QUE CUENTI DIEZ D R 0

VICTOR E LEO
BORtOLnAS SONY MUSIC

DAVID BISBAL
SIN MIHAR ATRAS VALE

BELO

PflHUVERA SOW MUSIC

EL BARRIO
OUERHOVELA SE VADOR

REGIS DANESE

FAZ UM HIUGRE M MINM VIU LIHE

NEW

SUSAN BOYLE

1 DREAMED A DREAM SYCO

NEW

XUXA

XSPB S NATAL HABRO SONY MUSIC

^SWEDEN

©FLANDERS

§i

NOVEMBER 17. ZNB

ii §i

IIRHA CHART TRACK) NOVEMBER 27. 2009

'■IHaMTERSCOPE

RICARDO ARJONA

5 PlSfl ^'iiiJUiif

MERCEDES S08A

CANTOiU SC'.v r/usic

SSI
1

2
3
I 4

lUlTRATOP/CFKI

DicEHiER 2, mn

HEW

SUSAN BOYLE

I ORCAMED A OflEAM SVCO

. RICARDO MONTANER
° LAS COSAS COMO ION EMI

, K3

' MAHASE STUDIO 100

JLS

JLS EPIC

. GUSTAVO CERATI

^ FUERZAMATURAL SONY MUSIC

. SOUNDTRACK

^ JUNIOR EUnOSONQ 2009 CAPIIDL

THE BLACK EYED PEAS

THE E.NO IfliESRCOPE

i?"

* LUIS MIGUEL

' NO CULPES A Ut MKHC WARNER

^ 3

g MICHAEL JACKSON

* MICHAEL JACKSOM S THIS IS If M.U FPIC

LADY GAGA

M F«I MMnSimWMEMHHOeFfTnKWERSCa^

FABIANA CANTILO

' EH U VEREDA DEL SOI SONY HUSK

f. TOMJCWESANDENCELBERTHUMPEnOnCX
^ UCKTOIACIumEilSAL

MICHAEL BUBLE

CRAZTLOVE 143,'REPRISE

MADONNA
""^ CELEBMIION WARMER BROS

■

4 NORAH JONES
,* THEFAU SLUE NOTE

lOPEAN 1

HOT 100 SINGLES

-s

(NIELSEN. BILLBOAHD) DECEMBER I Z0D9

MEET ME HALFWAY
tHE BLACA EYED PEAS j

RUSSIAN ROULETTE

1 GOTTA FEELING

THE 8LA« EYED PEAS irrfHSCOPf

BAD ROMANCE

SEXY CHICK

DAVIO GUETTA FT AKON GUM VIRGIN

BODIES

THE OFFKUAL BBC CHUXt^ IN HEED
PITER KAY S ANIMATED ALL STAR

J AtMEHAIS TELLEMENT

JEM* [EE ■'■J.LLIty

PFLASTER

ICH - ICH U..V1:'_ II'. ;'UI"

YOU ARE NOT ALONE

X FACTOR FINALISTS ?mM V-CO

STEREO LOVE

EDWADD miA n VIKA JIGUUNA SPINNIN

WHATCHA SAY

JASON DEHULO bi ldaf> HEIGHTS-VifAflNER BROS

HAPPY

LEONA LEWS ^YCO

EMPIRE STATE OF MIND

JAYZ • ALICIA KEYS ROC NATION

MONSTA

CULCMA CANDELAUnD.!^

TIK TOK
KESNA t. r .1 I . r.

HEW

RAIN

MIRA " . .'iL>^'JCA'ISLAND

LADY MELODY
TOM FRACER GWATAV A^

BRITNEY SPEARS JIVE JLG

HEAVY CROSS

THE GOSSIP ■■■LL HOLn hiAHb. COLLMBIA

EURO DIGITAL
SONGS SPOTLIGHT

Sit

M \.iirv^:i'_i.i-,^^^^M

(NIELSEN SOUMDSCAN

INTCRHATIOHALI DECEMBER 17 20S9

MONDAY MORNING

MElAKIt FIONA 'I' . ...i ■!■ .■ .

RUSSIAN ROULETTE
RIHAMM* . i : I

ALL THE RIGHT MOVES

QNEHEPUBL1C '■■ ..[■ 'jltRSCaPE

MEET ME HALFWAY

THE BLACK EYED PEAS MERSCOCE

BODIES

ROBBIE WILLIAMS C "RV Hi . IS .T.Gl 1,

1 GOTTA FEELING

THE BLACK EYED PEAS ■-. IFi^SCOPE

DOESNT MEAN ANYTHING
ALICIA KEYS ■ I

PAPARAZZI

NEW

EVERY BREATH

OJ ANTOIIE . ■ . ' , ,

HEAVY CROSS
THE GOSSIP LLi..Mbl-

Susan Boyle's "I Oredmed a
Dream" bows at No. 1 on the UX
AIhiik (hart with 410,000 units
-the best first-week sales of any
album in U.K. chart history.

0 ARGENTINA 1

ALBUMS 1

THIS
WEEK

ICAPtFj NOVEMBER ». 2M«

BAD ROMANCE

L>DYGA« ■ y.--^' ,.VtO«imT«.«TERSC0PS

t _

VIVA LA VI DA

1 GOTTA FEELING

THE BLACK EYED PEAS WIERSCOPE

: * .

TIK TOK
KEJHA t^L.i

RUSSIAN ROULETTE

RlHUNAiSLAFtD'aEF JAM

KENT

HOD RC^

N€W

NORAH JONES

FHt FAIL . i 'lOIt

MELODY GARDOT

»1 DUE AND OtitV THRILL UCJ

HOD STEWART

SDULBODK .

MICHAEL JACKSON

MICHAEL JACKSON S THIS IS IT M.J.'EPti:

EURO

DIGnALSONGSl

TWS
WEEK

IHIELSEN SOUNDSCM

INTEHHMIONtU OECEMIER 17. IDM

MEET ME HALFWAY

THE HACK ETED PE45 iMItHSCOPE

RUSSIAN ROULETTE

HIHANN* J iVM

BAD ROMANCE

UOT SMK STPtUUiLIKHM,06f1VTieB(TBQQK

WHATCHA SAY

JASON D0HJUI BELUGA HCIGHTSiWAfWEn BROS

TIK TOK

KESHA KASZ MONEY,' RCA

WILD HORSES
SUSAN BOTLE SYCO

;

1 GOTTA FEELING

IHI BLACK EYED PEAS 'll : K i.p.H''-

HAPPY

lEOHA LEWIS '.s' '

EMPIRE STATE OF MIND

JAT-Z + ALICIA KEYS HCC KATlON

FIGHT FOR THIS LOVE
CHERTL COU PDLVDOR

■WTKr SPtARS JIVE/JL.0

YOU ARE NOT ALONE
X FACTOR FMAUiTS I«t SVCO

SEXY BITCH

OAViD ournA ft axon uum viiniiN

DOWN

MT SBW n 11 *MnC CA»I KOCVUfiimN. RBUUC

■9

HAVENT MET YOU YET
HICHACL BUBLE Mi). REPRISE

EUROPEAN
ALBUMS

iNltLSEK' BILLBOARD) OECEMIER 1. 2MI

ROBBIE WILLIAMS

l«JUfTT RILUD THE VIDEO STAH L."HVyjJSW£ilH

MICHAEL JACKSON

MILHAEL JACKSON S THIS tS fT MJJ.EPIC

NEW

SUSAN BOYLE

1 D^IEAMED A DHEAM i r^O

LADY GAGA

TKFAME ».;',.I.UJOHYnK,W06£CPE

NEW

RIHANNA

HAIfO H ■ i;-' lltF JAM

NORAH JONES
IHI FAll ! Mill

THE BLACK EYED PEAS

IHEENDlTI" If!

QUEEN

ABSOLUTE GfUATEST ^ARLOPHONE

MICHAEL BUBLE

CRAZY LOVE \VS R-PRISf WARNER

LEONA LEWIS

ECHO iiVij-

STING

If ON A WINTERS NIGHT CHEHHYTREE 00

ICH * ICH

GUTE ftEISI nn'.^r^^ir FTif

JLS

JLSfi 1

RAMMSTEIN

-.fBEISTfUR ALLEDAM.'Tn =

BON JOVI

THE CmClEMHCUR-

EUROPEAN ;1T„^
AIRPLAY

DECEMBER 1. ZOH

1 GOTTA FEELING

THE BLACK EYED PEAS IMERSCQPE

RUSSIAN ROULETTE

HIMINNA ' > JAM

SEXY CHICK

DAVID GUEnA FT AXON GUNLVIflGIN

MEET ME HALFWAY

THE BLACK EYED PEAS iNTERSCOPE

BAD ROMANCE

LUjr oAin, " > ". 'jiDcntviHtEMrasOK

PAPARAZZI

uun cAGt ■-r-x 1.M >■ r(.r£De«nTFEfMnscoK

TIK TOK
KESHA RCA. JIG

WHEN LOVE TAKES OVER

DAVID GUETTA FT KULY ROLAND CUH.'VIHOIN

BODIES

HOBBIE WILLIAMS CHRYSALIS.VIROIN

J-AIMERAIS TELLEMENT
JENA LEE MiHtUIV

EMPIRE STATE OF MIND
JAY-Z * ALICIA KEYS ftOl.' ^AIiDfl

EVACUTE THE DANCEFLOOR
CASCADA '.i\'\S

11)

HAPPY

LEONA LEWIS SYCO

1 WANT TO KNOW WHAT LOVE IS
MAfllAH CARET I5LAN0

HOTEL ROOM SERVICE

PITBUUMR 3(ISP0lOCR0UNDS.''J

a for week of DECEMBER 12, 2009

I For chart reprints call 646.6S4.4633

Go to www.bniboard.biz for complete chart data i 47

L 12

12669

nmaut^^eamk^ , —

SMMB«W.SIMIIlWU>K^tMne«n>tu R

BMIUMtf fUWini) ScmnM ttuwtui
(V{«>n MwiaM PuWpv <WM1. tCMM HI(D

4 in nnw iPLV Miit lUmr uhn ttflk. EMiM

<V<k..: lUlMSbitaaMUjMN-SWIIVlUMD-

«- '-< FUIM Corp Midi Bm

i-nlxl rn-. ASUW.'SnvWV »IBS 11 C «SC*Pl Ml , KIOC

JllOOnWtkficCaii

ISCWiOra Uil Hek ASUf (M Mac rc
ltSCtf,'N«k riK L«B . Jl£CAF^O* CivAv Ubc.

MUMna (JH S^JhrGit Mac eM'Strv

mLTtrfA *Kv PiIiTfinii (M) MMM WH 74
UX I ASK FCn MTMOH ' •>ATV*Q#lteUiitC

«l iHi WM lURNI Uf VM >V>C*P,<a<iaBnW(>n
* - ^ '—jfKmv

r.»SC4P>m(D

MWFON SimjHMY NKHI EVI <(r< PAm h:

■■■■J Jf.'ljWBttn
'.ir*: *SC>P,M»tO'

^«B« GanwW aU LjcV Gn
«mq he . SIMm WW ItC BMlW Uit^ [W

LC LWi OM Hfiic Blt«Q laid eude.

BfTTlH BaJEYl IT T 1 > .ViAm <t_ .

V. [ rt- BMtMebfMM

■■.■lOBUCISCim

Mkn IE . :i(M;t^r3d)B Maw UK. 9S<CHI

rWfttK. UCJV.^UoBHflUfilc BftlintiXwr-
BOOT UWIMK IUbmB SoiV. MftVIM MiM.

nill iKvf Mm HyK. BUten Msc

Uinr. iSfJIPjCSTHlOOM
a HWIKIO JIK Ulotn tSCAPl II B
MM .T'/ ru^wnd \C^\ Mat JD. SCOUvtea

--.<.>'. I M LJuMcDd lABCtra. fMJ. H'Cl)»

- 1 - lu . Mitec DMt Mm Gnm

niC«ll!i<wiaiifu1 MfxnFMBMAlMMhm-
»>'m[i»c»ml*nt*lB,8Mriia

... B( I* lAst, * ^

NtMu: touL JfiDV^VTMral Use
'. Ji^^i.rt.'WiWiil(«HW
EMIMUtWUllMlfeMfi

'r«UM£ic MG85cnoiASC _. _ _

Scnp i^CVtW 4(1)1 Uac n:.AS:v,faf«BQr

'^•(frse[[KanBlAjfM4t><<>*ak.tt..

Ai/^r .iTj.' k* (Me MortB. SOB U «
ouBH- anu OA Mac eiit(M Jipi itnc n .

CClOiUUI.CKU)i

__ iE«

CONSIMH m COM

Sov. *ra Conkn Use ifiCitn

»t«BM.CS4 K100»

aim Sra nurnnil K. MOM Bmnl ur
U)*m<WHO MMn<Mik SOCM^

SoBliC MliM.ttli ttMBUHIOOGaffiHU

onir m H iHirwira nw) ;u<to Kmv BMi

MMCM M OOBIW Md PUMM Mate iCC
■anini UK mfWA n Mfic Pinsnrg

iicssa

nnifiM|lO«CHOESTA>4tO«l

_■■ _ \\\.-'-:. .!Lir«iii ii_ BfA^iiiiylhe

DU u an ii-i'r^ti ijniutMij.AS>nii c

IKXMT MUM MTIMM lUHoFmcMll KDVMM
00 1 iFWa <«m BMUiW CmoBinn Qtui Mtt«

OOrrsnT <i,i^itiM«>:UnMMfaUw9ralMiac-

DOM iBicU Mm On* un JUCMMMdFlK Use
MOsnn ra») MoK. «SW.O]Ht F%>fl«l0fig.

ASCP'VM'gUnTvAtiPnrijh: RhtWmlrvtor

HMfif^ ■■■■■

oanunucmfR

Ascv :•

.■ .

BM'a;*.K:*..l.ti.L f -:..,.u- i'.^.. ru.,.-i -u

Unrd K MQiCir«>l)w>U»cBHO*n
etymt U Ejtmm Ml HI/MM. HlQOn

_. _. ABMtUacASCtfCmwMsc.

, cawig^,^

B«Pf«ST«t»«W(Pl«inuW._

luDt, mSlilOM lUM FUMMn nSOmi Boa McK.
AS&U>.'J SMfi PuH«m iSof.iVI tarn Mm.
StSACUcvi rihOo Uoc. aSJlCTheftttBtn Mm

&tUJ ■»,*'Wr■^■t1.■!l.■:t^^I;: BHtdTTbUM.

___M>ntBHMiBa h(_

mcum TK oMCEaoon '> ■ ucv.'anMUM

EVBtVIHNG. EVEFinun. EVIFHWEM (EH W Mm.

U ^1-.-. ■■ ■ '.ij<5«IW0n Ml*

mA:-"' - •., 3jMB#iE«W>-

irwl .V- ■ ■■■ ' WCVl

HjW-I.' - ■

flllir miWHkciiTm MBit. MM toll Mfilc.
K- ASCtfUfwfl ttac ASUPi, li. moo s

IB ir CU •MMPlOUm EHWiMWI Wuc ic^
aWWoMHcK K.UC'MjnAlUfiK
iSCtf '^tvgJwrUnckc. MrnWGH)FU)t«ifq
MlM M« UC MfU BttMd UK »K.
M$m,iJvSanUC MthRlUKmgOHVHOi

GiMn Mta N M) EMitonim U C
ASOVitWii^ Oto StfDi K . ASCtf ,fte BIAMtina
IV UUP«9MwISCVA>mnii IAAc. MUt

fU IHA yvu: Coti. ftSCAPI 111 a

mgiiwt—iitrti iiiiriiii r

nFm |SR«'»TV IM RMMll COWi)! eWbfto Ml
UsK.M'HLCS^.HIDOIf

Win liCMM Wua Use M . BMftaz
Grait PA ntUwg K. BMnwg Ucrav fwenng K

Mac BW-krv-Wl*

Cap *;j;*i"^.1i-Vr.:i>ft<.-fij HSCAfMnwHltlto:

Mej-.l ulna
KTTK YW HOUE BUtCll OREtS lONQ I'Uwd

Wxin-- '.*r-,t tc.KlWf

nr.9D

Cop ASW,Me«a\Hin4UARawm.«SJf^
A L«l » Itc Ueic. ISC4PX MJWK CS U
ONE n UP ID M nit CnnH HkM Udt . MMsn
Um CvpoOM BMW UEK COD . ASCAPMwa
Beo M« FUA^ ASCM^^ Um fUi9w«
iK.eUmMUMC^MmitVBKlIK 'SdP;

000 H Ml IIM >ir. M;tc '-c '.'^r./.--' V,»- I*-- Ml-.:

*SC»^-'jr.i ,,, 1 . - ,.■ ■ I-,.

ai*'»m Tij [JK fiJB»Mia, Mt , SOC<H'a»t>G Mot
blX;4ftMc< U» l^oMKns. SnUNl MM, cs

ooni en ir I BOB eucu BtKMcd Uek K

IT iScfyW Ilhb ILC . KCAP,S<iok

rwMiK.ASCAPl.HLHaDM

IU«hmeMl.ll.HtOOni

(UnOWliWC AMn« ASGVnW MtK Qvp.
«SCN^*UI MM Pldma WCM^Uwm UKCar-
mtfm ASCV^AmM Mac lie. MDI ShdNnd
Hflfc K , Mftm Jeai> UW tK. Ml. HJWU
mOOiftRMIt

HA.1IU San BWSongi 01 UMm K- MZDK
UfiK iuanm wCAMeiiacO)*.

ntdjeieM.iecAr.»i0UHcK rdecAFttt/inu

NMsn HKT mu m I r IT TV lie Mn amnj

dmennfUHnqCoD BMWMsKCop.tSCAP;;
-V HfCC Br

...IRliC SESAWm-

OVraDFMTMnKXIW .'

•ei V AUK |C)Mt CU FUAsfHv BMIMna^Ivw
InPUlUiqiCdrD WM<S MA SESACI MM

lOl Oi 1W HUr I S<>v *r>' 1m PiMMn Coipn.
»,ll'^:I^ tri Cjir; -Jr. t.^': PlM-ftllJ l£CJei^l^

nn c*coi lanDOf Srt:i«i

.Min'm(lxrtiHBK.*SCJfMMA(nl

[L ASUP.SMa Songs MTMBtoMDOd
i.eui tt.KlK!tt

E tVtoiToraMMBC Mill [W

Uluc C4KBvSUH9i(^>MUMtieUBKEH}.

HrTDMYHUAT ... Uhk. BMfta BvmUAK:

r. ..■■■■! -.-rjewirtnilGcIprvMwn

v.- ■ ■ ■.■7r,i8»)Mw,BMS»t
I-. ■ .■,-M.:S40
HItTOm W nc MMIHG . uau iUte/iB(l A£CAP«tM

Mant Wsc ttWI CS ■ ? H! a 7;
HOHI eWL 'lOl Jttr S«u UiSK FUfaM} MriMCD

HoiR mM ma iMKy naisMu

MfiK - MBSraUCARjTwii Ujsk

BSrateWVJrvtiU
c tc.Mtog»IV Sens 1.

MVMm 1*nniw FU*«>no Cin . Mfl

I., -v'l >,v.:.a msi.tt-itwil**
HOW fWI DO 1t)U WANNA HOT <\MaK. rc. ASCAPAi-
' ' i-TivSmMuMSiM-
H-. ■■ - ;-,*m,MCS41

HOW LOW ' . .t '-'-titfiig. he . KCfPm

fubMatSOCWSomOl
■ . M ^ooBi Ml rtjWtM

ijiAfiKASCACWnkt

ir U (WlEs FUJI Mac GMl R» U
IWIUMwMacCtnatfenASCV^J
MK AS&V)W Afll Mac K. ASCWMd Utt tl^
Cim AXtfiSavWV bn ac. A5CAPM CkTTi
DwlMMBMnanusK M?41?SiMaillCEI*W-
OScnnlK (WvK.WM'eHM

iCMniwaiTigiM.' '7>()'(iMM^SNmi

i,r 1,^1. „ .M.trj.:K MmMacCin).

' ' >SCAPUieatUm

I ■ ■ i.'«a(cs»

ICMnUNSfOiWITA -.'.-.OUmnHKMIMll

IC . ASCAP,aa Unc ASCtAvo SmD ASOViUfm-

Irni. SGCScra 01 WmK he. SESCMona
ftowSa»CM»ieUSmMt.ASCWnaMri^

>M^ASCl^^ll»Mu: ASCi^VtiniMmTnMfHig

I DRUHED A CAEAM

w nu any tiaw

xiMscllt ASCtP:

<,5DV--tM»il>lV

K. Mvmt Wn nauf^ Cop . MtUkv A
Mac MC. MBdk Mac Dl UTMiUl M .

I «r iTH nn 1 1 re Mac A5C*Fmt* Fan»< umc

ASCJ^fhl 4(111 Mac kc . ASCtf^'Mmt U» Mu:
{WSManUltth.. eU'SDwAnm tSUPfkurve
xri Mail. OSCAT.M Oti«ivyCiUi>c»b>L.t««

f«ar Uk SESK/Uk CtK Mac Gnw ASCV W
M«x Ccup. ASCAf^ ^ WM HIOO 91. m 2^
IWFnUfBUNMJ^UiK MMtrarWMcK
MU WcnMK SUDiaiy >»>•. MHHlMra MM

»jt«sm» ASCWMApM UjtK. he ASCAP/SunFh

<]« RM^. ASUP.Sun Phtfi Usic 4£CAP.3«(a

totuui&Ca n. i£CW>.Rev D»m. s<au.

IMOTDIOI^THt^Hiw MS3(V'«n>'S(rvillt:
MCM WjOM Ua>c f-*t9tr^ M'Aoi'i Bci iMjik

6MtM ewxmtf lAMt W MTlK RMM MCTM
J 'uDw j^an Ml, IVHm HiOO M, BBH ;
I lOOK BDn 'iswtui Hk. BW KH 2D
lUMWIOfWiltfWiFUHiMnn

MMKlEUBWtaaUMiKK MImoHac

eMi.n.Hicpti'

m MM I ^'KTV Ukn Uisc ASCU*,UnfeiU Mil:
LLC ASC4P.SA'*''.4(^RDWUM.eWJnMU<4

Mtfc BU*n ftuk MsL ASCAP,ek) Ind 6*01 EM)

eM«ainv«n«nniisn|Co« M^M
WawdMwtw ~-

MncCovciaav ASCVAy RdMftjWMa- ASCAPl

n OOM (libe Wat FiM Ns**. ASCAPai 4(ni
MacMcASlUPnieudMnllAiBClK Mthinon

ha) l\b^ru ^At-tf n^t'l ^'>o <M*Fii^ BMl
■lllASIJW'niRTWHtWWtAftll ■■ irf>Tf.t}

itvoinnBwcMiTiK

'wn Mw. iMTiavm Cam «M UfK FWe^
<r(i ASC(P4MM Sguffi Wmo ASCVOvau
SviUBC.BHi.Hi.i:S6H1D0Sr
I WWMIIDCK M Oat Mac eU1iam
(cUt.Pt&VeMsc&m ASQV>H.'Mil.FEH£J

uciuimuwnMiKa. lie ewi IT B

UJTCHMtf .■iW(Mr--r™p aVAP W *> The Kry 01
..-'Pi rt.iPffllji,i»i

If FRtA* ILlilH llfcl UKHi ■ ^^.I-H^;

AUnUMOHECaiHTKIIHAtiimr

WOA :(.VMTnl(FntiKrtjU^-iijuiii WlW
EDus Dm Mac BUl i«;HeM CS 2i
UKUn«nillVM|[MA(riMDCiK ASU^Sm
Ccm. ASCAF.'AnftK trrW fA.2( BXt^ ITin

LUJ««E POT D€NTHO

ASWtMHinlMr*; tr A,-J.;iJJ.t ;.x<r M.-.U«-.

SGU,«T*i C(M Wsd MSmu'ATV IMotf.

BMkCrriMBSings MWWuucCVP ASCAPfd^

[owSEASl.! K.'WBMiri9
lOHienRMOI.A'aUAUILLC fMimo
UMGVtBirMMHEiBqUMMBi MCcWnn

Mu: «SO," I«-(MVU«RMscASC4f>lCS3S
U)0iaWHWriyW0M(G«WA5C«PyWpaCr^
UficSiwSA SGAMjlewPRAiatK ASCA^B«4{nl
Mac n: 4a>iMitatafbn XSACUnori Tun
SS*CUs«> sai SMgL ASCAP, W Um Cop . ASCAf-i.
itiMUljf

UNE COMI mH «n flHi eWboc Mac BhUU
MMMd WCK IK. BMO« DMTI FUKttta eM«w
Mom >uiin« ASWyi MM MfUMimCiineMr
ia:MVjAri CaiKf\a«MB AXAPAJMe MsC, K

ASUP.Ui L Lii FUfiSKQ nTTM Mac he ,

*SCAf'V.i*">^M: =-J'Ji- H=HtS
UWLKCRArr ■'■ • K'.-i5*»(jRi»M
Mh: ■iji.Bp.BMTtoJ^

Mcj: r.'.l

UMLMSOH , , .^r ■-, '^^FUlEliat^

*£CArM,L«u>y.--. j;,_i;-j5iiS(muc

i^CAP.tand Bs Sam. iMMnm WmFUAsMq
Dovw ASCAP^ CSC

M I wun to H iSta Tim Scnp ASC^tM

. lurH -Aju; ASUNMW&mftR (UAhiPg

.ai. -^^AtirFr.rv.gtEiiFM) Mines 43
IUNOI1U.WI -.VrVi-'i^. irctfi'SuwmCna

XX'JU.'-i ■■ ■■ " ■■ wiPinwiMcc rt,

NHNCM ' '.'.'Arafarnolrc
HENMKnEOfIT ...r^v, , I'ttmm IcMU

_. ... jnUo: auk'JMfnMoc

c.BUllAUqMK.MODr|Rhn MttaVUM
rt«fUlf)r9 A.'XUFIM ijrl Mot he

■I 3'iU

aUii V.

WeuraTODODETI :.-AV.. )\£firmu
M«:j ill I'MiLl:

Mi CMM HUB! A n B !UmM« ASCV] LT
MiWMflBIBITO r-.fMU.-M WCeScroi

MtUCMOWlAflBIlL > . --. ASCVtWcni

Moi; ■■ Tins,

'> ' : die Vim

AnwHj w I . '"-UucnaiMj

MVsuqDntntKASOP/iWUQK^Tp.WC

Kit.X FM,(uaxtModUacrc.MtlEfUAdi

KjLt'.'; ~ .' ':[•» GnMnBMt l«.1MU.Nia0SI

HOfMNG AFTTR DAM :tWU Bn0i l«M Rmtms.

.■7. 4si*'jw)"if*TT(iin«i«.

ius^bhunn'iiSCAAtiinnBMscntfff-
)n.A5CA»)VM%.SESiOMBM(yUBK ASCV<Wstr

TfWffniaMiUm m inUii Itl IT
M^ewMBBiwtaiMaKac gmomMsc
(eC^MMAol Male Bl, AGCJVil UmS 10 Qk*

■fTHdn lC>mC«Mac (UMaoMUnEn^
Mat MUSbreO) MAC. leWRBh M

nu HOW rKm»^T«nn UnM C«4

rM>1>M«n<ndM/M BUttvOUtULnViMimg.

^j,wi,>-t»rs.-,(r, S£S*Ct«ifmt«iw

V, ''-^:>:aMAcASC4F11rtiiljat>Msc

.ji^MiMu.csi rnmir
FtfVER CDMM gf AUMC rVMratmittrt ncwng

-< > JcEd SOAHVO AMI Max.
;TiksUC ASCVDriOl^

' ''..V.'.hMn«.ftiy^ hvm
. ■■- Hj'«ii.mii)f4
MVUIUUWIUUOai'vkM»Msi ;Sv^
JJ,tt-.>i'-( utu>]PuUsnnt,A£CArOu3ii«mcnv
HMHfUlenne.ASCAP.9uKC0. lie ASCAffUru

mtiHKIUIMO.IISCAr^M'ihiMu: rc

MKtASMJUCUETU . :...>Am.

SM:;^-, 'J. kuiL lie ^i.L^:.Q!MflaFuit«iro

MoClUavWDllCASCAlnil I!
■MMmrm «jw IMe tic MThe PiAUkq
Dnoic olAiiim fiimn MfM BtKMot Uu M
M«M4ramPl0fenraC«rp M«wi]Mmr

■■n M iRIWi nawm he . BUUMVtM Mat

; Scrf^ BMNDno Mk EM^ UtsTO ( eM«)>9 a
JnMcrtf K eHUHHdMiKOnicau
ASCATtevar/Mflc ASC4PVKLmiir«H19

OM O^nngit Uw nMWif. StSiClTMna UiR

!M.V<lu^ Ctf^i Utb BMl. MMlBH RWK

,__ ^r^.ASCAP.eg

L.A5i:AP.f.^DMIwnM UC BUfi

HLDKMHtOOee
KMC ISwflsOlfta lU- ASCM^HKX «i

ASCfttMLfl Serai CrMWfS ASW.H>.

ASCA-"'lr Sxfi ASCAP.Ssri,.

OincooAN '

«MHGa4*0UTTHlO /tamQBuO

C5I*T1I« "

■ 'ixqiiMMMfic.
>^hbck. siycfu

WMBBMlJftfiw.

MSovATvaiwuc OAHueateinaMMii

K BMQUMHaCK. M'int^PltV ASCA^Tl

H001I lJ31
fWm iLB-h Mac ASQV.WM Mac he

ASCAPilim S CM FU«eMB BM^MRM^

MUnC»tMMecfiM«wlki2xUacBUi 4.

H1IXt3S.(flHI
fWTT MTK ULM. IKB Uiwr nuiArQ ASCP.SUto

BlU HfM MVma Uiaw* fWMWii Coo

MStfvATV Mac IK <^ «W HlOO t?
TW rWT OF rr Nl (EM W Mac he. ASCtf 'SiMt

' ' Vrr bstm BWAIMnaUm
' ^-railWEfh: BMl »1.WMHB<S
iWYFCniDUi.MiMWii1iAis); MfMlfKR'UlHwD

nCTTr MMN lU SJiruiatMa liSUfXMm^ Meic
Ufpmcn «iOP<U COM Savn Mac MUdimn
Use ASCAPitMlfril Uok tc. ASCW^toi PlBodw
PUMWll<SCAfi 11,1IIN. IBH C

HCm WWI iBwfcwUac ASCAP<Mi»4 Uj»c

hC.ASC>PSaiF«TVU«ltCA5C4PM8IBHll
ASCAPI HW6

ETCErtlini

ASCWVJra Up Mm kc. MSa^i^TVSoQS UC.
MlAitMsc KMnqi ASWSaBKcm
IAPAmMJOI HacAfi&IMiAnlttrtjMi

miReHM

■cmUMniiMwc-;

FUWm tc. I«>PI H/MM. RBH
iBioNM pnM Fituma K. mi
Sm. MC 0 Qs4 Mac MMn
■'n>,v«MB ~ "

iruanni

nMecltc MMMMMUac

Jn^fUBnMHcaWSmMTVSax^UC.

m nn PUKMa BM«itt Thi (ixIM Mac BM'Art-
ttiK BWfiUI Mac K . BUCw ADm MM Use
*ajefSiriMV VMS lie tsUrunm Ooom*.
BWMnWMsHBtC BMMqHactK MTJIT

iSoin iMwiMixis

Mi 1W 1NM ^ A|H Mac K ASDfCw EDA
Uac. ASUnt^ Qmre U* PIMM he . BWtM
Btaclw«dHMlBC.MAtolD UacMOmiki
' ~ q.tSCAA'AnwHUaeaCBhUtafaoi

■■B.Bnrm.i«toon(r- -

tlTMWtnnUM Ftab

M'Airf^BEVHrt.H

coii.nKMniMai

Ji (UMMnOatt

„..tralMiA«Pu.

kMoc fUAMa MVwi
Uiue MWUSenMMq leomraiiUfiK

A9:ifttri:nH^J*rJr<0eBgw;ASC4P?BilBte»
<M -( «c<fiHia«taitfia-

:. ■ ■ ■ fSCAPlH-WW moo

MY A COMMAND .t-.T MfWWng.

BV.'.L.. v>>^ -Ira BuaaCmOmMFi*.
^titj^lTi^ >n>lH m;^nr« M&tfkr fUMMft

W HTT 0 UMIOUI 'fOacuAtoK ASCAPUrxna

lAwonnmi Asc4f>>r«UiSiu«.BUwm-

W.r-Cfl-.-njr,.r BMUArMBcMi^WN.

A£i:^,Uiiiral Ubk Comta. ASCAFVJarr la n»

««fr--

SMEVAUVIU r. r '.-u-jc KMSsvl^TVDa

torr MCt I :>-«n> bd^iar. & Cd K ASCAf IMm
Saaa Rata (UMaa ASCAP.^ATV WiKnr
t^fiitW nmdoa he ASWSffVAn/ Sav

Son aA-MBL mva> En

MnM.uT[ii.Hiaieia3r

tMMU inc CamI Nue Mac i
ASCWaiAM UEK, rc. ASCATfil
Clom Sl.«MCImM Hw span SA
SME^nai Cori H8cMtea£Sc^

IHEWWTRLOHlTLCatC " ■ ■■■

RlSiMaAri'MoKO ASCAf .Suir'Ari' Ocun

•( MBt, ASCAPUxr^ mb< a»

Ire lie ASCAr.Mlcniiin Ht Mac FUHMu
ASCAf.tau Ccui Mse fUfUnft ASCAP.Wi Mm
Ctrp *£^,ttt«i)[M!Sa9tc.ASCiri>L^.

MU iWiwttnon nittHag Car MUe HeC
9HMM aOoMUkn eM«jg Mac he .
OtHMMtftek OMkBltelMNUBK MJTi
use. MMmot UM COim i'£C«P<VnM
fUa»« ASC<Piai OnMi UflN teic A$CAf>
HI/HMCSS4.HKI152

tOmmHU'MUACASCAI'eiAcrfUM; K.
tfCAPMftaC rc 4iSCitf.t*RWrV»«D«toT\
ASt^Cn % *Cd . MffffMtr«c eWftu Mn

uii> Of w» FUMaa BUI. HL moo S3

SHmBHIIKZ :Scm ATV hCfUMTM Gomaq

H^'.[^rt,.jir/T,-,- :#^,.inwMr<fl»MacfiaiHL

ttriioooiuro ■■■ .- re.BHnils
VUX^REMCH ' : 'ZiMUMWUHPifr

I'.-..]' ■ .-. > ■■- ^IMAMMacK.
'^.•^■^■ii-A.i.-.'A.--'. JOB I^MVMUaicCac

BM&ryAIV Sov lie MMm a&nIU4Bt>«
he. BMOoMMk K.Mi H1DD94

Dm Mac bM ASCWM UAc
Cop tSCAP.TmAtc KCJfSlMSmWDi
K . BU^ov C4 Lrrwn.M4(rlUM: tr. ASCAP) hLim. H1DCI64.

SWIHOMUMEiLVtuiUjM ASOVMJTMalUfiU
Ccilcnriir. i.SC4P},H/MMinnW

STUCK !m Msc Mftn U|«B itfic
fiv^Mo- Mac EHMtstfruoaraMsc eun

SIKaSM(Mnaaaa«miUH(HDCaq>. MTic
t\deMntlBlgmOlAittvOtfBii EHUaWh liC
BMUyiaUMSri MW be, MOWi Bn Mm.
M'lbiro Um FUlttao tc. M tt/m. fEH (3

tVK iUaaal Mac - CMn. M^Hhm use
MWmlvTaaelUtHmCae M)LI)9

» IMHO '^nnuTi [Ai PffeWq <SCAf^ 1! 9

SMUT (T OUT I Mnc Kl) mro A5CV.«9 t*m

On. ASCWiStfgi DilW, BHMkMK. ACCAPl «

■^^fUMtaASCAP.aaialM

MKIHimaUMoSMiKi

. ttilSUffiftrfiAIVUaclK
PR&nm IM k SB AfteK. SBN^MNor HUc
SESICUW M SBV FUMMijOctrK. SSACi I-

Htaiijmsr

n AMD ^UuiQ CdcaaBn C8A] II 41

TE HA ICnH SW N .UorOlMMa «£ClVMle

mmioM ' '.--anBotnuovGaiL

. .1. HMttaBiCiteAMW
nr JEnnaPieAct

rc BMMNMvJttva'
' -.>-T 9A'fMA(rtM

rtHPORUOHCMF .

i.^.iiL \- ■1:., ^{jexnMH.

IBMBlMAMMnEiSovAr^Mwa ASCAP,^ACU
UKASCAPlUai

oaftMn ■
nm HOW COUNTFtT ion ROU >r«U MaiC I

BW"! = «'JWMBW
■oriUi- ' F.tutMSnalJ

i.. ■■ "UWWACSI

MWIII

1WMBIG00 :^iii.C<L;(:<iiJ<>iUj9K.*SCAPit
lilrtVuit ASCV^HkISCW^HLCSAA

IM« IMW VDH iRm Um & ail A taBB
5ES*C1M fow Mac SESACUKf A nflfe
Cisan SUN^licNhM&annnniUC.
ASW.(«M [Mb &]^iac ittfllii.iiKlfci

CKn ASCA^Tia roM* H«e Onn MAM
1|ie;BUll«.jMUHH«
IWarriM^Mac BMWnn-ImweFUWn

Cop. Mtum Mac K Ml. MM ffti %
IWIMI )« Mec M W %
nfKMITil1WMS(EM4fiUM h: AXAP'J
Bizu) Mjk. ASCAf.Sov » F«« Ud . JkSCAF.'Uplf
ASUF'WMsc PinnWQ AKJtP.VC Mot Cop
ASCV^te Ckattx EiWltnim >£C<f 1. tl^WM '

M<U<es 4ackMjKX. ASCV.CU SixaDjii Hi

MifaUa SMi. «. fen 71
m HI lOM Mm Bcfi FUitfi:ig UX. BUCsura 1

ia.M)mao4af»i«

^tataitiMUw!!Sr*'^ ''''''''

III suMHtn COMES AMOUa mmtT "

BWSDipa

TODAY I'.' ." ^ SfSACSaMthmtQacMI
«WkMnnHBKllCeHWi

Vtiyc MM Out Mac MM
l<9>r«' Sax M«4Uj9K.tc BM

Hid) 13

' (ScryW Im UC ASCAn ^ Hta
_ . -n1rnrScTQi4SC4P^JraCir

MffC*SrjP*,T-.cnjl\l«rJ.r^r..:U 8MICSI31

IWITOUT -■ 'QUI Mat I*

xiiiJi .- ■ - ■ -i-niUne K

ASCA" li ■■ i

mriumG wm A noKBi wMn r«» MM r

BU'^A^vG.vu...: iMIttottPoMlaai.
ASCAr.fMAcrtMacne. " "

iuancniPiPici4Mic«mnK lecma*

mmmmeVaim MfiugUnctcHH
Man UeC M^>9 CI WMmcgI FWk MUb

Mac MmMMMu; tMUff-vAllllMUlt

im S Kim mw ONE iMrti. maa Htic
ASCAP,CMA(riMacnc.ASOn.ll.mni31

ASWWau Mac Capaaw. ASOftSwBrtr
ASCtfilMMM 3m Mac UCMIMndHw;
ASW< SIMMW Mac. ASWWwMiliwmni: ft

i:a^MaMfiiiniTiiaftflwia»aMn.

che.ASCAFCia^CtiM

UHMM nWna&nam FUWaS cup . eM). M

HTIXK)

Mt Manor iwna SIM. 4fiCM>>SMi 01 cwrt

MiMarna«MsAsc*f.(MApaH>

[ A£CAP,WikgaFUtgltvQir«mH ASCtf
X. BWton S CM FUUiiQ MArgA Bw>

he. ASClf^fl>K Ohb Mdc Gnui A:

Orr Ail^tfTlVGCWfUMaeaMWtovttrr

AEOVMacn Danau BWbtg Music, kc W
Mac tMJ Hiao 6

ASCtfllWn

MiaifMi kNMHsieMiMn«nn<taa

M^ 01 IMiOU. he. BHUmi UKM Aftak
ASCW.Cbm Uw Cttpcmin 4£ap«mu Eai
"-'gUache.eUi i«/MW.h1i»V

FMMaCGaoSESICICSJS

- --MlSmirvhefUMaaCamMf

Dog fUM««MMM UAC MM« Mt
Ona.a>M»jiaaUae.BM6tl-C5^l.MlB04.
WlOlm ffitaOk lOT Mac>X)>P,Son^

UC ASDnn-Himra

nnr M bi RMMac ASCJU-.KS Alsra Mac.
ASCAF^EM aMimri Mflc he . BMMiM I Cw W

WY DDNT WE JUST DHKf l&wATV T» <Ml£/l
. -• 1«5. BWClTSiWn LW
. v.r.;Hti»»»mfc-iru ne,
«:aF| tt.CSl7,|f10D*6
*llDf«R5ES - «r»(»t. aMTHlDM
won WW PlAYHMOni^'AIVLnaiVinH
......onamlAEic ASCAP.McB

" - j I x<l SMb 9MiATa-t>iM«

iru'wwMna.ASCv.iinHcKD

ASWWU 101 UKHMji tew. BMQ!01*i Mot
cbp . M wa luam Gn* i«M Ascvnnn
nMaMEMnlilMttllC EHIlJir

48 I Go to www.biMboard.biz for complatft chart data

DaU for WMk of DECEMBER 12. 2009 l CHARTS LEGEND on Page

Co-

EXECUTIVE
I'URNmBJJz

Send submissions to: exec o bfilboard.com

ECORO COMPANIES: Atlantic Records U.K. names Mark
■rry GM. He was senior VP of marketing at EMI U.K. & Ireland.
Sony Music NashvIKe names Ray Uhlir senior director of
arketlng and artist development for the label group's Arista
ashville and RCA Nashville imprints. He was VP of brand
lensing at Gibson Guitar.

JBLISHING: ASCAP promotes Shawn LeMone to VP of
embership for film/TV. He was assistant VP of film/TV
emt>ership.

3URING: International Creative Management taps
ck Storch as a booking agent. He was an agent at the
jency Group.

:LATED FIELDS: Glassnote Entertainment Group names
lureen Lloren head of publishing. She was ASR coordina-
r at Denlse Rich Songs/785 Publishing.
Olivia Harrison has tapped entertainment industry vet-
sn Sig SIgworth as a consultant to the George Harrison es-
[e for all forthcoming projects. He was senior VP/GM at
Mratlon Entertainment.

BTG Entertainment names Anderson Kolahal president,
t was executive VP at VIA Music Group.
Boutique marketing agency 2050 Music Design names
irgartta Sullivan GM. She was manager of music licensing
New Line Cinema.

-Edited by Mitchell Peters

The USS New York • ■_ t i ni'ig ship In the U.S. Navy lieel. wai

ssioncd Nov 7 in '-i-jir, With mofe than seven tons of World Trade
Center steel in her bow, the vessel is also a mcmonal to the victims ot 9/11 ASCAP
was appointed to the connmisslorii>g committoo responsible for enterlainment in
part because ASCAP licensing manager Jane Simpkin died m the terrorist attack.
The captain. oHicers and senior crew were iwrong the attendees at a special
welcoming reception, held Nov 2 at the New vofk Athletic Club, at which ASCAP
pfestdent/chairnvin Paul Williams entertained with a medley ot his grL>atest hits. The
repertoire included "If We Coukl Remember." with lyncs Williams had revginaQjn^
tribute to the 9/11 victims, i^ro couftitsv o* cwo to »«uv usn '

:5(X)DWORKS

:D TACKLES MALARIA IN AFRICA

ilaria No More has one goal: to stop malaria deaths in Africa

2015.

R E: D Distribution and some of its artists are helping the or-
lization reach that goal by donating the proceeds from the
w digilal-only benefit album "Indie Rocks'." which features
exclusive tracks by Third Eye Blind, the Walkmen and Peter
)m and |ohn, amongothers. It was exclusively released Nov.
on Amie Street and can be piuchased on MalariaNoMore.org.
RED Distribution events coordinator/office manager Tarnara
irton, who spearheaded the project with the company's
irissa Abrusia. says the album's $10 price tag goes a long
y in helping defeat malaria. Each copy sold will buy a net
ated with insecticide for an African home.
'The $10 includes [paying for a| person to physically go into
■ homes of people in need and install the net and show them

* to use it." Horton says, noting that RED's goal is to raise
>ugh money for 10.000 neLs. "They last up to five years."
Norton, a longtime soccer fan. discovered Malaria No More
ough her favorite team FC Barcelona, which supports the
;anization. Since then, instead of sending her family and
;nds holiday and birthday cards, she'll visit Malaria No
•re's Web site and donate a net in their name.

rhird Eye Blind frontman Stephen [enkins became partic-
rly interested in "Indie Rocks!" and donated his time to
ord a promotional video to raise awareness for malaria is-
■s in Africa. Additionally, a live performance video of the
id's song " Bonfire" will be used on the organization's Web

• to promote the project, according lo Horton.

'RED has agreed to give 100% lo this, so what we sell it
nothing stays with us," she says, adding that Amie Street
] the artists also donated their services. "It all goes back
he charity." — MiUh^l Peurs

Sony/ATV Music Publishing chairman/CEO Martin Bsntfler hosted a
panel discussion titled ""Come Together; Building the Right Team" for
the Bandler Program for Music and Entcrtainm«nt Industries at
Syracuse University Nov 12 at Creative Artists Agency's Los Angeles
office THe panel Irtcludcd Sara Baralllet. Akon and CAA n^anaging
partner/head ot the music division Rob Ught. From left: Program
director Oavld R«zak. Light. Akon, Syracuse Unlver&lty chancellor
Nancy Cantor. Barellles and Bandier. photo courtesy cf alex j aEniMCR t

INSIDE TRACK

READY, FREDDY?

New /i'rU.uKi :-. P.il fn^iUly Dtop MUt-

knows how to take its timo. The seven-
piece dub outfit has been together for
nearly a decade, yet only recently re-
leased its second album of studio ma-
terial and. up until last week, had played
just one gig in North America.

"We are an indie group — wo have lo
crack the whip on ourselves." the band's
trumpeter and unofficial spokesman
Toby Laing says with a laugh. "It would
have been good to be quicker, but we
have to be realty happy with the pro-
duction side of it as much as the music."

The band's first studio album. "Based
on a True Story." was a phenomenon in
its home country, riding its reputation as
one of the best live outfits to become

■ n d n- p<:' n ci c n 1 1 v t n i t n i j lj l >: cj

album to debut at No. 1 on the New
Zealand albums chart in May 2005. But
constant touring throughout Europe
and a rebuilding of the band's Welling-
ton studio meant a four-year gap be-
fore its foflow-up. "Dr. Boondigga and
the Big BW." saw the light of day. That
album was just released stateside and
brought the band to the States for a
sold-out. three-stop West Coast tour.

But L<iinc) promise?, t'-.at Fat Freddy's
Drop will return early next year and that
the wait for the third album won't be
nearly as long. "The success of the liand
has relied very much on fans discover-
ing the music and communicating it to
their friends, and that gave us a lot of
support here already." Laing says,
"We're entering a new creative phase
and improvising like we used to. Now
we're keen to visit new places."

DECEMBER 12, 2009 1 www.biliboard.blz I 49

NA TUN<

(ISSN tXXM-lSKT. USPS OSfi-lOO) It puMtfwd
horn Ki»ui MKfolofni, Rouie loa

i*49. PmtadlnthaUSA Forsroupui

ntn(onnal)on.call64S-«S4-S«U FerMbKrtpdonnfonTMtton.cMaOO'aM^r}!

50 I BILLBOARD I DECEMBER 12, 2009

Cni

iheartradio

WATCH > LISTEN > ONLINE > MOBILE

Cri

The Decade In Music

Special Double Issue

RADIO CITY

TOP GROSSING VENUE OF THE DECADE (5,001 + )

^MSG

ENTERTAINMENT

ON THE COVER From lop Wt: St«nd: W8m«r Mujic Gtolo i - ,,

RooordK Aahyohf Blsckgrourxl: John Mayor Columbia Records: Kr^ 1 1 <

George Stran: Tony Baker Ctara Derek Blanks Green Day: Marra C'.

Vbc Universal Husk Group: Celine Dion: Ruvon Afanador T-Pain: Jivc

Rock: Clay Patrick McBnOfe Carrie Underwood Andrmv Eccles; BBckstruut 0",

TSwenCy: Allantic Records; Sean Paul: Gerrard Neecham; f^ergie: Bten Von Urv.<

Fedencci: Pixte Ch»ck>; MonumefH Roconds. Faitti Hdl, Warner Bro». r*aahv*; I.

Roger Enckson; Santana: RCA Musk Group; R Kelly; Jive Labe* Group; Akon Jcr-r.

X Shar*a Twain: Georgo Hoi/ > .1

B^nd; CXimy 0«ich; Snor -.
_ish Groban. Christian LarMi .
'" - dpiiiy Tom Sheehan; Ml': ; , t

. Maroon 5; Chn* VVr.*v-MLMjii»i. M-jluibtw
: /' Cyrus: Sheryl NkUs: Ashantr Oaniella
-y J. Blige MwloA KInko a Inekorvfr. Ja Riic
' Rascal Flatts: LeAnn MueHer 3 Doors [>owre

Chapman Boehlpr Chns Browrr Mark Mann; Avnl Lavigra: Marts LiddA Jonr*(er Loptu: Epic Rocardt. T.l.. Christian Lantry: K«nny Ch««n«y: Gi«n Rose: Antin
TImbertake: Terry Rxihardson: Tim McGraw: Qxb Records: Toby Keith: Universal Music Groi«; 'N Sync Jive Label Gnaupc Ovistma Agudera: RCA Music Group: Linkm
Park James Mmchtn; Rlhonna Ellen Von UnweriK Ludacnv Phil Mucci: Kanyo West; Danrv Oncft: Kefly Oarkson Mike Ruiz: Pink: Andrew Macpherson. the Black
Eyed Peas; Dimitri Daniloff; Mariah Carey: Carlo Delia Chelsea: Jay-Z: Andrew Zaett: DesCny's Chikt Cokjmbia Recoids: Britney Spears; Mark Uddelt; NIckelback:
Chapman Boehler. SO C«nt: Sacha VMdman. Alicia Keyv Yu Ttal: Beyonc* Max Vedukui; r>Mly: Jorurthon Meratlon: Usher Eric 09Cf<rx Eminenr Interscope Records

i:M:i=ld:M:hi

.COM EXCLUSIVES

visit Billboard, com to
explore the Decade in
Music charts, listen to all of
the charting songs and
albums and watch stars like
Adam Lambert, Alicia Keys
and Ozzy Osbourne reveal
their favorite music of the
year and decade.

NEW YEAR'S EVE LIVE

Carmen Electra wiH heat up
the Las Vegas Strip as host
of "Billboard's New Year's
Eve Live," airing at 11 p.m.
ET Dec. 31 on Fox. Electra
will celebrate the biggest
night of the year with Sean
Kingston. Kris Allen, Allison
Iraheta and many others.

MUSIC AND MONEY

Join membt;rs of the
music, legal and financial
communities March 4 at
the St. Regis in New York
to explore challenges and
key opportunities shaping
the future of the music
business. More: billboard
musicandmoneyxom.

LATIN MUSIC

The Billboard Latin Music
Conference & Awards will
take place April 26-29 in
Puerto Rico at the Conrad
San Juan. Condado Plaza.
Don't miss the most
important Latin music
industry event. More: bill
boardlatinconference.com.

BBillboarc

ON THE CHARTS

m ALBUMS

put

iWTMT/Tnu '

THE BILLBOARD 200

178

SUUN WVLE /

I- ■- 1. ■i.-ut

TOP HOLIDAY

180

kHDUlA BOCELU /

TOP DIGITAL

180

MOKA BOC£LU /

TOP INTERNET

180

SUSAN mil .

TOP COUNTRY

183

rmoR smni

TOP BLUEORASS

183

STEVCMMITmy '

TOP nae/Hip^iop

184

R.mur/

TOP CHRISTIAN

186

USTINQ CIWWNS '

TOP GOSPEL

186

»EB{ A CEC£ WIHAhS *

TOP OANCEjELECTRONIC

187

LAOYOWA ; ^

TOP TRADITIONAL JAZZ

187

MKHAELBUBU/

TOP CONTEMPORARY JAZZ

187

TOP TRADmONAL CLASSICAL

187

THE PRIETS

TOP CLASSICAL CROSSOVER

187

AhtmtA socau /

TOP WORLD

187

THE tniSH TEMORS/

TOP LATIN

188

COSUlUJtLA:

^ SONGS

AflTm/TlTU }

THE BILLBOARD HOT 100

181

iKi-i * AiiciAirrs/

HOT100AIRPUV

180

JAY Z ALICIA KEYS;

HOT DIGITAL SONGS

180

LAOV GACA .' J

MAINSTREAM TOP 40

182

JASOM MftULO

ADULT CONTEMPORARY

182

lA^LOft SWIf I

ADULT TOP 40

182

KELLT CLAAXSOM /

nOCKSONOS

16Z

IHRS IMfl MKf /

ALTERNATIVE

1 82

TRIPLE A

JOHN HinR/

HOT COUNTRY SONGS

1 83

lADV ANTIBELLUM /

MAINSTREAM RtB.HIP.HOP

THEY SONGZ FEATMUM DMKE /

RHYTHMIC

1 84

JAVZ • AUCURfYS/

AOULT n&B

184

WHiiHrr musTON/

HOT RAP SONGS

184

JAf Z . AIICIAKYS/

HOT RtB HIP.HOP SONGS

185

usher;

CHRISTIAN SONGS

186

Tomuc /

□TV M ouH oes

HOT CHRISTIAN AC BONOS

186

CASTWfiCfWWHS /

(Mm nc mou woHin NtMs

CHRISTIAN CHR

1 86

nnuss/

HOT GOSPEL SONGS

186

FHEO HAMtMW FEATUfllNB JOHN R IS

HOT DANCE CLUB SONGS

187

PLUMB

HOT DANCE AIRPLAY

187.

HIM S0Z2I

SMOOTH JAZZ SONGS |

18 j

pniR WHITE

HOT LATIN SONOS

wiSNinwoa/

iilUOAi A I|

THIS WEEK ON .biz

«msT/mLE

HEATSEEKER ALBUMS

BUUMK/

HEATSEEKER SONGS

■UVtOHMl/

HOT VIDEOCLIPS

JAY 2 AUCIA Vm 1

HOT MASTER RINGTONES

JAY-Z -t- AUCUKETS/

TOP MUSIC VIDEO SALES

BCYONCE

HOT VIDEOCLIPS

JAY I-I- ALICIA im/

TOP DVD SALES

1 1

4 BILLBOARD I DECEMBER

YEAR-END DOUBLE IS

Cni

UUMM

i;iiM!<

llAllllA

Liiiiii

lOMINATED FOR 10 GRAMMY" AWARDS INCLUDING
IBUM OF THE YEAR - I AM...SASHA FIERCE
;ECORD OF THE YEAR -HALO

ONG OF THE YEAR - SINGLE LADIES (PUT A RING ON IT)

IVE #1 HITS - SINGLE LADIES (PUT A RING ON IT),
= I WERE A BOY, DIVA, HALO & SWEET DREAMS.

.5 MILLION ALBUMS, 7 MILLION DIGITAL SINGLES &
,5 MILLION RINGTONES SOLD SO FAR.

TNGLE LADIES (PUT A RING ON IT) VIDEO HAS BEEN
TREAMED OVER 100 MILLION TIMES ON YOUTUBE.

xohline com
:ecom

icmBmrnmcat

BIWECOnOSCOM

usnvuv C> nti SCMf BUG

- I WERE A BOY - THE LONGEST #1 RUN
ISTORY OF THE BILLBOARD iLIKE CHART™.

NLY PERFORMER IN BILLBOARD'S 51-YEAR HISTORY
0 TOP THE CHARTS 10 WEEKS OR MORE AS A GROUP
R SOLO ARTIST.

NLY FEMALE PERFORMER TO HAVE 14 TOP TEN RECORDS
N HOT 100 CHART THIS DECADE.

ILLBOARD'S WOMAN OF THE YEAR.

Cri

OPINION

A DECADE
RELIEF

What The Oughts Wrought By Bill Werde

Somewhere between John Mayer doing
his best Ron Popeil to sell Vevo to the
gathered A-list industry crowd and
Queen Rania of Jordan explaining how
Vevo was going to change the plight of
Africa's undereducated children, it was
impossible not to reflect on the decade
that's coming to a close.

Vevo, of course, is the new service that
promises to a^regate all licensed music
video content into one spot and then
monetize the expected scale with ads.
The Dec. 8 launch party in downtown
Manhattan was extravagant to say the
least, with executives flying in from all
over the world and a who's who of artists
ranging from Bono to Lady Gaga.

"This is how it used to be all the time!"
exclaimed more than one partygoer, sur-
veying the extensive, attentive waitstaff
toting hors d'oeuvres and premixed
drinks for a few hundred. It was as if
Vevo wanted to remind the business of
how fun it could be — or how fun it will
be if Vevo succeeds in its mission.

But If the mood in the room was oh-
so-cautiously optimistic — "Vevo is the
chance for the music industry to stop
playing defense." Vevo chief architect
Doug Morris said — the subtext was not.
The night's most articulate moment of
clarity came from Mariah Carey, who
took the stage and said, "We want to
slowly but surely salvage something that
used to be amazing."

Salvage.

And then we all went home, opened
up a browser and couldn't get Vevo to
work until well into the next day. and
then only spottily.

"This is how it used to be." Were peo-
ple referring to the outsized nature of
theparty.^Or the notion that in 2009. as
in 2000. the top executives in the busi-

ON THE COVER

Call it a Rorschach
of sorts. Do your
eyes naturally jump
to the more opti-
mistic arrow (and
view of the decade)
in the center, or fix-
ate on the two red

ones heading south? Here's what's not
up for Interpretation: Starting in the bot-
tom right is our No. 1 artist of the decade.
Eminem. Head left to No. 9, Destiny's
Child; hop back right to No. 10. Jay-Z;
and keep on counting down until you get
to No. 75, Stalnd, in the top left. Sorry
about the tiarcode, Alicia!

ness were looking at a wildly popular,
online consumer behavior and destina-
tion— today, music ^deo consumption
and YouTube — and trying to figure out
how to control it?

This decade — all that history will say it
ended up meaning for the music busi-
ness— actually started in )une 1999.
That, of course, is when the original Nap-
ster launched.

It's amazing how little changed in the
dynamic between record labels and dig-
ital companies, and for so long, as the
'00s unfolded. 1 recently reread the first

Despite the
stumbles out

of the gate,
I'm heartened
by Vevo.

article I wrote about the MP3. in janu-
ary 1999. The RIAA was suing to pre-
vent the release of one of the first
consumer MP3 players. Indie labels
were embracing digital distribution be-
cause they felt it would "even the play-
ing field." And major-label executives,
speaking on condition of anonymity, ad-
dressed the need for control. "If we have
the right kind of technology and agree-
ments, we can have a system where it's
clear what is authorized, and can be
played or recorded," one of them said.

Let's be honest: Those beliefs really
didn't start to change until two or three
years ago. and only then after years of
relentless, unmerciful drops in CD pur-
chases, not to mention bottom lines.

in the last couple of years, the labels
have finally become more flexible in li-
censing their music to services and let-
ting go of copyright protection. It hasn't
saved the business, at least not yet. But
it's letting music companies focus their
t-'nergy and resources on trying to cre-
ate new, workable models.

The labels still have a long way to go.
With the exception of iTunes, the serv-

ices they've been willing to license have
yet to show much profit, with many of
the most current efforts (iLike, imeem.
Lala) getting sold in a recent Hurry at al-
leged fire sale prices. It's almost as if the
music business gods wanted to book-
end the decade and send a reminder:
Sorry, guys, you're not quite there yet.

Was it a good decade? It was great for
music, which is everywhere now. People
take it with them on their phones and in
their sneakers; they hear it during movies
and TV shows and commercials; they
make it for cheap and can distribute it to
tens of millions for free. None of that ex-
isted on Dec. 31. 1999. Nor did the ca-
reers of such bold new talents as Beyonce,
Eminem, M.I.A., Alicia Keys, Justin Tim-
berlake, the Yeah Yeah Yeahs. Kanye
West, Lady Gaga. Taylor Swift, Coldplay.
Susan Boyle ... 1 could keep going.

But was it a good decade for the busi-
ness? It was brutal, with creative com-
panies and individuals lost to falling
profits. But I think that the recorded-
music sector has weathered the worst
and is about to come out the other side.

Sometime in the next six to 12 months,
the growth curve of digital music will fi-
nally, Ttnaiiy catch the descent of CD
sales. At last there will be a new baseline
for the size of the business, a new solid
floor, albeit a much lower one to build
upon. Which is why, despite Vevo stum-
bling oui of the gale. I'm htrartcncd by
the attempt to build. Whether it's Vevo,
or the labels investing in MySpace or
Apple snapping up Lala — these are ag-
gressive new strategies for monetizing
content. They show big thinking and a
partnership approach with technology
companies. It gives me hope that maybe,
just maybe, the labels and publishers re-
ally have learned from the last 10 years.

The business we're all left with is much
smaller. But it's also populated with sur-
vivors, it's far more nimble, and hungry
to experiment with new revenue streams.

So bring on Vevo and the next 10
Vevos. (Preferably most of the next 10
will actually work at launch.) I look at
the front cover of this issue and the first
thing I see is a giant arrow pointing up.
How about you? •

WRITE us ■ Share your feedback with Billboard readers

around the world. Send correspondence to letterai'a blllboard.com

tnclude name, title, address and phone number for verification,

SUBSCRIBE. Go to b]lllKiard,btz/subtcrlba or call
800-658-8372 (U.S. toll free) or 847-559-7531 (International),

4-10T-430-6

1 HOfliCS HlfTm 64£

DEPUTY eoiTon L

SPECIAL FEATURES EDITOft: TlioBi Owfty :>
INTERNAnONAL BURCAU CHIEF Matli t
MUSIC EEMTOR Cortn«v M»«llr»» ■ i ■ : --"jfl
BILLBOARO.BIZ ECHTOR: Ctvlt M. W«Uh ' •••'-t 1' U
EXECUTIVE DISECTOR OF CONTENT AND

PHOORAMHINO for LAnN HUStC AND ENTERTAINMENT: UlU Cobo ' - ^rv.) 305-3fil
EXECUTIVE DIRECTOR OF CONTENT AND

PROORAMMmG FOR TOUOtHG AND LIVE ENTCRTAINHENT: Ray MMMI < MnJwiitoJ 6S
EXECUTIVE DIRECTOR Of CONTENT AND

PROORAMHING FOR DIGITAL/MOBILE: AnIMqr ■nM^Denvor) SOS-771-1342
SEWOR CORRESPONOENTS Ed CfirUtniM ( Rmil) &46-eS4-472].
OMMMMI I ' Tow Fwaii»OII tOwuty aobal Cailo-) 0'i-d4-20?-42{

SENIOR BMTORIAL ANALYST: Clwin Pwopta* gp«opi«iitlt>llt>oaril . <
CORRESPONDENTS: Ayata B«i-VWNKta ^jtnj HHcli*>l PMm

MTCRMATIOHAL:LanBraiM»t A.^r'ii.'x WM%M«lprtr(Gefn-.^' , RobOT
GLOBAL NEWS EDITOR: Afldra C']^ -I .t 207 ^ 20-6066

CO^ CHIEF: Chrti Woodi
COPY EDITOR: ChrilU ntui

ASSOCIATE EtMTOR. SPECIAL FEATURES: Ivia N*gy 6-16 «>M 4709
CONTRIBUTORS: Jim BMMiun, iMTf BhmnMd, JuHm Konntang, Karri M
Daboraih Evafii Prlca, Paul Sncton. Stwa Tralman. Anastaila T

SPECIAL PROJECTS MANAGER: KrlRlnB Tunil

BILLQOARUCOM
BILLBOARDCOM EDITOR: JESSICA LETKEHANN
BILLBOARD COM NEWS EDITOR: D«vW J. Prtnc* > >
BLLBOARDGOM ASSOCIATE BXTOfS: HvM ConcapOon ' -

DESIGN ft PHOTOGRAPHY
CREATIVE DIRECTOR: CNRISTINE BOWER-WRIGHT

PHOTO EDITOR: AlMlla Halwton SENIOR DESIGNER. Or»g Octibewv

CHARTS k RESEARCH
DIRECTOR OF CHARTS: SILVIO PIETROLUONGO
ASSOCIATE DIRECTOR OF CHARTS Raphael Saorga

SENIOR CHART MANAGERS. Kalth CaurrMd r r.oofa 200 Casl Com£»lalic«i,

■ ■ ■ 'ij Caloloo SojndtfBciii. LAJ

Wada J«u«n - , - . .^hville)

CHART MANAGERS: Bob Allan Hapll— I OaCI^ (B>j»t, RML/HQ-

■ ■■ Oordon Murray . !■ i Lleclronic, Jaji New AgsL Ringlor

Silvio Pl«(roiuo(i9o - L:i-^i Hot 100. Digiul Songs) PMi Pm

Gary Truit ' rninatlvv. Chart B*at. HoBtiaakaf? Songi, H,

I Alai Vllooitt .. 41 Kid Audio. VkSeo)

INTCRIM CHART MANAGER Ra«ly Ramlm i.Mi>
CHART PRODUCTION MANAGER: Michael CUMOfl
ASSOCIATE CHART PRODUCTION MANAGER: Urn* Vtloitfa
BILLBOARD RESEARCH MANAGER. Oofdon Muo«y r-l^6S4-4e33
UIGIIAL

VICE PRESIDENT. DIGITAL: JOSHUA CNGROFF
DIRECTOR, MARKET DEVELOPMENT. ErK Ward
MANAGER. MARKET DEVELOPMENT JimUd M«rrt»

AOWrDTISINC SALES

VICE PRESIDENT. SALES/ASSOCIATE PUBLISHER: JEREMY LEV1NE &46-6S4hWZ7
NATIONAL SALES OIRECTOR/DICITAL S CONSUMER: Dmh SMIImr 646-654-4616
OMECTOR. BUSINESS DEVELOP*CNT« EAST COAST SALES. PRINT: OaMophar tkMtal

EAST COAST SALES DIRECTORS, DtGITAL Antotik) Amato ■ -i

DMCTOfi. SPECIAL FEATURR a WEST COAST SALES: Aid Kanafco . J'rS

MIDWEST &ALES DIRECTOR. DIGITAL: Alana Schllfka

WEST COAST SALES DIRECTOR. DIGITAL: Cawy Datwiahy ". fjG-i.''^?

NASHVILLE: Lm Ann Photoglo < . . CynttiLa Htlow 61S- 352-0065 (Ta

ADVERTISING DIRECTOR DCTROIT Kattiy Varoo . . ■ i "

ADVERTISING DWECTOfl EUROPE/UX.: Ffedaric FmmocI J -14-207-420-6075

INSIDE ACCOUNT REP: JcH Samtta hAh b'i-l-4«97

MANAGING DIRECTORAJKTIN: Owm ShMi 97S-7«6-2S20

LATIN AMERICA/MIAMI; HarcM Ollval V}^-9a*-mh fa* 305-864-3227

ASIA- PACIFIC/AUSTRALIA: Unda HaUch hI2 9440-7777, Fu 613-9^40-7788

JAPAN. AkI Kanako ". " . . "

MANAGER OF SALES ANALYTICS: MlTM OomM 646-654-4695
ADVERTISING COORDINATOfi: Alexandra Hwtl 646 fiS4'SS8l
MARKETINa

SENIOR MARKETING DIRECTOR: LILA GERSON 1>J4> 6S4-4639
EVENT MARKETING MANAGER Nkole CarbWW f"1<5-6S4-4634
SENIOR MARKETING MANAGER: Jama* Crau ' -U. - ^-t S4B9
MARKETING MANAGER. Karri Bergman ' 4. '
SAiES/MARKETlNG ART DIRECTOR: MallMa Subatch
SALES / MAR KE 1 1 NO DESIGN MANAGER: Khn GraUng

AUDIENCE MARKETING
AUDIENCE MARKETING DIRECTOR: NEIL EI5EN8ERO
ASSOCIATE AUDIENCE MARKETING DIRECTOR UiMla Lam
SUBSCRIPTIONS; =

■'jnao orMI

VKE PRESIDENT. BUSINESS DEVELOPMENT « LICENSING ANDREW M
EXECUTIVE DIRECTOR. CONFERENCES ft SPECIAL EVENTS, MICHILi IM
SPONSORSHIP/BUSINESS OEVElOPHENT MANAGES Cabela Hamuai t>-ib 654-464(

SPONSORSHIP SALES MANAGERS: Malthaw Carona < .1 ' ' .-i Kim OrWMIw 646-

SPECIAL EVENTS DIRECTOR: MargarM O'SIim

SPECIAL EVENTS MANAGER: Um DiAnlCMilo

EVENT CLIENT SERVICES MANAGER: Coivtney Marfei

DIRECTOR, LICENSING S CUSTOM MEDIA: Diana OrltcoH '< :>< > ^^-4677

MANAGER. INTERNATIONAL LICENSING ft SALES Angaflne Bleahawwal ar^Mr« Msr«j<«t

MAGAZINE REPRINTS Angia VanCordar :- '-.■•M'l-- ' Te 0' BB4BtheYGSgn

PRODUCTION
PRODUCTION DIRECTOR TERRENCE C. SANDERS
ASSOCIATE PRODUCTION DIRECTOR: AnUiony T. StaRllkft

ASSOCIATE PRODUCTION MANAGER ftoOgar Laonird

OPERATIONS

GROUP FINANCIAL DIRECTOR: BARBARA ORIBNINQER 646-6S4-4b7S
HUMAN RESOURCES DIRECTOR BILL FINTON
LEGAL COUNSEL MARK MIUER
DISTRIBUTION DIRECTOR Lpu SredfMd

PERMISSIONS COORDINATOR/ASSISTANT TO PUBLISHER Dana Parra ><->Vb$4-4696
VICE PRESIDENT. MANUFACTURING AND DISTRIBUTION: Jennifer Grego
VICE PRESIDENT. AUDIENCE MARKETING: jMfHia Whaatiay

LOS ANGELES:

NASHVILLE:

MAM: I iii-.i I- ■ ■

-'■ iilU4Ii bulla 4U] Ka> b>icayn«. l-l
■ 37203 Jja9 Pr*:<w JOS-S61-5279
Fa«. J05-i6l-5299

ENiOR VICE PRCSIOEMT. THE eMTCRTAWWB«T GROUP

niclscn

Mat FVnr. SEMOR VICE PRESIDOT. HUMAN aCS
M AHce« SENIOR VICE PRESIDENT BRAND MEDIA AfW
Bllhaot 5CMOR VICE PRE SIOENT. MrOIA ft ENTERTAINMENT:
H<*\^n BiKir>KI Mfdia Byrne; SENIOR VICE PRESIDENT. FinAncf. Moan* Ooo>n; SE
VtCE PRESKJCNT, RETAIL Oa-fd LoMhrter. SENIOR VKE PRE'
CONTENT: SCMI HOCanlM: SENIOR VICE PRESIDENT. BUILDING ft DESIGN. Joe Randall;
VICE PRES»ENT, CENTRAL SERVICES Mary K*r SUiMi, CHIEF OPERATING OFFICER.
ENTERTAINMENT: Howard A«p«lb*um; VICE PRESIDENT MANUFACTURING ft DISTRIBI
JannilM Orego; VKE PWES«0€NT, LICENSING: Andww Min; VICE PRESIDENT. CLIENT HA
r. VICE PRESIDENT. AUDIENCE MARKETING: Joi

Cni

IN THE NEWS

rhe top 10 music biz stories
of the year
8

DIGITAL

Free streaming-music services
still seek business model
10

THE BILLBOARD Q&A

Taylor Swift, our artist of
the year
14

RETAIL

The top 10 strategies music
merchants deployed in 2009
26

GLOBAL

South Korea implements
'three strikes' anti-piracy law
40

CHRISTMASVIGIL

Retailers Say Holiday Sales Are Holding Up Better Than Expected BY ED CHRISTMAN

USIC RETAILERS SAY THEY REMAIN

good cheer about the year-end holiday sell-
4 season.

While it's too early to tel! whether music mer-
andisers will have a merry Christmas, some
that sales during the first two weeks of tlic
iJay selling season arc beating expectations,
[)i last year's comparable-store sales.
While U.S. album sales arc down 13.6%dur-
; the last two weeks from the corresponding
riod a year earlier, according to Nielsen Sound-
111. music retailers say they're cautiously up-
it about business.

rill- liiilid.i) sellingseason is "pretty good, and
tliink it will get better as it goes on," one re-
I chain executive says. "The final weeks are
living good. The Susan Boyle thing [her debut
nm. "I Dreamed a Dream"] is phenomenal.
, you have another breakout in Andrea Bo-
("My Christmas"], whose sales are taking
and a decent amount of new releases,
lereas last year you virtually had nothing —
rylhin^ they promised never materialized."
rhe release schedule is not only strong, but
i across a wide swath of consumers. Older
pptTs are snapping up Boyle and Bocelli.
11^ kids are going for [ustin Bieber's "My
rid" and the two "'Glee: The Music" sound-
ks, and a broad segment of consumers are
I.MI to recent releases by stars like 50 Cent,
rif U nderwood and Taylor Swift, whose deluxe
ion of "Fearless" is generating brisk sales.
Yoii ha-.t alotofdifferent kindsof music ap-
ng to a lot of different people," the retail ex-
itive says. "The only thing missing is a
ing-scilintj hit rock record. But with all the

genres, we may not need one this year."
^cwbun Comics CEO Mike Dreese says the
ida\ season has been good for his chain so
During Ilianksgiving week and the first week
X'L rnihcr. Newbury's comparable-store sales
V down 6% but profits were up 5% from the
If period last year. When the company's Web
sales are added, profits were up 10% from a
earlier. Dreese says,
^llliough Newbury's music sales were down
from a year earlier, profits were up 25%,
iiks to sales of higher-margin used CDs.
liafs not to likc.^" Dreese asks.
II per D co-owner Bruce Ogilvie says sales fee!
fi this year than last. "We are up 45% this

\R-END DOUBLE ISSUE

year from November through this week, but last
November we took a lot of returns," he reports.

Sales are up for the company's direct-to-con-
sumer operations, as well as for its indie store
clients, which usually see an uptick in Christ-
mas-related foot traffic later than chain stores.

"They must be feeling something because or-
ders from them just went up," Ogilvie says of
the indies.

Another wholesaling executive says his firm is
seeing strong catal(^ reorders for video and music,
which is good news if it sells, and not so good if
Christmas turns out like last year, when returns
left merchants with coal in their stockings.

Meanwhile, digital track sales during the first
two weeks of the holiday selling season totaled
38.5 million, down 0.7% from a year earlier, while
digital album sales reached 3.3 million, up 2%.
according to Nielsen SoundScan. During
Thanksgiving week, album sales jumped 34%
over the prior week, while digital track and digital
album sales both inched up only 4% from the
prior week. But the lackluster digital sales weren't
a major concern because they don't usually kick
in until after Christmas, when consumers who
received iPods hit iTunes.

Merchants agree that the twin engines lead-
ing this year's holiday selling season could
be Boyle's and Bocclli's breakout albums,
which have already surpassed sales of 1 mil-
lion units each in the United States, accord-
ing to SoundScan.

"We were out of Boyle yesterday but got an-
other 1,200 in today," Ogilvie says. "This may be
a title that the indies scolTcd at but are finding
out they can't ignore it and they may need to stock
it. They are ordering it but arc saying, 'Keep it
on the down-low.' Consumers are breaking down

tlir door because they waiU tht- title,"

Ogilvie says that with things starting well, it
just might continue through the season. While
online retailers capture a lot of business in the
early part of the selling season, there is a big shift
to brick-and-mortar stores beginning about a
week before Christmas, he says.

"WTiile the holiday selling season used to break
open on about Dec. 1 2 or Dec. 1 3. now it doesn't
break until Dec. 21." Ogilvie says. "That's when
brick-and-mortar goes crazy."

Additional ■

: by Cortney Harding.

>ECEMBER 19, 2003 www.billboard.biz 7

TOPIO
STORIES
OFTHE
YEAR

Developments That Will Have A
Profound Innpact On What The Biz
Looks Like In 2010 By Billboard Staff

KICKETMASTER-LIVE NATION
lERGERPACT

fust as the nation's largest concert promoter and ticketing
company had begun making competitive inroads onto each
other's turf. Live Nation and Ticketmaster Entertainment
signed a merger agreement in February that sent a shud-
der through the live entertainment business.

In addition to dominating their respective core markets,
both companies boast a formidable stable of acts. Live Na-
tion has long-term multirights deals with Madonna, U2,
Jay-Z, Shakira and other superstars. The Front Line divi-
sion of Ticketmaster Entertainment has ties with some 200
clients, including such heavyweights as the Eagles, Aero-
smith, Jimmy Buffett, Kid Rock and John Mayer. The com-
bined entity would also control a huge customer database.
The marketing efficiencies would be enormous, as would
the value to sponsors.

The U.S. Department of Justice is expected to conclude
an antitrust probe of the proposed merger in early 2010.
The union of Live Nation and Ticketmaster is about con-
tent, live and otherwise, and the ability to market and sell
it, before, during and after a concert. The combined en-
tity would be able to tap into — or control — revenue from
ticketing, merchandising, sponsorships, e-commerce and
recorded music. Pass or fail, this deal heralds the future
of music.

RRAFIRMA

Terra Fiima was on a tightrope all
year as U grappled with the £1.1
bilUon ($4.5 billion) in debt it took
on to acquire EMI Group. Terra
Firma's lender Citigroup report-
edly rejected the private-equity
firin's offer to inject £\ billion
{$1.7 billion) into EMI in an appar-
ent bid to get the bank to forgive
the same amount of debt. Now the
two sides' talks will likely center
on a debt-for-equity swap by Citi-
group. The outcome of this latest
maneuver could be that Terra
Firma will have to share ownership
ofEMI with the bank — or perhaps
be forced out altogether.

RECORDED-
MUSiC SALES
PLUNGE AGAIN

The pluiit^e in rccorded-music sales
that began in 2001 showed no sign
of abating in 20()y. Through the
wt'fk L-tidiiiii Nov. 29, U.S. sales of
albums and track-equivalent sets
(where 10 digital tracks equal an
album) were down 8.7%. accelerat-
ing from a decline of 7.3% during
the same period in 2008. CD sales
plummeted 19.5%. worsening from
a drop of 19% a year earlier. Mean-
while, growth in digital track sales
slowed sharply to 9.7% through
Nov. 29. down from 28.3% a year
earlier. Lower growth rates arc
inevitable as the digital market
expands, but the depth of the
slowdown adds to the industry's
already deepening worries over
falling sales.

UYS

Any music-related acquisition by
Apple and its iTunes store would
be big news. But the company's
December acquisition of Lala was
particularly inriguing. What does
the largest ois. music retailer,
which dominates the market for
purchased song downloads, want
with a company mostly known for
streaming music? The deal may
point to Apple's interest in
"clouds-based applications that
enable users to access music and
other entertainment content from
any device. And that, in turn,
provides yet more evidence that
the future of Apple's lucrative iPod
product line will be firmly rooted
in Web-connected devices like the
iPhone and the iPod Touch — and
that the days of download-based
players like the iPod Nano are
numbered.

JWlTL^R SWIFT,
JuS^ERNAUT

Fueled by rufiaway sales of her
album " Fearlesi^" Taylor Swift's star
exploded intojl^upernova, lending
a much-nee<WQ commercial boost
to country tnusic. She was every-
where, performing on "Saturday
Night Live" in january, hosting
"SNL" in November, portraying a
murdered teen on CBS" "CSI," ap-
pearing on "The Oprah Winfrey
Show" twice, shooting a tongue-in-
cheek rap video with T-Pain and
cleaning up at the Country Music
Assn. Awards. Perhaps the most re-
markable aspect of Swift's ubiquity:
She never lost her head in the glare
of the media spotlight, even after
Kanye West disrupted her accept-
ance speech for best female video at
the MTV Video Music Awards.

LATE FEES
STRENGTHEN
PUBLISHERS*
HAND

After the U.S. Copyright Royalt>' Board
issued its linal ruUrig in january on
new mechanical rovalty rates, the Na-
tional Music Publishers' Assn. capi-
talized on the leverage it gained from
the inclusion of a 1 .5% late fee on tardy
royally payments. Under a settlement
with the RIAA. which had appealed
the fee. the major labels agreed to de-
liver publishers a windfall of more
than $264 million in mechanical roy-
alty payments comprising pending
and unmatched royalty money. They
also agreed to stop withholding song
royalties on an album when the roy-
alty split for a single song is the sub-
ject of a dispute among songwriters
or when there's a dispute involving
CD mechanicals for that album.

MICHAEL

Jackson

FRENZY

Michael |dcks(iii\ june 25 death set
ofTonc of the biggest sales explosions
ever seen for an artist's catalog. As
Sony scrambled to meet demand for
product, U.S. sales of the late artist's
solo albums totaled 422.000 units in
the week of his death, surging from
10.000 units in the prior week, accord-
ing to Nielsen SoundScan. In the fol-
lowing week, sales of his solo titles hit
794,000 units, benefiting from a full
seven days of sales and replenished
supplies. From his death through the
week ending Nov. 29, Jackson's U.S.
sales totaled 7 million albums, 10.2
million track downloads and 1.3 mil-
lion DVDs, skyrocketing from year-to-
date sales before his death of 300,000
albums, 1.2 million track downloads
and 70.000 DVDs.

MILEY CYRUS
EMBRACES
PAPERLESS
TICKETING

Milc\ C:> I lls' 2007-OX Best of Bo
Worlds lour provided (nany consume
witli a bitter introduction to seconds
vendors, who scooped up tickets ai
sold them at huge markups. So it w
big news when Cyrus
struck back at resellers
by embracing paper-
less ticketing for her
U.S. fall tour this year.
AC/DC. Tom Waits,
Bruce Springsteen and
John Mayer are among
the other acts that have
sold paperless tickets
through Ticketmaster. But Cyrus' I ( i
tour was the first by an arena-level to
ing artist to use paperless for all tic
sales. While secondary vendors p
dieted chaos. Ticketmaster says tin
came off without a hitch.

jSuNC^

Already a pioneef tll^e monctizati
oFonliiie music fjldeos, Univer
Music Croup brgfib new ground
spearheading t^Dec. 8 launch
Vevo — a label-6wned and -ope
"1 luhifiH' music" powered by YouTu
The difference between Vevo and p
vious efforts to generate revenue fn
videos is that stakeholders Unive
and Sony Music Fntertaininent— v
EM I Music licensing its content
not taking an equity stake in the ^
ture — will control ad sales and coiit
By hosting all of the content in one >
and syndicating it to others, Vevo
create a scarcity of inventory, with
hope of creating higher per-iniprcs
ad rates and broader sponsorsh

braiidiu^ opportunities.

NEW MUSIC
DISCOVERY
INITIATIVES

GoDgle pari HIT fd with MySp
and Lala to embed free, full-tr
streaming in music- and art
based search results, which a
point users to Pandora, imeeni
Rhapsody for more intormati
Facebook tapped Lala for a mu
gifting program, allowing mt
bers to buy a 10-cenl perman
stream or an 89-cent digital riii
management-free download
their friends. Apple's acquisit
of Lala will pose a short-ti
challenge to these services,
with the recording industry k
on encouraging the deveiopni
of non-Apple music services, e
to see Google and Facebook [
vide their users with other in
discovery options.

8 BILLBOARD eCEMBEP 19. ;!009'

YEAR-END DOUBLE IS:

JAY-Z ' ZAC BROWN BAND ' JASON MRAZ ' MUSIQ SOULCHILD PLEASURE P
T.I. ' DEATH CAB FOR CUTIE ' PARAMORE ' FLO RIDA ' TREY SONGZ ' SEAN PAUL
TRACY CHAPMAN TWILIGHT ' TRUE BLOOD ' NICKELBACK ' MEGADETH

FROM YOUR ATLANTIC FAMILY
^ OFUELEOBYRAMEN ^^^^ AROCNATION ^ gffiU ' '

DIGITAL

SWIMMING
UPSTREAM

Free Streaming Gained Users, But Revenue
Rennains Elusive By Antony Bruno

IN 2009, MUSIC FANS FINALLY

began to accept the concept of access-
ing music as a service over buying it
as a product.

While subscription -based services
like Rhapsody and Napster continued
their struggle to acquire and retain cus-
tomers, ad-supporled rivals like Euro-
pean sensation Spotify, MySpace Music
and even imeem saw impressive gains
in usage and trafTic. Spotify racked up
6miHion users across Europe since its
October 2008 launch, while imeem
claimed 20 million visitors per month.

But with this sui^c in activity comes
an inevitable reckoning over the un-
derlying business model that will rad-
ically alter the direction of these
services in the year ahead. Because
while much of this rising interest in
streaming vs. owning music is due to
increased broadband Internet pene-
tration and the availability of portable
devices like the iPhone that can stream
music rather than store it. the real
driver is the price — free.

And therein lies the problem. Ad-
supported services can't earn enough
from advertising to cover their licens-
ing fees, lust ask imeem. which ended
the year being acquired by MySpace for
a song, despite decent user numbers
and moderately successful ad sales.

Meanwhile, record labels are un-
willing to lower their rates to accom-
modate ad-supported services. It's not
jusi because they fear free music will
mean fewer sales, but also because the
revenue per user gained from ad-sup-
ported services is less than the revenue
per user gained from subscription
services or direct sales.

"I don't think there's enough value
in that business for anybody," says
David Ring, executive VP of business
development and business affairs for
Universal Music Group's (UMG) eLabs
division, about the ad-supponed model
on its own. Instead, he says labels are
more interested in converting free
users into paid users, either by up-

selling them to a monthly subscrip-
tion or getting them to buy additional
products and services, using the free
stream as a customer acquisition tool.

"We're always trying to drive upsell
to traiLsactions. upsell to bundles and
purchase.' he says. "But we definitely
are not looking at the hope and the
prayer that giving away free streaming
will somehow magically convert people
into buyers. We have to strike the right
balance between giving the right serv-
ice to a customer, earning the right com-
pensation to us and our artists, and then
upsell customers on other products."

Easier said than done. Offering free
music certainly has the potential to in-
spire sales, but labels want it offered in
a way tlwt doesn't substitute other sales
in the process. Suppose an ad-supported
service converts 20% of its user base to
a $10 monthly subscription. It would
take I million free users to acquire
200,000 subscribers, who would then
bring in an annual value of $24 million.

But according to one label executive
who asked to remain anonymous,
those same 200,000 users today would
represent a ballpark retail value of $50
million per year, based on the assump-
tion that they represent the more ac-
tive music consumer

"The free proposition can't be so
compelling that people stop paying
for music," the label executive says.
"Even with the best-case scenario,
the 'freemium' business model does
not work."

So, expect to see the music industry
increase its efforts to make paid serv-
ices more compelling than free ones.
The high rates charged today for ad-
supported music are designed to make
it less compelling for the service
provider Labels also are now releasing
less of their catalog to predominantly
ad-supported services and are experi-
menting with "window" strategies
where the ad-supported sites get new
releases later than the paid sites.

' I f you want to give away something

Islands in the stream: MySpace
Music (top) and Rhapsody

for free, you're massively restricted with
the kind of content you have access to."
says David Hyman. CEO of MOG.
which scrapped plans for an ad-sup-
ported streaming service in favor of one
carr>'ing a $5 monthly fpe. "Snmp of

the labels won't do ad-supported music
anymore at all. You're going to start see-
ing that coming into play when some
of the existing services are going up for
renewals on their contracts."

Critics say these measures will only
drive fans lured to ad-supported serv-
ices from peer-to-peer sites back to
their pirate habits. Rob Wells, senior
VP of digital at Universal Music Group
International, estimates that as many
as 60% of Spotify users are former P2P
users — in Sweden, it's closer to 80% —
su^esting Spotif>- replaces P2P as the
music discovery tool of choice.

But if P2P users indeed buy more
music than the average music con-
sumer— a theory that remains a point
of heated debate — that only further il-
lustrates the danger of substituting
sales with free streaming.

Others counter that the $50 million
in annual retail revenue cited as the
current customer value bar is destined
to fall as CD sales continue their slide,
and that labels should proactively
lower their expectations as a result to

fall in line with what ad-supporled
services can earn from today's adver-
tising rates. If the free, ad-supported
streaming model existed in a vacuum,
they'd have a point.

However, labels are at the same time
eyeing a future where service providers
(such as for the Internet and mobile
phones) will add the cost of a monthly
or yearly subscription fee into that of
their services and devices. Lowering
their rates to aid free ad-supported
services that bring in far less revenue
would hurt those chances.

"I want to make sure I don't screw
up my future opportunity around in-
teresting new models because I put free
in competition with those new mod-
els.' the anonymous label exec says.

It's the difference between collect-
ing a small amount of money from a
small group of music fans that previ-
ously spent a lot of money on music
versus collecting a small amount of
money from a large group of people
that previously spent on average very
little money on music.

"Let's say there are 70 million broad-
band homes in the U.S.." UMG's Ring
explains. "If every single one is paying
for a music service irrespective of how
much they're using it, you can imagine
the average revenue per those house-
holds for e\'ery month doesn't need to
be as high as if you only had 500.000 of
the biggest music users in the country
signed up to a different service."

And since neither ad-supporled nor
subscription -based services generate
any meaningful revenue for labels
today, the industry is content to risk
losing a few underperforming part-
ners in hopes of gaining more lucra-
tive ones in the future.

It's for this reason that Spotify has
not yet launched in the United States,
and why when it does it will look much
different from the service made pop-
ular overseas. It's why MySpace Music
president Courtney Holt says he's con-
sidering selling digital downloads di-
rectly rather than relying on affiliate
deals with iTunes and Amazon and
why he'll add ticketing and merch sales
programs next year to further help
monetize the service (not to mention
the rumors that MySpace may intro-
duce a subscription tier as well.)

"We're evaluating different busi-
nesses," Holt says. "We were never
building a business that was 100% de-
pendent on advertising. We're look-
ing at diversified revenue streams with
ad-supporled streaming at its core."

just as subscription ser\'ices like
Rhapsody and Napster gave away two-
week free trials to potential customers,
consider 2009 the year the music indus-
try gave ad-supported music services a
trial period of theirown. Next year, that
trial ends. How digital music fans react
will be a story worth following. • • • ■

AddittonaJ reporiing Juliana

Konmifngand Andre Paine in London.

TUNES
YOU CAN
USE

Key Streaming
Music Services
And Their Offering!

MYSPACE MUSIC
OFFER: Free, unlimited o
demand streaming of music ar
videos. Links to ITunes and Am
2on to purchase tracks. Mus
video hub.

AVAILABILITY: United Stat<
United Kingdom, Australia
USERSARAFFIC: Doesn't di
close numbers

MODEL: Ad-supported, suppi
mented by sales of digital dow
loads and, soon, concert tickc
and merch.

SPOTIFY

OFFER: Free, unlimited c
demand streaming of nuisic. Ur
to 7digltal to purchase tracks. \*
bile access from IPhone and /
droid apps.

AVAILABILITY: United Kingdc
Sweden, Norway, Finland, Fran
Spain

USERS/TRAFFIC: 6 milll
combined

MODEL: Ad-supported, supp
mented by sales of digital dov
loads and converting users t
$1S-per-month subscription t
which offers mobile access a
better-quality files.

IMEEM

OFFER: Free, unlimited <
demand streaming of music £
vkleos. Users upload tracks to
catalog. Links to purchase
iTunes, Amazon and Its Snoc
powered store. Mobile access
iPhone and Android apps.
AVAILABILITY: More than
countries across North America
rope and Asia

USERSARAFFIC: Claims m
than 20 millk>n visitors per moi
MODEL: Ad-supported, supf
mented by sates of digital dot
k>ads and converting users to a r
titlered subscription premi
service.

YEAR-END DOUBLE IS

TOP FIVE 1 Apple buys Lala. 2 Spotify becomes a
QIQIXAL streaming music sensation in Europe.
gYQPIgg 3 Online video service Vevo launches.

OF '09

4 MySpace acquires imeem and ILIka.

Cni

I\IEK0 CASE Middle Cyclone : Best Contemporary Folk Album & Best Recording Package

BOOKER T. Potato Hole : Best Pop instrumental Album & Best Rock Instrumental 'Warped Sister'

MAVIS STAPLES Live: Hope At The Hideout: Best Contemporan/ Blues Album

JOE HENRY Producer of: Best Jazz instrumental Album Allen Toussaint - The Bright Mississippi &
Best Traditional Blues Album Ramblin ' Jack Elliott - A Stranger Here

RAMBLIN' JACK ELLIOH A Stranger Here : Best Traditional Blues Album

Tli

www.anti.com

Cni

INSATIABLE
APP-ETITE

Artists Reap Big Revenue From More Engaging
App Experience By Antony Bruno

TWO YEARS SINCE "Buy U a
Drank (Shawty Snappin')" was the top-
selling mastertoneof2007. R&B artist/
producer T-Pain is rocking the mobile

world again, this time with the iPhone

app "I Am T-Pain."

The app lets users record karaoke ver-
sions ofhis songs or sing over any other
song stored in their iPhone. using Auto-
Tune software. As of the weekend after
Thanksgiving, the S3 app sold more than
600.000 copies since its Sept. 1 debut,
making it the top-ranking paid music
app in Apple's App Store and the 1 2th-
highest- grossing among all apps. Ac-
cording to JefT Smith, CEO of iPhone
developer Smule {which made the app).
the average user has launched it 17 times
since purchase and spends 90 minutes
using it; in total, users have created more
than 10.4 million recordings.

And most exciting to the music in-
dustry, users bought more than
200.000 karaoke versions of the 10 T-
Pain songs made available for 99 cents,
sold from within the app itself.

The success of I "Am T-Pain" illus-
trates the potential for iPhone apps to
become a revenue-generating platform
in their own right and not just the pro-
motional gimmick labels have posi-
tioned them to date. In the past year,

dozens of artists flooded the App Store
with free apps primarily consisting of
nothing more than a few photos, the
odd video, a listing of tour dates, IWit-

ter and news updates and perhaps a
song snippet or two.

In June, Apple introduced a software
update that for the first time allowed

developers to sell content from directly
within their apps. Previously, develop-
ers had to either give away upgrades
or ask users to buy and download a new
version of their program. While the
new capability opened the door to using
apps to sell music, there's a hitch.

Apple won't let artists sell music
through their apps; they have to link
to iTunes. But if the music somehow
becomes a function of the app itself
and only usable from within the app,
those rules no longer apply. For in-
stance, iPhone users who own T-Pain's
" Buy U a Drank" must pay another 99
cents to download the karaoke version
of the song for the game.

"We've opened up a new category of
music sales." Smule's Smith says. "It's
self-contained. You have to buy this
music in the context of the application.
It's walled ofTand protected. Now, we're
not cannibalizing sales, but [creating]
a source of new revenue growth."

T-Pain is not alone. Lady Gaga's
"iOKi" karaoke app costs $3 to down-
load and offers extra tracks for 99 cents
each. Tapulous, developer of the pop-
ular "Tap Tap Revenge 3," sells track
packs from popular artists from
within the app. According to Tapulous
head of business development Tim
O'Brien, more than 750.000 tracks
have been bought since the game was
released Sept. 25.

According to Jive VP of mobile mar-
keting, sales and business develop-
ment Sean Rosenberg, these new
capabilities expand the iPhone plat-
form from a disposable product built
around recycled functionality and con-
tent into a service model. The label is
planning to launch several artist-
branded versions of the "Open Mic"
karaoke game— developed in conjunc-
tion with developer Rain — as well as
artist-branded versions of "Tip Tap Re-

venge" competitor "TapStar" fro
EpicTilt in the coming months.

What's more, it's cheaper. Whi
hiring a developer to create an arti:
branded app can run anywhere fro
$20,000 to $100,000, developers 11
Tapulous and Smule operate excl
sively on a revenue-sharing modi
Money doesn't change hands upfroi
They simply split the revenue gaini
from the sale of the game and the sa
of any in-game content, after App
takes its 30% cut of both.

"You guys can go out and spet
$50,000 to build an app and hope th
it gels into the top 100, or you cou
come to me and spend those dolla
across my platform and I will guara
tee you 10-20 million eyeballs
O'Brien says. "Many artist apps do)
make it into the top 100. I've not i
leased a game yet that hasn't."

But it won't be as simple as just <
fering fans token content. To drive i
app sales , labels a 1 1 d a rt i s t s w i II h a vc
develop innovative products tiiat let t
fan be part of the process in some w

"The key to moving content insi
the application is allowing users to p
sonalize that content in creative wc
and share it," Smith says. "The d:
of purely passive entertainment ;
numbered. It's no longer about In
ing the CD and stuffing it in your c
It's about getting closer to the art
and understanding their personal
and embracing their music."

That may be diflicult for a inu
industry still focused on control
artists concerned about the integt
of their creative vision. But if they
to participate in the $2.4 billion-p
year app economy, as estimated
mobile advertising firm AdMc
rather than just giving away w l
amounts to digital schwag, it's a c(
cession they'll have to make.

AT YOUR
SERVICE

Five Innovative,
Music-Focused
iPhone App
Developers

SMULE

Founded by two professional musi-
cians (one getting his PliD in music
at Stanford and anotfier a member
of tile Stanford music faculty),
Smule specializes in apps ti^at let
users create music. Since the com-
pany was founded in June 2008. it
has created only seven apps, ttvee of
which were No. 1 sellers, including
"I Am T-Pain."

What Smule lacks In volume it
makes up for in creativity. The com-
pany alms to make each artist app
a unique creation, which can take

up to five months to develop. It in-
sists on retaining creative control
and works exclusively on a revenue-
share basis.

TAPULOUS

Tapulous created the "Guitar Hero"
of iPhone apps, "Tap Tap Revenge."
The music rhythm game is the most
popular music game in the iPhone
App Store and Is now In its third iter-
ation, "Tap Tap Revenge 3." The
newest version allows users to buy
and download new tracks for the
ganrte a la "Rock Band."

The company also makes artist-
branded versions of the games and
has done so for the likes of Nine Inch
Nails, Weezer, Dave Matthews Band,
Coldplay, Lady Gaga and Metallica.
Tapulous claims various versions of
the game reside on more than 18 mit-
lion devices and plans to expand be-
yond the iPhone to Android and
BlackSerry devices in the year ahead.

EPICTILT

The mobile offshoot of casual game
developer Jirbo, EpicTilt has fast be-
come a go-to developer for labels arxi
artists looking for a fast IPhone app.
The company creates customized ver-
sions of existing games for artists, re-
sulting in such titles as "Be Like Lady
Gaga," Souija Boy Tell'em's "Kiss Me
Through the Phone" and Asher Roth's
"Do Something Crazy."

In July, it launched "l^pStar," a conv
petitor to 'Tap Tap Revenge 3" that
features downk>adable content from
Sony Music Entertainment, and is p^lan-
ing artist-branded versions as well.

MODERATI

One of the original ringtone aggre-
gators, Moderati changed tack hard
with the decline in ringtones and
upsurge in iPhone apps. In July, it
Introduced "Rompir," a music remix
app designed for artists who want
to resell it as a branded application.

Souija Boy Tell'em jumped on
board first, letting fans manipulate
three of his songs by playing witi
eight sounds and adding up tc
seven extra samples to the mix. Ir
November, 50 Cent unveiled hi:
own "Rompir" app, and other art
ists are expected to follow.

MELODEO

Originally formed to power th(
back-end platform for mobile musi(
stores, Meiodeo now uses its stream
ing music technology to power sev
eral innovative iPhone apps. SucI
acts as Usher and the Presidents o
the United States of America tappet
the company to create apps tha
randomly stream songs from thei
catalog as a sort of personalizei
radio application.

Other apps include "Name Tha
Guitar Riff" and "Kids Song Kwi
Game," which Is sort of a "Name Th;
Tune" for children's music. —Ai

12 BILLBOARD

ILLUSTRATION BY RAYMOND BIESINGER

ON PAUSE

)e5pite Buzzy Titles. Music Gaming
.ales Plummet By Antony Bruno

'HAT A DIFFERENCE A YEAR MAKES.

The music-game category raked in $1.4 bil-
n in revenue last year, according to Wedbush
organ Securities analyst Michael Pachter,
n largely by sales of -Rock Band 2" and
uitar Hero World Tour." By the time 2009
mes to a close. Pachter expects the category
make half that — $700 million — despite such
jh-profile releases this fall as "The Beatles:
k Band," "Guitar Hero 5." "D] Hero" and
lid Hero," not to mention "Guitar Hero:
11 Halen," which is due Dec. 22.
Acturding to data from NPD Group, sales of
sc games haven't met expectations. The Bca-
; game, while selling a respectable 800,000
its of its various versions so far, missed the
nillion analysts expected in just the first
jtiih after its Sept. 9 debut. "Guitar Hero 5"
d 500,000 units in its first month, compared
h the 1.4 million "Guitar Hero III" moved
:i years ago in its first month.
^nd "Dj Hero." the game lhat was meant to
)and the category into the hip-hop genre,
)vcd 123.000 units in the first few days after
latt'-Oc tobtT on-sale. and analysts at Cowen

& Co. slashed their sales forecast for the game
from 1 .6 million this year to 600,000.

So what happened to this once-promising
category, which so many in the music indus-
try looked to for much-needed revenue? Ac-
cording to Pachter, the answer is: Too many
games with too much music in too short a time.

"[Game] publishers have probably done
themselves a disservice by giving us way too
much value for our money with each of these
games," he says. "You just get way too much
content. The installed base has a lot of music
and they don't really need a lot more. It's sort
of like buying more books when you have a
slack of books left to read. You just don't."

Pachter points to the disappointing sales of
"The Beatles: Rock Band" as proof of this theory.

"There isn't a game that we would expect to
have more widespread appeal than that," he
says. "And yet with the installed base of music
game owners at around 20 million, it boggles
the mind that only 800,000 bought 'Beatles:
Rock Band.' "

But this doesn't mean the music-game cat-
egory is a quickly fading fad with no future. No

one expected the same level of record-breaking
sales achieved last year, and Pachter expects
the category will level offat about $500 million-
$600 million per year, which he calls a "nice,
healthy" genre on par with the "Call of Duty"
action-game franchise. That doesn't take into
account the revenue earned from in-game
music sales, which "Rock Band" and "Guitar
Hero" have yet to report.

To re-create the blockbuster sales of last year,
the category needs a new innovation. One idea:
Dahni Harrison — the son of the Beatles* George
Harrison who worked closely on the develop-
ment of "Beatles: Rock Band" — told the Chicago
Tribune he is working with Harmonix to cre-
ate a version of "Rock Band" with new con-
trollers that could actually help teach gamers
to play guitar rather than just simulating the
experience. Such new motion-capture devices
as Microsoft's Project Natal may also play a role
in evolving the gameplay.

Until these innovations come to fruition,
though, the music and videogame industries
will have to live with a music-game market that
has fallen back to earth. •■•*

BYTE BY

Hand in hand with the dedine of music -based
game sales is a softening of the impact those
games have on digital downloads.

A sampling of the songs included on
soundtracks to "Guitar Hero 5," "Band Hero"
and "DJ Hero" shows no significant increases
in track sales as a result of their inclusion In
each respective game, according to Nielsen
SoundScan data.

The game with the nrost impact on sales
was "Brutal Legend"— which isn't a music
simulation game but an action/adventure
title with a strong heavy metal theme and
soundtrack. But white songs from acts like
Motdrtiead and Judas Prtest saw sales spikes
as high as 700%, the volumes were too low
to make much of a real impact— in many
cases from single-digit or double-digit
weekly sates to tow triple-digit sales. —AB

BrriG

RIGHTS MANAGEIVIENT

The New Force in

Music Rights Management

New York Office

1745 Broadway, 7ih Floor
New Yorki NY 10019
Phone: 212-782-1075

Los Angeles Office

8383 Wilshiris Blvl, sJite 228
Beverly Hills,' CAil0211
Phone: 323-556-7100 I

Nashville Office

m Drive
N 37204
335-2058

info.uS'S'bmgrights.cc im
www.bmgrights.com

DECEMBER 19, 2009 I www.biilboard.biz 13

material

THE BILLBOARD Q&A

TAYLOR
SWF

The Country Superstar Talks About Writing Her Name In
The Record Books, Life On The Road— And Gives A Sneak
Peek At Her Next Album By Bill Werde

TO SAY TAYLOR SWIFT had a re-
markable year would be a comic
understatement. She sold more
albums than any artist not named
Michael Jackson. Her first headlin-
ing tour, Fearless 2009, sold out
every show within minutes. She be-
came the youngest woman to win
the Country Music Assn.'s enter-
tainer of the year award, and she
set seemingly every chart record
that exists. (For more on that, see
page 48.) But most important, she
proved herself a graceful, timeless
celebrity, handling hosting duties
on "Saturday Night Live" and a ram-
paging Kanye West at the MTV ally believing it would come true.

Video Music Awards with equal
aplomb. We caught up with her on
the phone from London to discuss
her exhilarating last 12 months.

Have you spent much time reflect-
ing on your growth in the past year?

I do a lot of reflecting. I'll be driving
down the streets I used to drive down
in Nashville and my song will come
on the radio or I'll pass my high
school and something will remind
me of how my life was before all of
these crazy dreams started coming
true. We wished for this, my parents
and I. every single day without actu-

You've set a ton of records this year
and won a slew of awards. I'd like
to run down a couple. You became
the youngest person to win the en-
tertainer of the year award at the
Country Music Assn. Awards.
I'd have to say that was the most mind-
blowing experience, hearing my name

called and winning that award. That
is an award I had placed in an unat-
tainable spot in my head. To be the
youngest to win it makes me love
country music even more for being
so open-minded.

And you spent more weeks on the
Billboard 200 than any other artist
this decade.

I t's really hard for me to wrap my mind
around that one. In a business where
longevity is what you aim for and hope
for and strive for. having my album on
the charts that long just absolutely
floors me. That is such a long time.
Thai's another one of those times
where I've gotten a phone call and I
really had to ask the person several
times if they were serious and if they
had really checked the math.

You were the 12th person In 35
years of "Saturday Night Live" to
host and perform, and the first fe-
male country star in 20 years to do
so, the last being Dolly Parton.
Hosting "Saturday Night Live" was the
best week of my life. I started as a the-
ater kid, so "SNL" has been up on a
pedestal for me and I've always won-
dered what it would be like to actually
experience it. You don't even notice
you're so busy that you have to eat while
walking to your next meeting. I was at
30 Rock at 7 a.m. until 1 or 2 at night
a lot of times. I didn't want to leave.

I was definitely stepping out of my
comfort zone in terms of how people
have seen me in the past. To see the
reviews come in and them being pos-
itive and the ratings come in and the
fans were so wonderful and made a
point to watch, it made me so thank-
ful and so happy.

Do you have a single favorite mo-
ment from the past year?

The high moment of this year was my
Fearless tour. Every night of that tour
felt like a celebration. I never expected
it to be as successful as it was.

And what about a low point?

[Pauses] I've had a few days — and
everyone has them — where you feel
humiliated or you're shocked by some-
thing or something knocks you down
a few pegs. But in those moments I've
been very quick to realize and remind
myself that there are people out there
with real problems. To get hung up on
any bad moment that happened this

year would be unfair to all the go
moments I've had this year.

Are there careers that came befc
you that you tried to learn from

When I was growing up 1 did:
watch much kid television. Whe:
was 10 1 watched a special on Fa
Hill and how she went to Nashvt
and made it in country music
watched how Garth Brooks kept I
ticket prices low. I watched how SI
nia Twain was able to be a blend
different genres. I just love what I ]
to do so much that there's neve
moment of my day when I'm r
thinking about a certain as[>ect of
and there's never a point when I fi
like I know all 1 need to know abc
the music industry.

Have you had time to writ* am
all this craziness?

I actually am best writing on the r
I only have time to write the songs t
hit me the hardest. Those are s
like "Fifteen" — that's one 1 wrote
the road. It hits me and I nci-tlc
write it so I found time to wi ii
whether it's 1 5 minutes Ix'twecn nit
and-greets or at 4 a.m. If they iiai
me throughout my meet-Jtid-grt
and interviews, and all I'tn playlru
myheadisthissong.then I kium I
got something.

I'm well into writing my
album. I think my biggi-st goal
this next record is to write in r eal li
as I always have. 1 want to tontii
to write about things that I'm
through. My first record wjs my di
from my early teens. My next w.i-
diary from 16 to 18. My biggest l;<
for this next record is that the i
ings I'm feeling right now will b<
curately portrayed.

So what's (eft for you now? Wil
see an album next year?

My next goals arc to continue on >
the Fearless lour. I'd love to be ,
to perform on the Grammys ag.
They gave me j unique opporUi
last year to perform a song I h,
even released as a single. Obvioi
I'll be making tiiy third record,
taking time lo make it everything
got dreamed up in my head so \.
like to have about two years bt*t\s
records — so possibly next year.

For the JiUl version of this Q<(A, go
Billboard.com.

I hope for my next record that
the feelings I'm feeling now
will be accurately portrayed.

14 BILLBOARD rECEKBEB :

YEAR-END DOUBLE IS

L^oj^j ILL, ..u^ . , j.ui lal

Cni

BRANDING

SWEET HARMONY

Creative Collaborations Between Brands And Musicians By Eleftheria Parpis

THE POTENTIAL SYNERGIES

between consumer brands and the
music industry have never been more
important to explore. With total ad
spending down 15% in the first half
of 2009 compared with the first half
of 2008 and ad spending on music
down 16% in the same period, il
makes sense that an increasing num-
ber of marketers and musicians are
inlcrcstcd in essentially doubling
their promotional weight, both on-
and offline. Here are three cam-
paigns whose clever creative strate-
gies have boosted the profiles of both
the brands and artists.

COKE GETS HAPPY

For Coca-Cola, happiness is a five-note
branding mnemonic turned into a
song heard around the world. The ef-
fort, a collaboration with Atlantic
Records for the soft drink's "Open
Happiness" campaign from Wieden
+ Kennedy, stars a genre-bending mix
of artists: Cee-LoCreen. E^ll Out Boy's
Patrick Stump, Panic! at the Disco's
Brendon Urie. Gym Class Heroes"
Travis McCoy and Janelle Monae. Pro-
ducer Butch Walker and Green co-
wrote the nearly four-minute track
released in March (the mnemonic was
written by music and sound design
agency Human) through MySpace —
where it's been strcatnod more than
700.000 limes — and iTunes. where it
reached No. 27 on the retailer's pop
chart in the United Stales.
The song was used in ads that aired

Ad tt up: CEE-LO GREEN for Coke;
EstellG for Crystal Light; U2 for
BlackBerry (from left)

in 31 markets, with spots including
eight customized versions with local
artists (such as Leehom Wang in China,
whose version reached No. 1 on the Top
too chart of search engine Baidu.com).
In )uly, a music video — as stylistically
fanciful as Coke's animated "Happi-
ness Factory" spots — premiered on
MTV. And the song is keeping its buzz
on: So far, it has inspired more than
100 user-generated versions on You-
Tube, and this winter it will be heard at
various venues during the Olympics in
Vancouver.

According 10 Camille Hackney, sen-
ior VP ofbrand partnerships and com-
mcrcial licensing at Atlantic, the
collaboration — orchestrated by com-
panies including Brand Asset Group

lUSIC BRANDING
rRENDS IN '09

The biggest trend was the commission-
of original music by brands, be It the
mye West 25th-anniversary Air Jor-
dan deal or the EsteMc Crystal
Light deal. More and more
brands are not necessarily only
looking to license music but
looking to collaborate with
artists to make original music."
—Doug Scott, president of Ogiivy
Entertainment

"Artists are being discovered
and in turn working with
brands through social net-
working. Bands are also be-
coming popular well before they
get a label deal. If a band has an on-
line following of a few hundred
thousand fans, it is like a focus
group. With the whole music busi-
r>ess changing, artists are lookirtg at

our industry more than ever, and beyond that
30-second spot."

—Mike Boris, senior VP/executive music
producer at McCann Erickson

"The most notable branding initiative In the
music space has been Apple's non-use of
cool songs in their TV ads— notable because
Apple's use of such songs was the talk of
the town in the ad-music continuum for the
last few years and no brands have success-
fully filled that vacuum. Apple has recently
used underscores with voice-overs to sell
their iPhones and iPhone apps, utilizing
music that's unique in its overuse of an
acoustic guitar and glockenspiel instrumen-
tal combo— a sound that many in my field
would complain is 'the Apple sound' that
other clients requested a bunch this past
year for their own underscores."

—Josh Rabinowitz. senior VP/director of
music at Grey Worldwide

and Crush Music Media Manage-
ment— is helping to keep the artists
top of mind as they each prep upcom-
ing releases.

FROM AN AD. TO AN
ALBUM?

Atlantic Records artist Estelle had a
very good night at the Grammy
Awards in February. Not only did a
Crystal Light spot launch during the
show with an upbeat song she wrote
and sang — one of two spots featur-
ing the song in a campaign from
Ogiivy & Mather — but she later won
her first Grammy for the song "Amer-
ican Boy.' (Crystal Light owner Kraft
Foods was no doiibl pleased as well.)

In the spot. Hstellt- belted out the
upbeat "Star," which she wrote for the
powdered drink mix. The commer-
cial included a URL where visitors
could download tree copies ol a lull-
length version of the song. Within the
first week, the song was downloaded
20.000 times, according to Ogiivy En-
tertainment president Doug Scott. A
month later, it was put up for sale at
online retailers including iTunes and
Amazon. Ten months after its debut.
Atlantic says the brand-inspired song
is being considered for inclusion on
Estelle"s next release, which is ex-
pected in mid-2010.

Tlie campaign. Atlantic's Hackney
says, "was another platform to help
build I Estelle] and her brand. Wecol-
laborated and got a fantastic song out
of it . , . And you never know, we may

make it into a single. We're still h
ing those discussions.'

U2 LOVES BLACKBERRY

In an eyebrow-raising switch
brand parmers, U2 linked with Bla
Berry to help promote its 2009 albi
"No Line on the Horizon." five ye
after starring in an Apple ad and
coming the first band to get its o
branded iPod. BlackBerry's ca
paign, which touts the mess*
"BlackBerry loves U2," included
elusive sponsorship of the ban
360° tour and a 60-second spot fr
Arc that launched in luly.

Timed to the album's release :
the tour's kitkoff. thctoniinertial :
turcd a live perforniaiiLe of the b;
in a shower of glittery sparks play
Til Go Crazy If I Don't Go Cr
Tonight." In the fall, the deal's n-
innovativc element was introdu(
a BlackBerry app that includes sor
videos, pictures, a link to the U2 i
bile store and a news feed that se
users updates everj- time a band mt
bcr posts to the U2 blog.

A soon-to-be-aclivated soc
networking feature will allow c
certgoers to mark their seals o
map of each venue and locate .
communicate with other fans at
shows. "We're reinventing
album experience for the dig
age." said [eff McDowell. VI
global alliances at BlackBerry mi
Research in Motion, at the tim
the app's release.

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Billboard"

See other formats